Arnold Hano Quotes

The impregnability of his stonewall defense rested on his ability to reach the ball, and then throw it. Now he could move less well; now he was not coming up with the ball with that "perfect technique" Eddie Brannick had once admired, his body beautifully balanced, the ball directly in front of him. Now it was a movement full of desperate lunges. Fortunately he had his great arm, so even off-balance, he was throwing out runners, and each time he'd throw—though it had happened hundreds of prior times—the fans at the Polo Grounds, or elsewhere around the league, would gasp at the low blur that streaked across the diamond, dead on target. But he had more than a powerful arm. He had courage. And on he played, in pain and out.

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.

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?"

He always threw to the right base. We say that about most outfielders. Ruth always threw to the right base. DiMaggio always threw to the right base. The others maybe did, maybe didn’t. Mays most of the time threw to the right base, but Ruth always threw to the right base.

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.

You have seen bigger horses than his thirteen and a half, perhaps fourteen hands, his nine hundred pounds. You have seen handsomer profiles than this Roman nose, slightly convex. Burrs cling to his long sweeping tail. His coat is dark and unglossed. Yet look again, while he is still, for he will not be still long. Sense the vitality in those muscles, trembling beneath the skin; see the pride in that high head, hear the haughty command to his voice. For this is a wild horse, my friend. Once he claimed the western range. Then they took his range away from him. But nothing, no one claims him. He feels the wind and the air with his nose, with his ears, with his very soul, and what he feels is good. He tosses his head, once, quickly, and behind him his harem of six mares trot up to join him, and behind them, a yearling colt, a filly and two stork-legged foals. Coats dusty and chewed, tails spiked with bits of the desert, sage and nettle and leftover pine needles from winter climbs down from timberland. The Barb-nosed stallion led his family down to the waterhole. Not Barb from barbed wire, though perhaps the chewed skin was from barbed wire, but Barb from the Spanish horses from which he descended, brought to the New World over four hundred years ago, from the Barbary states of North Africa, Tunisia, Morocco, Algeria, Fez, Tripoli. Indians stole them from the Spaniards; the Barbs stole themselves free from the Indians. Running wild, a few still run free.

Mantle played ball almost under a shroud of depression, because he always thought he was going to die an early death. But Mays probably thinks he's going to live forever. Mantle acted like a man who was doomed. Mays never did, even though he played long beyond his ability. I talked to Willie after the 1973 World Series, in which he looked terrible. I said, "What were you doing out there, Willie?" "Oh, I was having fun!" he told me. Mantle never had fun. Mays, on the other hand, seemed to be inoculated from all the pressure. He simply went beyond the usual frames of reference. If I were writing this, I'd say that he went beyond the usual frames of reverence. That's the way we all felt, and I think it was true for not only the press, but also for managers and other players. And this bled into the other pages of the newspaper.

Nolan Ryan is simply a flame-thrower. They call him The Express. Get it? Ryan's Express. Harmon Killebrew says if he ever gets hit by Ryan's express, he'll have the pitcher arrested for manslaughter. Oakland slugger Reggie Jackson says Ryan is the only pitcher he's afraid of, down-deep-in-the-guts afraid of. "If a pitch ever gets away from him, he will kill someone." Nolan Ryan pitches for the California Angels, in Anaheim, which you also wouldn't confuse with New York. Thus, few people really know what an exciting young man this is, perhaps the most exciting single performer in baseball today. Yes, I've heard of Hank Aaron. For years I beat the drums, by myself, for Roberto Clemente. I like the cool gall of Vida Blue, the hot moxie of Pete Rose. They all excite me. But not down deep in the guts, the way this kid does. He excites me. He frightens me. He puts me on that double-pronged fork of attraction and revulsion. When you watch Nolan Ryan rear and throw that screaming blur of white toward the plate, you don't know whether to watch or cover your eyes. Will he strike out the hitter, or will he strike him dead?

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.

Finally Jones came in with a blinding fastball, the way Sad Sam used to throw ’em, and Clemente unloaded. The wind was blowing in from left field that day, and blowing hard. This was 1960, remember, before the fences had been moved in, and nobody was hitting home runs at Candlestick. Not Mays, not Cepeda, not anybody. Clemente’s bat hit the ball, and the result absolutely clubbed the crowd into awed silence for a long moment. Right into that wet whipping wind the ball carried. Right on through, hit 120 feet high in a long soaring majestic parabola that came down finally over 450 feet away. There is just no way of telling how far Clemente’s home run blast would have traveled had it not been for that wind. Suffice it to say partisan Giant fans suddenly broke their shell-shocked silence and let loose a gagantic roar. For two innings the stadium buzzed. For days the Giants talked about it. Even today if you slip up behind a Giant pitcher and suddenly whisper in his ear: ‘Remember the home run Clemente hit?’ he’s likely to jump as high as if he’d been caught putting spit on baseballs.

On the last Sunday in September in smoggy Los Angeles, announcer Vin Scully riffed through some notes as Willie McCovey came to bat for the last time that season before the Chavez Ravine folks. "Let's see," said Scully, "no home runs since September 11. . . .Well, it's been a long season. McCovey's got to be tired. Big as he is, he's probably worn out." So Scully was looking down at his papers when he heard the familiar crack. Worn-out Willie had just driven the ball over the right field fence, over the bullpen, and into Glendale. Scully did not see the pitch McCovey hit. It had been a palm ball lobbed up by Pete Mikkelson, the kind of pitch that floats up like a dead flounder, and usually goes about as far as dead flounders fly when you hit one. If you hit one. This one traveled a couple of miles or more, and Willie McCovey had home run number 45, to break his tie with Hank Aaron and win for McCovey his second consecutive National League home-run title.

I’m the luckiest fan in the history of the world. When I was a copy boy at the Daily News, I was sitting in the Ebbets Field press box when that ball got away from Mickey Owen. I won a limerick contest and I sat in right field and watched pitch his perfect game. Now, I had to be smart to write the limerick, but Larsen had been bombed in the previous outing in that Series, he could’ve been bombed again. It could’ve been an 11–9 ballgame.

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.

A myth has it that in the Texas League some years back, Billy Williams hit a line drive so hard it broke the leg of a rival first baseman. The myth is total nonsense. Williams actually hit a one-bounce ground shot that broke the leg of a rival second baseman. When Billy Williams sets the record straight, he laughs, and tiny white lights glitter in his black eyes, like the tips of icepicks. You know," he says, "nobody likes to hurt anybody. But you have to think I hit that ball pretty good." This is the Billy Williams laugh. It is not a friendly laugh. It is the laugh of an arrogant hitter. Stan Musial used to giggle that way, and no one would confuse it with a girlish giggle. Ted Williams used to grin that way when he talked about hitting. Not a friendly grin; a wicked grin. That is Billy Williams' laugh. It is probably the way the legendary Billy the Kid laughed before he killed a man. Cold as the tip of an icepick. Not that Billy Williams is not a friendly man. He is. Very. He is one of the nicest guys in baseball. But he knows how to separate the two—nice guy, big league hitter.

When he died, he held fourteen baseball records, a little man with a bashful smile, a silken swing, baseball's legendary nice guy. His death was the worst that could have happened to baseball, but his playing career had been the best.