“The Base Stealer,” by Robert Francis

Base-stealing is easily one of my favorite plays in baseball.  It requires more than just speed — it requires an ability to read a pitcher, a good sense of timing, and great reflexes.  I like how this poem by Robert Francis captures the dance of the base runner as he waits for that perfect moment to take off.

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Poised between going on and back, pulled
Both ways taut like a tight-rope walker,
Fingertips pointing the opposites,
Now bouncing tiptoe like a dropped ball,
Or a kid skipping rope, come on, come on!
Running a scattering of steps sidewise,
How he teeters, skitters, tingles, teases,
Taunts them, hovers like an ecstatic bird,
He’s only flirting, crowd him, crowd him,
Delicate, delicate, delicate, delicate – Now!

Quote of the day

Sometimes a strikeout means that the slugger’s girlfriend just ran off with the UPS driver. Sometimes a muffed ground ball means that the shortstop’s baby daughter has a pain in her head that won’t go away. And handicapping is for amateur golfers, not ballplayers. Pitchers don’t ease off on the cleanup hitter because of the lumps just discovered in his wife’s breast. Baseball is not life. It is a fiction, a metaphor. And a ballplayer is a man who agrees to uphold that metaphor as though lives were at stake.

Perhaps they are. I cherish a theory I once heard propounded by G.Q. Durham that professional baseball is inherently antiwar. The most overlooked cause of war, his theory runs, is that it’s so damned interesting. It takes hard effort, skill, love and a little luck to make times of peace consistently interesting. About all it takes to make war interesting is a life. The appeal of trying to kill others without being killed yourself, according to Gale, is that it brings suspense, terror, honor, disgrace, rage, tragedy, treachery and occasionally even heroism within range of guys who, in times of peace, might lead lives of unmitigated blandness. But baseball, he says, is one activity that is able to generate suspense and excitement on a national scale, just like war. And baseball can only be played in peace. Hence G.Q.’s thesis that pro ball-players—little as some of them may want to hear it—are basically just a bunch of unusually well-coordinated guys working hard and artfully to prevent wars, by making peace more interesting.

~David James Duncan

“Tao in the Yankee Stadium Bleachers,” by John Updike

Here’s a poem written by John Updike, published in his Collected Poems 1953-1993.  I love the collision of East and West in this piece.

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Distance brings proportion. From here
the populated tiers
as much as players seem part of the show:
a constructed stage beast, three folds of Dante’s rose,
or a Chinese military hat
cunningly chased with bodies.
“Falling from his chariot, a drunk man is unhurt
because his soul is intact. Not knowing his fall,
he is unastonished, he is invulnerable.”
So, too, the “pure man”—“pure”
in the sense of undisturbed water.

“It is not necessary to seek out
a wasteland, swamp, or thicket.”
The opposing pitcher’s pertinent hesitations,
the sky, this meadow, Mantle’s thick baked neck,
the old men who in the changing rosters see
a personal mutability,
green slats, wet stone are all to me
as when an emperor commands
a performance with a gesture of his eyes.

“No king on his throne has the joy of the dead,”
the skull told Chuang-tzu.
The thought of death is peppermint to you
when games begin with patriotic song
and a democratic sun beats broadly down.
The Inner Journey seems unjudgeably long
when small boys purchase cups of ice
and, distant as a paradise,
experts, passionate and deft,
hold motionless while Berra flies to left.