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Ed Kranepool

October 23, 2017

Ed Kranepool

I’m just going to hang out a little with Ed Kranepool here. It’s just after 9 at night on a weekday. My kids are asleep. I worked all day, worked pretty hard, I guess, but my bike ride home lifted the work off my shoulders, and I was happy when I walked in the door and saw my family. I made dinner while my wife, exhausted from the work of dealing with two young boys all day, drew a bath for herself. Exley, my three-year-old, was really tired from getting up too early this morning, and he didn’t want to let her out of his sight. He cried inconsolably for a while. I held him and murmured to him, to no effect. My wife came out of the bathroom while the tub was filling.

“Look, I’ll be right back, Exley,” she said. She was naked. I’ve been with this woman for sixteen years now and I still want to construct a towering cathedral and spend the rest of my life kneeling inside it in a prayer of thanks every time I see her naked. Anyway, she left to submerge herself below the surface of some scalding water and away from all our needs for a few minutes, and Exley kept wailing. I finally got him to ratchet down to sob-sniffles, and then he laughed a little when I started trying to lob some little oval veggie chips up and into my mouth.

He helped me make tacos, and by helped me I mean he mangled some tomatoes, ate a few fistfuls of shredded cheese, and spilled some lettuce on the floor. I completed the tacos eventually, even though I was the only one who ate them, or, to be more accurate, shoved them in. Abby shoved down mostly lettuce and hot sauce, Exley took one bite of one taco, spilled the rest everywhere, and then began careening up and down the hall like a frat pledge at the end of a grain alcohol party, while Jack, who’s repulsed by food that’s mixed together in any way and would never eat tacos, picked a little at some plain noodles and broccoli. Why do I make tacos? Later, after dinner, or whatever you want to call our nightly collective ridicule of food-centered togetherness, I went downstairs for a while with Jack while Abby wrestled Exley into some pajamas.

“What if there’s a monster in the other room?” Jack asked.

“What if I have a bad dream tonight?” Jack asked.

“What if I’m dreaming right now?” Jack asked.

I told him some things: it’s OK to be scared of the dark. I used to be scared of the dark, I added, and then I added that, honestly, I’m still scared of the dark.

“But not here in my home,” I said. “I feel safe here.” This was mostly true, but just this morning, when I was first up with the boys and sitting at the table near our windows that look out on the street, I was visited by a horrible scenario, or revisited, I should say, as it comes to me every once in a while. I imagine a stray drive-by bullet piercing a window and killing one of my boys. We live in a neighborhood with shootings. That is to say, we live in America, where everyone is packing and either desperate or a maniac.

“It’s OK to be scared,” I told my son, “but everything is going to be OK.” I told Jack this, and then later I told it to Exley too. After my alone time with Jack, Jack goes up and reads books with Abby, and I play downstairs with Exley and then read him to sleep in the rocking chair. Tonight we played with a chess set and Exley scattered the pieces around, and then when we couldn’t find two pawns, Exley started to get upset.

“Me scared,” he said.

“Don’t worry, Sweet,” I said, using the nickname I’d given him. Actually what I most often call him is Kissy Sweet. How much longer is that going to last? He has already sternly and repeatedly instructed me to stop calling him a baby. And how much longer am I going to be able to feel his body go heavy and soft in my arms with oncoming sleep as I read about Curious George and the Man with the Yellow Hat?

Ed Kranepool, each and every one of these words is dedicated to you. Ed Kranepool, have you ever read to your children or maybe grandchildren about Curious George and the Man with the Yellow Hat and wondered, as I have after reciting so many of those stories again and again, whether the Man with the Yellow Hat has a heroin addiction? Why else, Ed Kranepool, would he continue disappearing, time and again, for wide unaccountable swaths of time while his pet monkey, clearly incapable of being left alone, wreaks havoc to such an extent as to be symbolic of havoc itself?

But I digress, Ed Kranepool, and really, Ed Kranepool, what I want to say to you because I don’t have anyone else to say it to is thanks. Thanks for that feeling of my younger boy falling asleep in my arms, and for the blue eyes of my older boy as he stares somehow both at me and through me and wonders for the first time in his life aloud if this is all a dream, and for that feeling of seeing my wife without any clothes on, and for that feeling of riding through Chicago streets and flying, almost, with the joy of exertion and release and anticipation and being alive.

What if this is all a dream, Ed Kranepool? And are you still dreaming it, Ed Kranepool? It’s a few months now since the stories came out that you were in dire need of a kidney, that you had auctioned off your World Series ring, that were on a waiting list, that time was running out. I know you felt what I felt. That connection, that bliss. I feel it, and I don’t fully know why, when I say your familiar, friendly, evaporating name.

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Rogelio Moret

October 17, 2017

Rogelio MoretBaseball cards freeze things in place. I guess I first sensed this in 1974. I was six and learning that nothing stays frozen in place. We’d moved to a new state, away from my father. I found I liked baseball cards. I liked things that stayed the same.

Rogelio Moret’s 1974 card freezes him in place at the moment when he was, in teammate Bill Lee’s eyes, “headed for the mountaintop.” He’s just 24 years old here, fresh off his first full season in the majors, in which he went 13 and 2 with a 3.12 earned run average. “Roger had the potential to be a Sandy Koufax,” Lee said. “When he threw the ball over the plate, he was unhittable.”

I never saw Moret play, so he was only a figure frozen in place on a baseball card, and then he was a name that was gone from my favorite team, and then, strangely, changed, as if not even your name can stay the same. He was somewhere else, someone else: “Roger” Moret. With the Red Sox he was Rogelio, but he was only with them through 1975. From then on, as I watched the Red Sox come close but fall short, undone by shoddy pitching, and as I sifted continually through the cards I had, including this one, Rogelio Moret was some fixed idea, frozen in time, the very element the Red Sox were missing. According to his cards, he almost always won. In fact he was the Red Sox all-time career leader in winning percentage until Pedro Martinez surpassed him. I couldn’t understand why they’d let him go.

I also didn’t know until years later what happened to him afterward, when he was on the Texas Rangers. In 1978, before a game, he froze in place in front of his locker. He was naked and holding a flip-flop in one hand. No one could talk him out of his catatonic state, which went on for 90 minutes, until the team medical staff sedated him, and he was taken to the Arlington Neuropsychiatric Center. He rejoined the team later in the year and pitched sparingly, and that was it for his time in the majors. It wasn’t the first time he’d had trouble in the blurrier world outside the clear borders of the diamond, and it wouldn’t be the last.

According a Facebook page for someone who seems to be an older version of the rail-thin young man pictured here, Rogelio Moret now lives in San Juan, Puerto Rico. He only posted twice on that page, the last time back in 2012, but I also found a photo of him on Twitter from 2015 at a ballgame in San Juan. He looked happy.

I hope he’s OK. I’ve always hoped he was OK, even as far back as 1974 when I got this card and wondered why, despite his poise, his balance, his alert focus, his shimmering, impeccable numbers, he seemed a little sad and lonely.

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Tanner Boyle

July 8, 2017

1977toppsBoyle

The Bad News Bears in Breaking Training hit theaters 40 years ago today. It was a haphazard sequel, a degradation, a mess. It was also, for me, pure joy. I wrote a whole book on it!

Because of Tanner Boyle, I’d argue that it might even have within it some lessons we could use today. For example, when everything is falling apart, what do you do?

Tanner Boyle knows. As I explain in my celebration of the film, he simply refuses to go along with the bullshit. Tanner Boyle resists.

In 1977, everything was unraveling. Families, hopes, econ­omies. What to do? Some drifted, others flailed. The over­whelmed president seemed to be aging at an alarming rate. Skylab, a dull echo of the space program’s earlier glory, circled the globe in a repetitive, empty progression toward the inevi­table disintegration of its orbit. Everyone stared at TV reruns.

Who wouldn’t capitulate if authorities in suits appeared and reported that time had run out? If they pointed to their watches and said, apologies, the game is over, please clear the field, who wouldn’t exhale and maybe grouse or grieve but then obey?

The climactic game in the exemplary film from an era of unraveling reaches this exact point. The Bad News Bears are waved off the plastic Astrodome turf by men in charge. Not all of the innings have been played, but the game was always really more of a product than a game, a Budweiser promotion jammed in the middle of a major league doubleheader, and the allotted time for this promotion has been exhausted. It is time, boys, to accept your inconsequentiality and give up and go home.

With varying intervals of hesitation, the Bears begin to comply. Toby, Jimmy, Jose, Miguel, Ahmad, Engelberg, Ronzonni. Even Kelly Leak, the previously untamable rebel, shuffles off the field to the dugout, passing the Bears’ new coach, his estranged father, Mike Leak, who argues with the umpires briefly, to no avail. Is this the beginning of the end for Kelly Leak? Will this capitulation in a time of unraveling be the first of many in a life that will in turn grow smaller and smaller as it goes on, the seeming infinity of roads once at Kelly Leak’s fingertips shrinking eventually to a repetitive strip of pavement from rental dwelling to wage-slavery and back, again and again until the final capitulation?

It might have been the end, for Kelly and for us all, if not for Tanner Boyle. The line score of the game on the giant scoreboard in centerfield has vanished. A message has ap­peared in its place thanking the Bears and their apparently victorious opponents, the Toros. The expanse of Astroturf is empty except for one small boy at shortstop.

“Hey, where’s everybody going?” Tanner Boyle yelps. Ev­eryone else has quit, but he’s holding his ground. I’ve watched The Bad News Bears in Breaking Training a lot, repeatedly, chronically. But I still get tears in my eyes when it comes to this. Is everything unraveling? Is it all over and done? Tan­ner’s piercing voice rings out in the vast sterile space of the Dome.

“We’re not finished!” he says.

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Bronson Arroyo

April 4, 2017

Bronson Arroyo

All the stars are gone but one.
Morning breaks, here comes the sun.
Through the night, now sinking fast.
Show me something built to last.
–“Built to Last,” Hunter/Garcia

Somewhere in my twenties I saw a team picture of the 1955 Brooklyn Dodgers on the wall of a bar in Brooklyn. I can’t remember where, and most likely I saw it in more than one place. It was something in the same family of wall hangings as portraits of Jesus or JFK. Here is a pinnacle, a point of beauty or truth or certainty, to hold against the tendency of everything to fall to ruin.

I wanted to someday hang a similar picture on my wall. I didn’t know what people would be in the picture but I knew what jersey they would be wearing. I doubted it could happen.

But it happened. The picture is still on my wall. It always will be. Always? What a ridiculous word. I watched from my window as the World Trade Centers fell. There’s no always. But I guess as long as I’m around and have a wall the picture will be on it.

The picture changed. It used to be about something else, and now, like everything eventually, its main subject has become time.

The players in the picture gradually passed from the present into the past. It seemed for the last couple of years as if the central figure in the team picture, figuratively if not literally (he is in the middle row but off to the left of center), David Ortiz, would be the last to pass out of the picture’s state of grace. When he retired at the end of 2016 there were no other members of the 2004 World Series champions left on any major league rosters.

But this spring the player on the upper right margin of the picture, the same player shown in this card, has made an improbable comeback. He has in essence defeated time, at least in terms of winning a battle. For the previous two years he’s been out of baseball, but he got healthy again and pitched well this spring for the Reds, and he’s scheduled to make his first start on Saturday, back in the majors.

***

It’s 11:47 a.m. on September 6, 2003. A Topps photographer snaps a shot of a 27-year-old pitcher who to that point hadn’t been able to stick in the majors. He’d spent the previous three seasons shuttling between the majors and the minors for Pittsburgh before the Pirates waived him, and he’d spent most of the 2003 season with Pawtucket, the Triple A affiliate of the team that had claimed him off waivers. In August he pitched perfect game for Pawtucket, and soon after that the Red Sox brought him up. He looks confident in this picture, as if the fleeting feeling of perfection is still lingering in his limbs.

Behind him, just above the level of his steady gaze, is the iconic white frieze of the old Yankee Stadium, one of those buildings that seem as if built to last forever. And for me it had been up to that point so continuously a place of defeat as to suggest something to outlast any building, and it was still a little over a month away from delivering its worst moment yet, when Aaron Boone would drive a ball toward the stands the young man in this card is pointing to, as if a figure of subtle prophecy in a religious painting, with his left index finger.

A little higher, just over his right shoulder, you might just barely be able to make out the two teams listed at the top of the out-of-town scores: “CHI” is facing off against “MIL.” The number of the starting pitcher for MIL is difficult to see, but it seems to end in a zero. The starting pitcher for CHI is clearer: 22.

On September 6, 2003, Mark Prior, wearing number 22, beat Matt Kinney (number 50 for MIL) to bring his record to 15 and 5 for the year. Most guys scrape their way into the majors like the player on this card, and you figure they’ll kick around for a little while and disappear, but then there’s the rare phenom like Mark Prior, who looked to be one of those guys who would be around forever.

***

Mark Prior’s fifteenth win occurred a few miles north of where I was on September 6, 2003. It featured the return to Milwaukee of Randall Simon, who in his last visit had clubbed a woman in a sausage suit. Life seemed somewhat ridiculous around then. I was five days away from spending the second anniversary of 9/11 driving an hour and a half from Racine, Wisconsin, to the suburbs of Chicago to start a job as a part-time freelance proofreader. My girlfriend and I had moved from New York City to her parents’ house in Racine a few months earlier, and had been looking for work in Chicago. I was the first one to get a bite.

Everything about the job felt temporary. I sat in a cube with no nameplate on it. I worked a day here, a day there. A week or so in I heard someone taking a new employee around from cube to cube to introduce her to the people in the cubes. They neared my cube and then passed it by, as if passing an emptiness. At lunch I’d leave the building and go sit by a manmade pond and watch some ducks and wonder what I was doing in this place where I knew no one and no one knew me.

***

“What if I could walk on air?” my son Jack said the other day.

I was walking with him and his younger brother, Exley, to the playground down the street. Here’s how I came to be walking down the street with two sons: I stuck with the proofreading job, moved with my girlfriend to Chicago, Bronson Arroyo drilled A-Rod during a game in July, a brawl ensued, the Red Sox caught fire, Bronson Arroyo got bombarded in Game 3 of the American League Championship Series, but then he helped keep the Red Sox alive in Game 5 with a perfect tenth inning of relief against three Hall of Fame caliber hitters, Jeter, A-Rod, and Sheffield, and then the following game he survived another tense inning of relief that included those same sluggers and the fiasco of A-Rod slapping a ball out of his hand. Arroyo was always somehow right in the middle of the sublime and ridiculous way in which that team, the 2004 Red Sox, changed my life, or if not my life at least my wall. Basically, I put a picture up on the wall. I married my girlfriend. The two boys came along. We go to playgrounds and talk about miracles.

“Walking on air would be great,” I replied to Jack.

When I was a kid I had dreams of walking up into the air, dreams that felt absolutely real. I’d wake up in the morning, and for a few moments I would let the brief absence of doubt, the very weight of life in the world, linger. I’d be up in the air, in a loft bed, and among the first things I would see would be my poster of David “Skywalker” Thompson, the Denver Nuggets star, seeming to have found an invisible shelf four feet above the ground. I was waking up to a life of doubt, but I believed in levitation, not in the sense of a scientist believing in empirical facts. I mean I believed the way someone does when they need to believe.

Something about the line of thinking, going in an instant from being here with my two boys to being a boy myself dreaming of walking on air like David Thompson, to being back with my boys: it brought some magic into the moment. Or more accurately it revealed the magic that’s always there. Even the earth below our feet is transient. We’re already levitating.

***

04 sox

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Harrelson, Brusstar, Luzinski

March 28, 2017

Bud Harrelson

Three cards fell to the floor the other day. My younger son was tearing open some protective plastic sheeting around them, and they’d fallen together into a group. The cards hadn’t been mine as a kid. I’d never owned any Hostess cards, for one thing, let alone the card featuring the player most likely to have enjoyed several Hostess products after a day of blasting homers and mangling fly balls, and I’d never put my cards into protective plastic sheets. My mother-in-law had found the sheets of cards at a second-hand store and gotten them for me. I looked at them in the sheets a bit, but they had to be freed from the sheets for me to really see them. The first thing I noticed was Bud Harrelson’s eyes. Really all of Bud Harrelson, his thin lips, slight frame, sparse mustache, choked-up grip, everything about him radiating the feeling that he’s just hanging on. But especially the eyes. And just beside him, Brusstar, a hardened character. And then Luzinski, young blank-eyed Hostess strongman incarnate. A scenario began to unfold in my mind, a late 1970s film about amoral desperation, one last gasp from the decade of movies about losing before the candy-colored John Hughes years began.

Excerpts from Run Down (1979)

Scene 1 (interior, motel room)

Bud
One more score and I’m out.

Woman
Baby, I don’t want you to get hurt, not now that I’ve finally got you back.

Bud
I’m telling you, this one can’t miss.

[Walks to window, stares out at traffic on the highway]

This one . . . there’s no way I can lose.

Scene 5 (exterior, downtown)

Warren walks along a sidewalk in a mostly deserted downtown. He picks up a brick and throws it through a window. He takes some records out of the window. One of them is Saturday Night Fever, which he tosses into the gutter and then spits on top of it. The rest he takes with him. A cat crosses his path and he tries to kick it but misses and stumbles, falling into a puddle, spilling the rest of the records. A sound comes out of him like that of an animal pinned in a bear trap.]

Warren Brusstar

Scene 12 (interior, Extra Innings Bar)

Warren
I suggest you shut the fuck up and get the fuck away from me, Bud.

Bud
This is a. Is that any way to? Look, I’m doing you a favor here.

Warren
You still owe me for the last fucking favor you did me.

[Both men drink, smoke. The rock song on the jukebox ends and a disco song begins.]

Warren
[roaring]
Who put on this shit?!?

Female bar patron
[reacting to music]
Whoop! Whoop! Whoop! Yeah!

[Warren stares murderously into his drink as the disco plays. Bud stares at Warren for a long time, until Warren finally looks up.]

Warren
How do you do that?

Bud
What?

Warren
Not fucking blink.

Bud
[smiling now, but only with his mouth]
Life is short, Warren. I don’t want to miss anything.

Warren
[after a long beat]
Fuck it. The fuck I care.

Bud
You won’t be sorry, Warren.

Warren
I’m always sorry.

Bud
We’re gonna win this time, Warren.

Warren
We’re still a man short.

Bud
Opportunities will arise, Warren. Opportunities will arise.

Greg Luzinski

Scene 15 (exterior, motel)

As Bud watches, smoking, from the railing outside his second story motel room, a large man on the ground level, Greg, dressed only in a small white motel towel, holds the small towel around him with one hand while pushing the buttons on a vending machine with his other hand. He waits. The vending machine does not produce any product. Greg pushes the buttons again. Scratches his head. Taps on the glass. Pounds on the glass. He moves methodically—he is not getting angry but wants what he is not getting. Finally he brings his other hand free and the towel falls to the pavement. He grabs the large machine with both hands and begins to rock it. The rocking increases until it looks as if the machine will rock forward and crush the large naked man, but instead he hefts the machine onto his back, swivels, and hurls it to the ground, where the machine bursts with a clattering of glass and crumpling metal. Coins and candy and bags of chips spill out. Greg ignores the money and picks through the broken glass and other packages for one package of Hostess Chocolate Cup Cakes, which he removes from the packaging and shoves into his mouth, one after the other as he crosses the parking lot back to his room, still naked. Camera closes in on Bud, who is smoking and watching Greg without blinking.

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Bob Bailey

March 3, 2017

bob-bailey

I hate, among other things, and in no particular order

  • Bucky Dent
  • fascism
  • football
  • America (the band, not the country, which I love and hate)
  • saying the word “poop” (the way you have to pop your lips at the beginning and the end of the nauseatingly cutesy sound; you wouldn’t think it would come up much, but with young children you’re always having to converse about the subject)
  • having a job
  • not having a job
  • the song “Life in the Fast Lane”
  • fruit (yes, all fruit; this is probably a subject needing expansion at some other time)
  • the practice in Chicago of “dibs” (when it snows more than half an inch people murder the idea of society by hauling out deck chairs to claim a public parking space for after they drive away)
  • baseball cards that show only the most recent five seasons of a player’s career

I could go on, but let’s instead talk about the last item, which reared its hideous head the other day. I was looking with my son at some 2017 Topps cards, the first I’d seen of the new season of cards. I noticed that the numbers on the back of Rick Porcello’s card literally didn’t add up. I checked another card, for Adam Wainright, and determined pretty quickly that his lifetime win total was far beyond the sum of the individual seasons shown. With this confirmation, my blood began to boil. I couldn’t believe that the worst thing I’d ever seen in baseball cards—the presentation by Fleer [ed. note: actually Donruss] in the mid-1980s of “recent major league records”—was being duplicated by Topps.

Oh how I hate those Fleer [ed. note: what can be said to be reliable with this clown’s writing if he can’t even tell Donruss from Fleer?] cards. I’ve got a few of them, and every time I make the mistake anew of looking on the back of them it’s like seeing some vision of the heart of life itself being amputated. And so when I saw it on the new cards by the company that to my certainly less than comprehensive knowledge has never made this hideous mistake before, I became enraged. You may think this is an insane notion on my part. I mean, who cares? But for me baseball cards are and have always been a way toward some completion, a way to search for stories in the numbers, to see and dream of a beginning and a middle and—though there is no end on any card, for every player in theory could have another card the next year—the intimation of an end. Truncating the span of seasons so that the beginning or even the beginning and middle drops out: it kills the card. Kills it.

Maybe another way to explain what I mean is this:

You complete me, Bob Bailey.

It was this way in 1978, when I got this card, and it’s still this way. I’ve always been incomplete and always will be incomplete. When I was ten years old, I couldn’t put any words to what this incompleteness compelled me toward, but surely, Bob Bailey, when I found you in a pack I was drawn in by the color and the familiarity, a player on my favorite team, always the best find in any pack, and also drawn by the jarring unreality of the doctored helmet and uniform, the hardened, sardonic face, the cartoonishly alliterative name, but while the front of the card made the first contact with the wanting incompleteness that was my self, the back of the card was what drew me in.

Bob Bailey was a veteran, and so the most important word on the back of his card—the word “COMPLETE” in “COMPLETE MAJOR LEAGUE BATTING RECORD”—allowed for an impressive sprawl of numbers stretching far back before I was born, all the way to 1962, before my mother had even met my father. That year Bob Bailey, age 19, managed just 7 hits in 42 at bats for an average of .167. Bookending that first line on the card was the last line, his season statistics for the 1977 Red Sox, and these numbers were even more anemic, the closest you could get to nothing without being nothing: 2 at bats, 0 hits. In between the intimations of the nothingness from which we come and into which we go, there was an estimable swell of competence, if not excellence, Bob Bailey logging many years with solid numbers. He was never a superstar but was a regular in the major leagues, and a good one. What more could you ask for? What better story could there be than rising from nothing to that?

If this card came out in 2017 it would leave out the beginning and middle. You’d only have the end. As for his actual end, it came the following season. He had his last at-bat, as a pinch-hitter, in the one game playoff against the Yankees, the first batter Goose Gossage faced. He hadn’t had a hit in weeks, and he was facing mustachioed death incarnate. He struck out looking. He had no chance. A thought occurred to me that day and it’s never really left: I’ll never be complete. I’ll always need to imagine completeness. I’ll never be complete.

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Ken Boswell

February 16, 2017

ken-boswell

Ken Boswell was for some reason sent out to his photo shoot for the 1976 Topps set in a generic orange helmet. I don’t recall ever seeing this on any other baseball card that came to me back in those days. The Astros’ regular batting helmet had a white H on top of a black star. Where did this plain orange helmet come from? Why was Ken Boswell wearing it?

On the back of the card you can see Ken Boswell’s lifetime numbers, which are unremarkable, but at the bottom of them there’s a note: “Ken has a .667 average in World Series play. Had 3 pinch-hits in 1973 Classic to tie all-time mark.”  The note in relation to the career numbers is something of a negative image of the front of the card, a dash of miraculous color in an otherwise mundane expanse.

The absence of a signifier on the crown of the helmet on the front of the card is so odd that it opens up a door in my mind. My memory of those days has been so trampled by all my attempts to remember, to put it all down in words, that it’s now unusual for me to have a vivid sense memory from my childhood. But this batting helmet is bringing back the batting helmets we had in little league. They were much like the helmet shown here but were dark blue. They had thick padding on the inside. Unlike this helmet, there were ear coverings for both ears. This is what I’m remembering now, the feel of the helmet as I pulled it onto my head, over my ears. There were a few different helmets in the dugout, some larger than others, and so the best part of the experience was finding one that fit snugly over my head. No, wait, that was not the best part. The best part was why I was putting the helmet on my head. It was happening soon: my turn.

I moved out of the dugout with that helmet on and stood behind the chain link fence next to the dugout. Now I was on deck. I picked up a bat and held it, tapped it against the brim of the helmet, took a few swings, watched the pitcher, the batter. When it was my turn I walked toward the plate. I felt excited, a little nervous, protected. My turn!

Ken Boswell had his turn. The note on the back of his card doesn’t mention the World Series teams for which he came through when it mattered most, but of course he was part of both the Miracle Mets of 1969 and the “Ya Gotta Believe” Mets of 1973. Those days are behind him in this photo, but he looks here like he doesn’t so much mind that things come and go.

I sat with my son tonight and told him about “yoiks and away,” the scene in the Daffy Duck cartoon in which Daffy, in Robin Hood mode, keeps trying to swing himself heroically through the forest on a rope and keeps slamming into a tree. That one killed my brother and me. We laughed until tears came out of our eyes. And as I acted it out for my son I got him laughing too. Then he started acting it out.

“Yikes and away—slam!” he said.

“Yoiks,” I said.

“Yoiks?”

How can I ever complain? I love my boys so much and I get to come home every day from work and see them, a five year old and a two year old. When I walk through the door both of them squeal. It won’t always be this way. Life will go on into ever stranger vanishings. But this is my turn. This is my miracle.