Arnold Hano Quotes

The huge church is burrowed into ancient mountains. By elevator you rise up through the mountain to the foot of a giant cross that soars nearly 500 feet into an intense blue sky, its arms spreading 300 feet. The four Evangelists who crouched at the base are 28 feet high, carved out of stone. All Spain comes to the Valley of the Fallen for its moment of meditation. It is a wondrous work, but it never lets you forget that it marks one of man's most ghastly works—war. But war—like all pain—is soon forgotten. New generations are born. And in you see families together, voluble, chattering, touching each other, husbands, wives, children. They smile at each other, and at you. And you smile back. For that is the true Madrid. It embraces you. It loves you. Soon, you love it back.

One day I saw the combative Giants shortstop Billy Jurges confront umpire George Magerkurth, on a call Jurges violently objected to, the two men standing jaw to jaw, raging invective at each other. A faint spray of saliva emitted from Magerkurth's mouth; Jurges stepped back and uncorked his own oyster of spittle, right in the umpire's face. Magerkurth slugged Jurges, who slugged him back, and the two men rolled on the infield grass, clawing at each other until they were pried apart. Jurges, of course, was tossed out of the game and suspended for a spell, his place at shortstop taken over by the mild-mannered prematurely gray utility infielder, Lou Chiozza. The very next day, Chiozza ran out to short left field, chasing a pop fly, while in rushed Joe Moore, from his left field post. The result was a noisy collision, which sent Chiozza to the hospital, marking the first and only time one player's spittle had broken another player's leg.

When you think of natural ballplayers, only two come into mind, Babe Ruth and Willie Mays.

Nobody ever wrote so well so fast as Jim. One year he wrote, and we published, nine novels. It was an obsession. Back in 1941, his father had been in an asylum in Oklahoma City, begging Jim to get him out. Jim needed money to get him out, so he said to his father, "Give me a month, and I'll raise the money." His father brightened, because Jim never went back on his word. Jim took a bus to New York City and went door to door to the publishing houses, asking for money for a hotel room, a rented typewriter and meals so he could write a novel. Finally, at Modern Age, they took a chance, and in 10 days he wrote a novel. But things being what they are in publishing, it was a month plus one day before Jim got his advance. The same day, a telegram arrived. His father had committed suicide, ripping the excelsior out of his mattress and stuffing it down his throat. When Jim would drink he would sometimes cry and say, "Why couldn't he have waited another day? Didn't he trust me?"

McGraw was an improviser, a teacher. He brought much to the game that keeps baseball fresh and suspenseful today—the hit-and-run play, the steal, the squeeze play, the uses of the bunt and the defenses against it. He helped turn the game into a thing of fluid beauty, infielders charging the plate or roaming far from their bases, outfielders moving with each pitch, racing in for base hits before them, backing each other in the outfield, entering the infield itself on rundown plays. Yet when the game changed radically, with the introduction of the livelier baseball, McGraw naturally shifted to a power emphasis, founding his team about such men as George Kelly, Bill Terry, Mel Ott. He knew, too, that the old pitching style of permitting a man to hit a deadened ball because it would then be caught in the big fields had to be changed, and his staffs led the league year after year in strikeouts, in earned-runs.

Jim was a big sheepdog of a man, 6-feet-4, 250 pounds, softhearted, soft-spoken. I never heard him use a dirty word; I never heard him tell a salacious story. Yet his novels are full of such words and stories; he seemed to have a need to dig deeply into the dark depraved nature of man. Nobody did it better. But then, anything he did, he did better. Two years ago, crippled by strokes, he appeared in a film, "Farewell, My Lovely," playing the cuckolded judge. When his wife in the film, played by Charlotte Rampling, carries on with Robert Mitchum in front of him, there is a look on his face that is part bewilderment, part despair and all forgiveness. He was that way, turning up the dark corners of the soul with love and forgiveness.

"It was not always so," he said slowly. "When I was a boy—stealing horses was not a crime. It was the way of a brave man, a warrior. Horses then served the purposes of the tribe." He could tell them more, but what he could tell them would perhaps disgust them, confuse them. He had told them enough. Tomacito could have told how Indian tribes rode horses, and when the horses grew old and useless, or when the tribe grew desperate for hunger or for shelter, they drank their horses' blood, stripped their hides for teepees, ate the flesh. Cruel, yes, but necessary. They bought horses, traded for horses, and if they had to—and often they had to—they stole horses. The Spaniards came, and then the white man, and they had horses, and the Indians had none, in the beginning. The white man and the Spaniard, on horses, chased the Indian from his own land. The Indians, on foot, were easy to chase, to hunt down, and kill. With horses, the Indians could stand and fight and die, or run and hide and live a little longer. It was an unfair fight from the start, even with horses, but without horses, it wasn't a fight at all. It was a massacre.

He wanted to win so badly it killed him. But before it killed him, it elevated the game of baseball, at the Polo Grounds, to a grim spectacle of play-war. The analogy fits McGraw. He reminds you more of a battlefield general than he does a sportsman, and if he reminds you of a general, it would be a man who combined the fury of a Patton and the spectacular, yet knowledgeable, flair of MacArthur. Perhaps this desire to win occasionally overflowed its normal limits and became an obsession; perhaps the grimness darkened the sport at times. This was his weakness, for McGraw was not infallible; McGraw was not perfect. Perfection is lifeless, mechanical, uncaring. McGraw was never uncaring. If he was anything, he was a man who cared.

He had made one of the greatest catches in Polo Grounds history; he had played third base as no Giant before or since ever played it; he was a slashing hitter and a scientific hitter; he played baseball with courage and spirit. Yet, somehow, failure hovered about him; a pebble in a base line is remembered more than his 24-game hitting streak; his feud with McGraw is recalled more vividly than his 4 hits in a single game against Walter Johnson or the three times he made three hits in a single game all the same season. His spat with Hornsby and his disagreement with Terry come more quickly to mind than those five years he tore pitchers apart; more quickly to mind than the years he hit .358 and .379. It ought not to be that way. Two pebbles in a base line can cause a team to lose a World Series, but they can't wipe out the dazzling years, the .311 lifetime average. Two pebbles ought not persuade baseball men to say Devlin or Groh or Herzog, but somehow they do. So we put Lindstrom here, on this greatest Giant team, and we put the pebbles back where they belong—as part of a rocky past that littered his way, but in no way diminished the greatness of Fred Lindstrom.

Jim Thompson. Dead 14 years next month. The Academy Awards are upon us, and as I write this, I do not know what's been nominated for what. But I have a hunch this is the year of Thompson. I believe somebody famous will stand there to thank God and Swifty Lazar, if you can tell the difference, and then with a stifled sob, add a special thanks to Jim Thompson. And people will stand and cheer his name. I only hope Alberta is right, and that Jimmy hears the applause. But I doubt it. Jim Thompson stories seldom have happy endings.

He reacts to many things bitterly, this pleasant, smiling young man, who is 32 years old, married now, with two sons, a sports hero here and back home in Puerto Rico. Clemente reacts to things bitterly because he is an honest man, and a feeling one. Baseball has become a game of automatons performing in mechanical ways. Scoreboards now tell you when to cheer. The words "Go-go-go" light up, and you obediently recite, "Go-go-go." A bugle sounds, and reflexively you murmur, "Charge!" Roberto Clemente is a throwback, as are many of his Latin cohorts—which means he has his flaws. Anger can twist him almost helpless with rage. But it has also made him not only a leader of men—automatons are poor leaders—but also a spokesman for his people. He spoke out, during 1966, in an Associated Press dispatch of August 23...

Click. The spare camera was now focussed and working. The lead mare—Barb Nose's—saw the drop. She cut her stride and wheeled and ran along the dangerous edge. Barb Nose ran in the vanguard, protecting the rear, driving the foals ahead of him. Blaze Face had long since cut and run, taking his beaten stallion flesh off to be nursed, to wait for another day, another elder to challenge. The other mares expertly and instinctively followed the leader as she rimmed the mesa, heading for the foothills of the El Gatos. One foal, too, made the cut, on stick-like legs, frightened but blindly following. The second foal had truly been blinded by panic. He strode to the drop-off and never stopped. He was a wild horse, and he had to run, and now he would run free forever. Plunging headlong over the drop, body whirling, his legs still flailing, as he fell through the desert air and past the serrated rock walls of the mesa, he knew nothing of time. He knew nothing of the eons that had gone before him, building this mesa of bluff and sandstone and archean rock. He fell through layers of time, to timelessness, a living thing for so little time. Once a living work of art, now a broken artifact. One foal. Dead. Murdered by man. Murdered by time. The drumbeat of the earth was lessened by one horse's tiny hooves. And all of us were lessened by this new silence. Click.

So we went to see Babe Ruth pitch the last game of the 1933 season. The Senators had already clinched the pennant, the Giants had clinched in the other league, so this was just a nothing game. I thought maybe he’d make an appearance, pitch an inning or two or three – he pitched a complete game. He hadn’t pitched a complete game since 1930, and then he pitched a complete game. And before that he had pitched two four-inning stints for the Yankees, so he pitched four times. So he pitched a complete game, he gave up twelve hits, it was not a great pitching performance, but the Yankees won, 7-5. He didn’t strike out a soul. Years later I saw him on Broadway. I went up to him and said, “Hi, Babe.” He said, “Hi, kid.” That’s the way he treated everybody. I said, “You know, I saw you pitch your last game at the Stadium.” This was maybe eight years later or so. I said, “How come you didn’t strike out anybody?” And he said, “I wanted those other eight guys to earn their money!” And that was Ruth.

He's not really a difficult interview. You just have to catch the essence and rhythm of what he's saying. I'd ask him how baseball has changed over the past 25 years and he'd start telling me about his life as a dental student in Kansas City.

Nor was my attendance at the Polo Grounds limited to baseball games. I sat in the lower left field stands to watch the championship professional football game between the undefeated Chicago Bears led by Bronc Nagurski and the New York Giants. Because the field was so icy slick—the temperature dipped to four degrees above zero that Sunday afternoon—the Giants' owner Wellington Mara had a minion at halftime break into Manhattan College's gymnasium and steal the school's basketball sneakers. Clad in sneakers and suddenly able to keep from sliding all over the joint, the Giants turned a 13-3 deficit into a 30-13 victory. All this despite an advisory to his teammates from a former Chicago linebacker named George Halas, "Step on their toes! Step on their toes!"