This haiku was first published in Full Count: The Book of Mets Poetry. One of the fun things about haiku is that a writer can cram a lot of imagery into three very short lines, and this piece does just that.
*
Sun shines on diamond,
two birds on a citrus limb
ball meets bat, a crack!
The 1927 New York Yankees featured the renowned Murderer’s Row, which included Babe Ruth, Lou Gehrig, Earle Combs, Bob Meusel, and Tony Lazzeri. The team won 110 games that year, and 1927 also happened to be the season when Babe Ruth hit 60 home runs.
This piece by Robert L. Harrison was first published in 1999.
*
Gather ’round you fans of baseball
you lovers of season past,
let me take you back to the greatest team
that ever played on grass.
Guided by Miller Huggins
known as “murderer’s row,”
never was such a string of pearls
so feared this side of Hell.
Greedy was this awesome bunch
with Ruth and Gehrig leading the punch,
and Hoyt and Moore on the mound
shooting all the batters down.
Gasping crowds assemble
like sinners in a tent,
watching all the other teams
trying to repent.
God blessed those boys of summer
those pin-striped renegades,
with a winning passion
while others saw only the haze.
Gathering in the rosebuds
by playing excellent ball,
called the “five o’clock lightning”
taking the pennant in the fall.
Gone were any pretenders to the throne
no on stood wherever these Yankees roamed,
twenty-five men made up this team
and all had a year better than their dreams.
William DeWolf Hopper was an American actor, singer, comedian, and theatrical producer during the late-19th and into the early-20th centuries. Born in New York Citty, DeWolf Hopper grew to become a star of vaudeville and musical theater, but he became best known for performing the popular baseball poem “Casey at the Bat.”
A lifelong baseball enthusiast and New York Giants fan, Hopper first performed Ernest Lawrence Thayer’s then-unknown poem “Casey at the Bat” to the Giants and Chicago Cubs on August 14, 1888. Co-performer Digby Bell called Hopper “the biggest baseball crank that ever lived. Physically, of course, he is a corker, but when I say big I mean big morally and intellectually. Why, he goes up to the baseball [Polo] grounds at One Hundred and Fifty-fifth street after the matinees on Saturday, and he travels this six miles simply to see, perhaps, the two final innings, and any one can imagine the rapidity with which he must scrape off the makeup and get into his street clothes in order to secure even this much. But he says the Garrison finishes are worth it, and he is perfectly right. Hopper always was a baseball crank, long before the public knew anything about it.”
Hopper helped make Thayer’s poem famous and was often called upon to give his colorful, melodramatic recitation, which he did about 10,000 times over the course of his career.
Peter Balakian is an Armenian American writer and academic who was awarded the Pulitzer Prize for Poetry in 2016 for his collection, Ozone Journal. This collection includes the poem below, which shines a light on the fact that even as Roger Maris hit his historic 61st home run during the 1961 season, the world continued to move with myriad historic events simultaneously.
*
All summer the patio drifted in and out of light the color of margarine;
days were blue, not always sky blue.
At night the word Algeria circulated among the grown-ups.
A patient of my father had whooping cough, the words drifted into
summer blue. The evenings spun into stadium lights.
Kennedy’s hair blew across the screen. Castro was just a sofa.
I saw James Meredith’s face through a spread of leaves
on the evening news. The fridge sweat with orangeade,
the trees whooped some nights in rain—
a kid down the street kept coughing into his mitt.
Static sounds from Comiskey and Fenway came
though the vinyl, the plastic, the pillow—
So when it left Stallard’s hand, when Roger Maris’s arms whipped
the bat and the bullet-arc carried into the chasm the disaffections
at 344 ft. near the bullpen fence
under the green girder holding up the voices rising into the façade and over the
river
where a Baptist choir on Lenox Ave. was sending up a variation of Sweet Chariot
into the traffic on the FDR that was jammed at the Triboro
where a derrick was broken and the cables of its arms picked up the star-blast of
voices coming over the Stadium façade spilling down the black next-game
sign into the vector
of a tilted Coke bottle on a billboard
at the edge of the river where a cloud of pigeons rose over Roosevelt Island.
It was evening by the time the cars unjammed and the green of the outfield unfroze
and the white arc had faded into skyline before fall came
full of boys throwing themselves onto the turf with inexplicable desire
for the thing promised. The going. Then gone.
Here’s an enjoyable performance of Ernest Thayer’s “Casey At the Bat” by The West Point Band. The music is by Randol Alan Bass, and the poem is narrated by Rich DeMarco.
Tim Murnane was a former first baseman and center fielder turned sportswriter during the late-19th to early-20th century. He was considered the leading baseball writer at The Boston Globe for about 30 years until his death. While writing, he also organized and led professional sports leagues and helped govern the baseball industry. In 1946, the Baseball Hall of Fame established the Honor Rolls of Baseball and named Murnane one of twelve writers to be honored. He was also selected by the BBWAA as a recipient of the J. G. Taylor Spink Award for excellence in baseball journalism in 1978.
*
Pack up his bats, pick up his glove,
For him the Game is done;
At last the stars peep out above
The setting of the sun.
Once more the field, serene at night,
Is still, and hushed the shout.
The Presence chokes us as we write
Just this: “He ran it out.”
Above the plate Time held the ball:
He turned the last gray bag
With stride that weakened not at all.
His spirit did not lag,
But proudly Homeward bound he sped,
Nor feared the final rout.
High flung at last the silver’d head,
Unbowed “he ran it out.”
This piece by Mike Makley was published in 1975. I particularly love the twist at the end, and the fact that this was written so long ago, when girls playing ball was generally frowned upon, makes it all the better.
*
Our baseball team never did very much,
we had me and PeeWee and Earl and Dutch.
And the Oak Street Tigers always got beat
until the new kid moved in on our street.
The kid moved in with a mitt and a bat
and an official New York Yankee hat.
The new kid plays shortstop or second base
and can outrun us all in any place.
The kid never muffs a grounder or fly
no matter how hard it’s hit or how high.
And the new kid always acts quite polite,
never yelling or spitting or starting a fight.
We were playing the league champs just last week;
they were trying to break our winning streak.
In the last inning the score was one-one,
when the new kid swung and hit a home run.
A few of the kids and their parents say
they don’t believe that the new kid should play.
But she’s good as me, Dutch, PeeWee or Earl,
so we don’t care that the new kid’s a girl.
This poem by Martin Espada was published in his 1996 book of poetry titled Imagine the Angels of Bread, and Espada worked as groundskeeper for the Triple A Toledo Mud Hens for a time. This piece paints such a vivid picture of rural America; it’s certainly the kind of scene I would expect to find in a movie set in a small town.
*
Despite the rumors of rain,
the crowd spreads across the grandstand,
a hand-sewn quilt, red and yellow shirts,
blue caps. The ballgame is the county fair
in a season of drought, the carnival
in a town of boarded factories,
so they sing the anthem as if ready
for the next foreign war.
Billboards in the outfield
sell lumber, crayons, newspapers,
oldies radio, three kinds of beer.
The ballplayers waiting for the pitch:
the catcher coiled beneath the umpire’s alert leaning;
the infielders stalking with poised hands;
then the pitcher, a weathervane spinning in the wind;
clear echo of the wood, a ground ball,
throw, applause. The first baseman
shouts advice in Spanish to the pitcher,
and the pitcher nods.
The grandstand celebrates
with the team mascot
prancing pantomime in a duck suit,
a lightning bug called Louie
cheerleading for the electric company.
Men in Caterpillar tractor hats
rise from seats to yell at Louie
about their electric bills.
Ballpark lit in the iron-clouded storm,
a ghost dirigible floating overhead
and a hundred moons misting the grey air.
A train howls in the cornfields.
When the water strikes down,
white uniforms retreat from the diamond,
but in the stands
farm boys with dripping hair
holler their hosannas to the rain.
There’s a lot of great imagery in this poem. It’s also quite nostalgic, full of memories expressed by the narrator. This piece was published in Philip Raisor’s poetry collection, Headhunting and Other Sports Poems.
*
I carry my spikes and step on the field an hour
ahead of the others. Last day of March with April
offering tickets for the new season. I’m full of sun
on wet grass, in love with blistered benches.
A sparrow sits on the backstop, watching, ready
to dart if I catch its eye. I drop my bag on home plate
and swirl my foot in the dust the way my cousin does
with his fingers on the skin of a drum head. Next year
he’ll be released with the others who spent mornings
breaking windows and trashing vacation homes
like drunks in the right field bleachers. Here, I’m alone
with a sparrow and the smell of a baseball morning
settling around me like a comforter. I start trotting
to first base, the ankles loosening, then the knees,
as the dust begins to lift into the breaking light.
Around second and third I stretch my arms
in a rotary motion ready to fly. A hand waves back
from a passing car, someone who knows me
or remembers rising one morning when the game
of who you are is played out in your mind,
and around you a stadium full of fans begs you
to do what you usually do in the clutch. The bat I pull
from the bag for the first time is my father’s
Louisville Slugger, thirty-three inches, wood barrel.
I thought enough time had passed, the attic dust
hard in the grooves. I stroke it slowly like a weapon
you love to touch but would never use. He hit .304
at Omaha the season he was drafted, all-star
rookie-of-the-year. He said we’d join him soon.
Then that other draft. He would have been here.
I swear he would. The silence feels oppressive now.
I dig for a scuffed ball and throw it up, shoulder high,
but let it fall. A natural hitter, my father said, holding
my hands. I grip the tar-stained handle. Tears blur
the wall that’s so far away it looks warped. I aim
for marrow deep inside, April hungry for the kill.
This poem by Ford Frick ends with the line, “Nothing’s simpler than that!”, which is quite fitting, as this piece is pretty straightforward. This was published in Ford Frick’s memoir, Games, Asterisks, and People: Memoirs of a lucky fan.
*
You step up to the platter
And you gaze with flaming hate
At the poor benighted pitcher
As you dig in at the plate.
You watch him cut his fast ball loose,
Then swing your trusty bat
And you park one in the bleachers-
Nothing’s simpler than that!
