cold takes

untimely baseball shortform

The Ice Cream Man


The familiar mechanical jingle filled the park, and soon children were running, some with money and some with hope, to its source: the ice cream truck. They crowded each other, stared at faded photographs of colorful popsicles and chocolate-dipped cones, envisioned them on their tongues.

“This truck is empty,” the ice cream man told the children. He was plain, softspoken, not unkind. “There has never been any ice cream.”

The children snarled, waiting for the lie to surface.

“This is important,” the man said, growing a little flustered. “There cannot be ice cream. If there were, you would eat it and forget.” Seeing the faces of the children, he stepped out of the truck, and walked toward the back, the children following him like hungry dogs sweating under the sun. “Here,” he said, and flung open the doors. The children whimpered and cursed.

“You must learn to make your own ice cream,” he told them, though they were no longer listening. “It would taste better than mine. But,” he added, though the children were already milling, wandering, teasing each other for the unhappiness, “There is more than that. You must learn to stop making ice cream, and drive empty trucks. You must teach other children, teach them not to make ice cream.”

Not one child paid attention, but the man did not care. The word must was not an imperative, but a fact: it would happen, would always happen. He would leave the empty truck for his own son when he died, and someday the boy would know what to do, be driven to share his own emptiness. It was important. It had to be, because it was true.



I step out of the office into the family room. Years ago, when we had bought the house, these rooms were unfinished: concrete floors, with rough wooden panels mysteriously fastened halfway up the walls. We attacked those rooms with vigor, with all our poverty and time, took the emptiness and made fullness from it. Baseboard, drywall, carpet, furniture, television, plastic toys that sang mechanical songs unbidden.

You are asleep, burrowed into the corner of the couch, half-draped with a pastel-colored fleece blanket, bright even in the dim periwinkle of the frozen television screen. I am tired, I am waiting for the work to be done so that I can do my work. The baby monitor blinks one green dot from beside you: all systems nominal, for now. And still. And still.

I look at you for a moment, your large lidded eyes, lips pulled a little tight. Your hair is probably dirty; you’re always saying that it’s dirty. I can never tell. It’s just your hair, black, waving downward like a disappointed sigh. We are old, but I am too tired to notice our age. We are symbols now.

You hate when I look at you, so I do it carefully. Mostly I look at your back, when you’re cutting cucumbers that I forget to take with me to work, or picking up plastic ponies off the floor, or reading news. Now, I have a little time; you will not wake up. It’s a motionless sleep, a deadweight sleep. I like it when you’re asleep because then I know you’re okay.

I go back into the office to finish the work, crop images and add HTML tags to code, creating without creativity. I don’t know how long it take, just that I am more tired afterward than I was before.

I come back out to the family room with nothing to say, nothing to add to you. I want to wake you, and wait, and wake you again, and tell you that I love you and watch you frown and ask me why. I hate that you always do but I want to anyway. It is our family room. But the couch is empty.

The Hospital


Dear Sylvie,

Last night I had a dream. We were at the hospital: you, me, your mother and brother. I don’t know why we were there. For a friend, maybe: someone giving birth, a happy thing. No one seemed to be upset. But it was something, because you began to show signs of an allergic reaction, hives on your legs and feet, and your mother had to stay, nurse Felix and take care of whoever it was. She sent me with you, to go ahead, go to the front desk and get checked in. She would catch up. So we did.

You didn’t say much, uncharacteristically; you just held my hand as we started walking through lobbies and hallways, in and out of buildings, searching for signs. It was a very large hospital, and unfamiliar, and I realized that I couldn’t find anyone to ask for directions. We just walked along in sunlit, silent corridors, craning necks around corners.

This is what I always think of when I dream of hospitals, I guess. We don’t go to them often; the occasional checkup or shot for you or your brother, an odd ear infection. Your first allergic reaction. In real life they’re mostly waiting rooms, good memories, stickers and antibacterial handwashes. Once as we waited I walked you around the lobbies, chatting at the old women slumped in chairs, naming all the fish in the seawater tanks. But in my dreams, this is where my mind goes: to hospitals without people, of buildings so empty they no longer seem manmade. They have a silence that could even make you silent, as you walked with me.

We never found the front desk. I didn’t look down at you, but as we walked you were getting sicker, coughing more. I should have felt panic, but it was not that kind of dream. As the dreamer, I was not trying to make myself scared, just lost. I am terrible at dreaming because I am terrible at visualization; I do not look at anything, only think about things. Besides, it was all wrong. I am the one who will get sick, I am the one who will someday be at this hospital, dying out of sight. Thus the dream did not end, because I could not imagine it.

The Story of Spider-Man, As Narrated to Me by a Seven Year Old Boy

Chapter One.

Spider-Man jumped from building to building.
He fought a bad guy.
He won and the battle was over.

Chapter Two.

Spider-Man fought another bad guy.

Chapter Three.

Spider-Man thought he heard something, so he used his

Chapter Four.

spider senses. But he didn’t hear anything.


One Day There’s Baseball

img_1691One day there’s baseball
So much of it. So many stories
So many things you have to care about
Numbers and names
That represent
Other numbers and names
Each day an elimination game
Each game a portent
Each action a lesson learned
The sun beating down on plastic chairs
Boiling ten-dollar beers
And men shouting for everything
And the baby starts to cry
Rubbing the dome of her head
Against week-old whiskers

One day there’s baseball
And the next day it’s dark
And your daughter has learned
What Almond Joys are
The purple glitter shaken
From the used Halloween costume
Settling into skin and lungs
Cartoon soundtracks
So loud you may as well be writing them
And the world is too cold outside
And the world falls apart
And the lines on the pavement
(Icy enough to force you to walk
Carefully, slowly, like an old man)
Count off quarter-seconds of winter

A Reminder


Occasionally, as I’m combing through the bookmarks on my browser, looking for nothing, looking for something I haven’t clicked on in a while, hoping something has changed, which means I will have changed: occasionally, I will click on a link called “Millions.”

This is the link.

I have no context for it. I was given the link by Jason Wojciechowski, for reasons I don’t recall. I have avoided learning what The Millions is, or what they are all talking about in this particular webpage: I do not know the book, or the author, or the subject. I don’t want to know; it’s not important. I click on the link, and read the following passage:

“When the men with bluish rifles line up along the illuminated railing of the Ozark Bridge, do not marvel at how the bridge’s support cables resemble your own ribcage.”

I read this the way that sometimes, when I am at home and have done something stupid and unfatherly like leave the front door unlocked or forget to add something to the calendar, I will move into an empty room and punch myself once, in the shoulder. I read it when I have been writing too much and reading too little. It is so easy to write poorly, and I am so tired. I can rest a little, then a little more.

Another quote, this time by Reggie Jackson:

“When you take a pitch and line it somewhere, it’s like you’ve thought of something and put it with beautiful clarity.”

Baseball has been made into everything; that’s one of its virtues, to serve as the template for every possible idea or argument. There are few instances of sport that match the hitting of a baseball in this regard, however, with its indelible fortepiano. That knowledge, almost instantaneous but never quite, that you have got something, created something unique and thrilling. If I were a baseball player, if I were Reggie Jackson, I would never quit, I think to myself. I would keep trying for one last liner. I’d never grow tired.

That’s what the first quote is for: like pinching an earlobe on the fourth hour driving, something to wake you up and hurt you just barely. To try something fucking amazing. Last night before bed I read a short summary of the Allegory of the Cave, maybe for the hundredth time. The old idea that there is something greater out there, that our own existence is gray-scale, shadowy.  That there is a wisdom if we want it.

It’s paternalistic bullshit to me, mostly the idea that there is One Wisdom to have, the typical defensive philosophical stance. But it’s undeniable to look at this metaphor as a writer, to consider writing without the silken cords of our own patterns, our own cliches, our comfortable single-camera lives. The identity we forge in our own borders, the communication with readers and friends who know us, who expect from us.

So, to myself, when I click on this later: close your eyes. Forget the shadows, forget the light behind you. Forget the drive to work, the podcasts, the basic structure of the English language. Find atoms where there are objects, stories where there are silences, rib cages where there are bridges, mistakes where there is safety. Risk being alone in your words, risk not even being able to find yourself in them. Wake up. Go.

The H Word


Dear Sylvie,

You started using the word Friday night, testing the taste of it like a fine wine. At first it was snakes. “I hate snakes,” you said. There were no snakes present. “I hate snakes. I hate snakes,” you added, your tone no more vexed than normal.

“Why do you hate snakes?” I asked you.

“I hate them,” you said, smiling.

Disaster loomed.


You start preschool in two days. Today was the open house. We went to meet your teachers, to play with the other children, but mostly to remind you that this was where you would spend nearly every weekday morning for the next two years, to remind us that you’re growing up. The other children hid behind pant legs and spoke in whispers. You bounded in, found your teacher, and introduced her to the baby burrowing his way sleepily into the crook of my neck. You picked up scissors and cut paper circles into pieces for nothing other than the feel of it. You smiled and charged your way through the room, taking in everything, manipulating everything, fearless.

It’s strange having an extrovert for a daughter, watching you work the crowd while I, holding Felix like a shield, hovered quietly at the perimeter. This is a good thing, I recognize: you’re confident, you enjoy other people and you know how to interact with them. Yes, there’s the nebulous future of strangers and boyfriends. But it’s not that. You know what to say to people in a way I never do, and that, more than anything, is terrifying.


We took you to the science center on Saturday, mostly to let you play, but also to take photographs at one of the few remaining photo booths in the city. That’s part of your care package: indestructible snacks, changes of clothing, a space blanket, and a care photo and letter from us in case something unimaginable happens. It was a tight fit getting all four of us in there; Felix grabbed your hair at one point, and it was a strain just to keep all four of our heads in frame. We managed, barely.

You gasped at the animatronic dinosaurs, cooed at the butterflies and reeled back from them if they got too close. You looked at bugs and lizards and snakes (for which you were too excited to recall your newfound animosity), but refused to touch the starfish in the tide pool even when I put my own hand on them. “It just feels like a rock,” I told you, as if this were somehow incentive. Instead you asked a random nearby woman to touch it as well. She did, and asked if you would too. You said no.

Then, it was time to go home; Felix was tired, it was afternoon and we hadn’t eaten. I asked you to come and you ignored me, fixedly examining a plastic dinosaur skeleton. I came over and gave you a hug, but you pushed me away. And you said it.

“I hate you, daddy.”

It hurts more to type it now, honestly; now, I combine it with every time you will say it to me in your life. What I did at the moment: I backed away, because I knew I had to. I wasn’t angry, or even very sad. Instead I sat on a nearby bench, staring at my feet like a community theater actor, waiting, trying to look sad. Your mother spoke to you for a few minutes, and finally, begrudgingly, you came over and apologized.

But why wouldn’t you say it? There are so many rules. Wash your hands before dinner, go potty before leaving the house, be quiet while Felix is sleeping, leave when your parents say so. You have so little control over your life, have to take so many things like germs and stains and the benefits of napping on poorly-translated faith. And now you have this one weapon, this one source of power.


You’re three. Everything resets. You’ve never been hurt more than an ice pack or a television show can make you forget; when you talk back or fight, and you lose one of your three books at bedtime, the inevitable tears:

“I want three books!”

“But you have to have good behavior to get three books. If you’re mean, you lose a book.”

“I’m not going to be mean!”

The original crime is already relegated. And in a way, this is the desired outcome: we want you to feel safe, we want you to be able to take risks and talk to teachers and enjoy what you want to enjoy. This is just the price of it, a far better price than the alternative, mistrust and fear.


You stopped hating me. Well, first you fell asleep in the car, woke up in time to sit in the grocery cart, ask for your cereal bar and to be able to run through the frozen aisles, find your footing in old routines. That night, as we sat on the couch watching a show, you tested it again, carefully.

“I don’t like you very much, daddy.”

“Oh,” I said, careful not to overreact. “I’m sorry. I guess I’ll go do something over here, then.”

I stood up, and you quickly cried. “No, daddy! Don’t go.”

“But I thought you said you didn’t like me.”

“No, I do. I do like you,” you countered, as if I were making it up.

“Oh, okay. I love you, Sylvie,” I said, and kissed her on the forehead.

“I love you too, dad.” We went back to watching TV.

On Clapter

Mar 6, 2016; Kissimmee, FL, USA; Houston Astros mascot Orbit works the crowd during a spring training baseball game against the Toronto Blue Jays at Osceola County Stadium. The Astros won 7-1. Mandatory Credit: Reinhold Matay-USA TODAY Sports

A passage I read the other night:

What has bothered me most for the last few years is that kind of lazy, political comedy, very safe but always pretending to be brave, that usually gets what my colleague Seth Meyers calls “clapter.” Clapter is that earnest applause, with a few “whoops” thrown in, that lets you know the audience agrees with you, but what you just said wasn’t funny enough to actually make them laugh. … As far as writing goes, the only important thing is that it’s funny, and that it’s an original comment. That the audience agrees with me isn’t necessary and probably isn’t even a good thing. It’s so easy to coast by, just hitting the same familiar notes you know are popular and have been pre-tested for effectiveness. The audience will always at least applaud, so you never have to risk silence.”  (James Downey, in an interview with Mike Sacks, Poking a Dead Frog, 2014.)

My wife always wonders why I care whether people read my stuff. I always struggle to come up with a decent answer. This conversation usually begins after I display some signal that some latest piece didn’t find its audience, failed to resonate, as I perform the marital dance of hiding my immaturity. The self-absorption isn’t flattering, but more than anything else she just doesn’t get it -€” she doesn’t need validation from anyone about anything. She’s a strong person who gets things done, and if no one notices her do it, all the better. Her logic: if I made something and it’s good, isn’t that enough?

I try to explain that comedy doesn’t work that way, even the loose version of it that qualifies as baseball writing. Sure, if you’re working through feelings or developing an intricate philosophical system, you can write for yourself, insulated from the world, but when you write jokes you need someone around to laugh. You don’t need them to praise you or feel good about the joke; it just doesn’t exist without them. Humor is about making connections: between concepts, between people. It doesn’t work solo.

The people are the problem. Audiences are difficult things; they have their own perspectives, their own individual desires. Most of all, the system of writing and comedy doesn’t particularly reward challenging people. Good writing forces people to test new ideas, pushes them out of their patterns and their comfort zones. Sometimes it offends, sometimes it confuses, sometimes it just deceives. But it always makes them work. And a lot of people don’t particularly want to work, especially in their leisure reading; the sense of camaraderie that baseball instills is usually enough. There’s no thought required to cheer, or to wordlessly just feel. And so, systemically, the writing that allows people to clap, rather than laugh, is always going to be the safest, most popular work.

I like writing for the internet: the contact between writer and reader is so clean, so quick, so honest. The thrill of writing for me is in its alchemy: you take random ideas, even sometimes just words that seem to conflict, and you throw them in a pot and see what comes out. You never really know until it’s done, even if you think you do, and it’s exciting. But the other part, the meeting the reader halfway, knowing where they come from and getting them to empathize with you and understand your thought process and find something interesting and useful in it: that’s its own roll of the dice. When you succeed, it’s brilliant — and when you don’t, you get silence.

There’s a place for clapter. There’s a sense of belonging, perhaps, a shared rosary. I don’t want to deny that. It allows us to feel active in our participation in something larger than ourselves, the way all sports do. But it can also be exclusionary, political, negative. Sports breeds its own peculiar, shitty nationalism, against people who wear different-colored hats, who use different statistics. Affirmations become cliches, then become commandments. Relaxing becomes living thoughtlessly. It’s the comfort food of writing and reading, the macaroni and cheese that reminds you of childhood, loaded with a week’s worth of saturated fat.

As beautiful as baseball can be, as much as I love it, it’s a shadow world, reality television set before a live studio audience. Its virtue isn’t the game itself, but the fact that we’re all experiencing it and caring about it together. And because of that, there will always be writing and products that look to profit off that motive, to tell the reader what they already know and to praise them for knowing it. There will always be hero myths and origin stories, prophecies and promises, tried and true tactics that flatter and stir the heart. There will always be hot takes, and there will always be clapter. But in the end, it all has to mean something more than itself, has to find some truth, or it’s just telling the same jokes over and over again.

The Dark Days Ahead


Dear Sylvie and Felix,

It’s late July, two days before my thirty-eighth birthday, more than three months before the 2016 presidential election. This is an absolutely vital time, as they all are, and this was a vital day; the first day when Donald Trump, the Republican candidate, overtook Hilary Clinton in the polls. The political spectrum, stable since Nixon’s Southern Strategy and the death of State’s Rights nearly fifty years ago, may be pulling apart. Everything feels on the edge of something. The scandals are only outpaced by the shootings in various places in the world, the fear, the anger.

This letter is not meant to talk about the good old days, or to share fears of a world falling apart before you can make your way in it (though of course I do). Parents throughout history have always loved their children and rarely do what’s best for them. For a nation founded on opposing taxation without representation, we do exactly that: the national debt is nearly $20 trillion, and the only solution available to your generation will be to tax your own children, as was ours. The environment, non-renewable resources: we have taken more than our share.

This election, momentous as I’m sure it will be, will change little of that. I’m a jaded political science major. I watch the people around me get angry at politicians, and I can only look at the systems that create their incentives, and in some case force their behavior. Adults will always take from their children, because children are powerless, and politicians need votes.

I see all this and my thoughts turn to an old figure named H.L. Mencken. Mencken was a brilliant mind, a powerful journalist and critic, whose apex came at a time, like today, when the the world was transforming. It was the 1920s when the Republican Party, the Party of Lincoln, abandoned its multiracial base to become the representative of Big Business, leaving FDR and the New Deal to claim them among the poor for the Democrats. Mencken would be unclassifiable by modern standards: Pro-science, anti-religion, pro-(for the time) feminism, racist, elitist, conservative. He was an ally of the Mark Twain we rarely talk about: the one who watched America get fall into empire through the Spanish-American War, a bitter, angry, utterly correct Twain, no longer laughing.

It’s hard not to feel that way, lately. There’s a one-liner from a movie that used to be popular:

“You hate people!”
“But I love gatherings. Isn’t it ironic?”

I feel the exact opposite. I like people, or try to, until you get them together and they become political. I’m not sure how jingoistic your public education will prove to be, but even now it’s not polite to talk about the fact that there are flaws with democracy, and that The People aren’t always wise and just, especially when there’s a minority population around to vilify.  Mencken left us with, among other things, a wonderful selection of quotations. The problem is that the way of them leads to madness. His hatred of the unwashed masses, and his belief in his own elitism, led him to a fondness for the nastier elements of Nietzsche, and with it, Nazism. Like Heraclitus, he was fond of war, because wars “strengthened national character” and came at little cost of useless life.

In the end, hating the people for being ignorant is just as faulty as hating politicians for pandering them. The only solution is to change the systems that cause them to act the way they do. People mistrust their government, I believe, because they are disconnected from it; America is too big, too fractured, for the concept of citizenry to mean much anymore. If we have to keep democracy, the only solution I can see is refresh the meaning in the phrase “public service”, the way Adlai Stevenson and John F. Kennedy called for a lifetime ago. To make politics not a lucrative and risky career path, but a specific act of working for the people around you, of seeking justice rather than power.

The trouble is, you can’t just wait for some Mr. Smith to show up, sacrifice himself, and do it. You have to create a system that encourages it. And that’s too complicated for me; I fear it’s too complicated for everyone.

There will be dark days ahead. By the time you read this, those will have gone, and others come and gone as well. I hope yours are more peaceful ones. The world, I think, has never recovered from the invention of the radio, and I hope that the connective tissues that now bind the world — telephone, airplane, internet — finally unlock some secret toward combining all people together rather than just factions. But most of all, I hope that you don’t lose faith in people, even The People, no matter how ignorant they seem. It gets so easy to hate them that way.






Last night was a forgettable night. We drove up to the grandparents’ house for Shipwreck Day. Felix, you slept downstairs with Mom, with questionable levels of success. Sylvie, for you we inflated your new little portable bed for overnight trips, and you cried into it for more than an hour. You woke up at five.

It’s weird being home. I got invited to my twenty-year high school reunion the other day. I won’t go, of course; not because it’ll be a room full of near-strangers awkwardly establishing a social pecking order (it will); I’m not ashamed of my weight or my career or any of the other standard variables for judgment (that much). Although we go to see my parents regularly, I’ve barely spoken to anyone from my hometown in a decade, and it’s nothing personal. I didn’t dislike high school. I just don’t remember it.

When I was young I knew I was smart, because I was told I was smart. For a long time, that was the extent of my metaphysics. Marriage taught me that I had certain blind spots in my mental processes regarding perception and bathrooms, and teaching taught me about various intelligences (why I remember things much better when I take notes). That was it. Otherwise I figured I was normal, in terms of brain.

You don’t realize that you’re beginning to forget. When elementary school turned to watercolor, I assumed that’s what everyone’s childhood was like. Or maybe my childhood was so idyllic, so calm and uneventful, that there was nothing but invisible warmth to take away. Middle school… who wouldn’t want to forget that? But then, as I got this reunion notice, as I paged through the scanned yearbook, I realized that it was mostly gone. A few snippets here or there that I can withdraw if necessary: my first kiss, on my doorstep the night of Prom my freshman year. Playing Maurice in our class rendition of Lord of the Flies: The Musical. But so much of the connective tissue is gone. My memories are like an aging basketball player’s knees.

The point of all this: I need to write more, for your sake as well as mine. I don’t want that gauze to slip over my twenties and thirties, but I can already feel it happening. It begins with the books. One of the things about aging, one of the defenses you create for yourself as you pass your physical peak, is that while you may not look as good or run as well as you did last year, you’re a lot wiser than that idiot. You’ve read. You’ve learned. And yet when I go back and look at the list of books I read in 2005: I couldn’t tell you the first thing about Lysistrata. I have no idea what Lord Arthur Seville’s crime was. I wouldn’t have known that I’d even read those books if I hadn’t made a note of it. How can I know this and be wise?

I’m not sure. But really, it doesn’t matter. The books, ultimately, can go. They’re not that important anyway, and if they were, I can only hope their lessons work their way into me and create the instincts for my next generation, an instinctual morality. But you two I can’t afford to lose. I need those anguished, pillow-muffled cries, the fact that you, Sylvie, sang “sylvie shiny shell” over and over to the abalone we bought you, and that you, Felix, kept muttering “da” whenever you’d lose sight of me in a crowd. We take photos, we record videos, but there are so many things we miss, that I already miss.

I want to remember them all. But barring that, I want us to read about them.



“It’s time for bed,” we tell you. You giggle and hide behind the couch cushion, a flimsy defense even by your standards. You have just turned three, and you are always laughing until you are not. We are not laughing. It is late, and we are tired, and your little brother is crying out beyond your worldview. “Sylvie, will you please come get ready for bed?” I ask, rhetorically.

You do not, so I pick you up, still so easy a gesture. You kick wildly, not to wound, just to communicate. I put you in front of the toilet. “I don’t want to go potty,” you cry.

There are so many things we don’t want to do. “We always go potty before we go to bed. Every night,” I say, too tiredly.

“Let me down!” This is not about potty, of course. Every year of parenthood adds another layer of irony. At first it was the layer of development, the idea that every action had an affect on future actions. Now, it is that, and it also a layer of control.

“I will not let you down. You need to go potty, and we need to get ready for bed. It’s late,” I add, as if this proves anything. I pull a pant leg over a foot, pajamas at the ready.

You lean forward and hit me in the chest, a chopping motion. “Go away, Dad. Go away forever.”

Your mother appears instantly, takes you upstairs to brush your teeth and scold you, while I follow your first imperative, if not the second, retreating to the family room couch to hold Felix. It does not hurt, I think to myself, reacting the way you do when you skin a knee. It should not hurt. It hurts.

You are three years old. You are a beautiful, hilarious psychopath. You know how to love people but not how to understand how they feel. And even in those brief moments when your id gets the upper hand, it can’t last; you’re being pushed forward by the conveyor belt of your own curiosity and energy. You’re the clumsy ice skater who plows into random people.

I don’t really know what to do about it. I put my trust in the liberal philosophers who taught me that everyone acted rationally, that everyone could cooperate if they could see the benefits. How do I teach you what happens when you don’t brush your teeth, if you use the word “forever” like an underline? I don’t even want you to know what forever is, yet, because then you’d have to figure out the opposite.

So for now I’ll go away forever, and tomorrow I’ll come back. It doesn’t hurt that much, as long as I remember what the words mean to you. We’ll pick berries and you’ll refuse to leave the green ones. We’ll swing and you’ll demand I tell you stories. It’ll be fine. We can go on like this forever.

Baseball, Writing and Despair

Adam Kilgore Emma Span Michael Lewis
Adam Sobsey Eno Sarris Michael Schur
Alex Speier Eric Koreen Mike Lupica
Allen Abel Erik Malinowski Mina Kimes
Andrew Zuber Ernest Hemingway Mitchel Lichtman
Andy McCullough Gary Parrish Nathan Bishop
Anna McDonald Gary Smith Patrick Dubuque
Arden Zwelling Geoff Young Peter Gammons
August Fagerstrom Gordon Wittenmeyer PFT Commenter
Barry Svrluga Grant Brisbee Randall Mell
Ben Lindbergh Greg Howard Ray Ratto
Benjamin Hochman Holly Anderson Red Smith
Beth Bethel Jamey Newberg Rembert Browne
Bethlehem Shoals Jared Dubin Rian Watt
Bill Barnwell Jason Clinkscales Richard Deitsch
Bill James Jason Concepcion Richard Griffin
Bill Lyon Jason King Ring Lardner
Bill Madden Jason Parks Rob Arthur
Bill Petti Jason Whitlock Robert O’Connell
Bill Simmons Jay Jaffe Roger Angell
Brett Taylor Jay Yencich Roger Kahn
Brian Phillips Jeb Lund Russell Carleton
Bruce Arthur Jeff Passan Ryan Young
Carson Cistulli Jeff Pearlman S.L. Price
Cee Angi Jeff Sullivan Sahadev Sharma
Charles Pierce Joe Posnanski Sam Miller
Chris Ballard Joe Sheehan Sam Smith
Chris Brown John Choiniere Sean Mcindoe
Christina Kahrl John Lott Shea Serrano
Dan Moore Jon Bois Simon Kuper
Dan Szymborski Jonah Keri SL Price
Dave Cameron Jonathan Bernhardt Spencer Hall
Dave Stubbs Julie DiCaro Stacey May Fowles
David Foster Wallace Kate Fagan Steve Rushin
David Halberstam Kate Morrison Steven Rosenbloom
David Roth Katie Baker Tabatha Southey
David Wallace Katie Sharp Thomas Boswell
Dayn Perry Ken Arneson Tom Tango
Dillon Friday Kiley McDaniel Tom Verducci
Dirk Hayhurst Lee Jenkins Toni McIntyre
Drew Creasman Luis Medina Trill Ballins
Drew Magary Matt Ellis Will Leitch
Ellen Etchingham Meg Rowley Wright Thompson
Emily Gregorcic Michael Baumann Zach Lowe
  Michael Farber  

Recently I read an article that was written so well that it made me sad. After thinking about it, I put out an anonymous poll with one question: what are up to three sportswriters that, when you read their work from time to time, fill you with a sense of awe bordering on despair? That make you feel like hanging it up, if only for thirty seconds?

It wasn’t a scientific survey, nor a particularly representative sample. But the results say something, I think. The 150 ballots returned 136 different names. And though reporting gets most of the fame (and most of the money), it’s interesting to see so many different types of writers and so many different types of writing. There’s longform, human interest, analysis, statistical analysis, comedy, poetry, and scouting; professional journalists, freelancers, amateurs, dead comic strip authors, and novelists.

The idea wasn’t to make people dwell on the fact that they feel inadequate sometimes, but the opposite: we all get so busy staring at other people’s greatness that we don’t notice people staring at our own. There is so much writing in the world, so much amazing writing, that there’s no way anyone could write it all, even though it’s our instinct to feel like we should.

There remain troubles. The untimely demise of Grantland heavy-handedly reminds us that quality and money are often nearly inversely proportional. And there are inequities and imbalances that prevent us from having a true meritocracy. There are names absent from the list that deserve to be there, deserve to be envied. They just need to be found.

But as a powerless observer I can afford to be an apolitical optimist, and what I see is that there is more room than it often feels like. That we can all combine our individual, necessarily limited perspectives together, on something as arbitrary and pointless as the game of baseball, is an amazing thing. I’ve liked baseball ever since I was a kid, but it’s the community that follows it – and creates from it – that I truly love.

Keep it up, everyone.