The Art of Fielding_ A Novel - Chad Harbach [6]
26. The shortstop is a source of stillness at the center of the defense. He projects this stillness and his teammates respond.
59. To field a ground ball must be considered a generous act and an act of comprehension. One moves not against the ball but with it. Bad fielders stab at the ball like an enemy. This is antagonism. The true fielder lets the path of the ball become his own path, thereby comprehending the ball and dissipating the self, which is the source of all suffering and poor defense.
147. Throw with the legs.
Aparicio played shortstop for the St. Louis Cardinals for eighteen seasons. He retired the year Henry turned ten. He was a first-ballot Hall of Famer and the greatest defensive shortstop who ever lived. As a ballplayer, Henry had modeled himself after his hero in every particular, from the gliding, two-handed way he fielded grounders, to the way he wore his cap pulled low to shield his eyes, to the three taps he gave his heart before stepping into the batter’s box. And of course the jersey number. Aparicio believed that the number 3 had deep significance.
3. There are three stages: Thoughtless being. Thought. Return to thoughtless being.
33. Do not confuse the first and third stages. Thoughtless being is attained by everyone, the return to thoughtless being by a very few.
There were, admittedly, many sentences and statements in The Art that Henry did not yet understand. The opaque parts of The Art, though, had always been his favorites, even more than the detailed and extremely helpful descriptions of, say, how to keep a runner close to second base (flirtation, Aparicio called it) or what sort of cleats to wear on wet grass. The opaque parts, frustrating as they could be, gave Henry something to aspire to. Someday, he dreamed, he would be enough of a ballplayer to crack them open and suck out their hidden wisdom.
213. Death is the sanction of all that the athlete does.
The bleepy, bloopy music lulled. Henry became aware of a murmurous sound that seemed to be coming from behind a closed door in the corner of the room. He’d thought it was a closet, but now he pressed his ear to it and heard a rush of running water. He knocked softly.
No response. He twisted the knob, and a sharp yelp rang out as the door struck something solid. Henry jerked the door shut. But that was a foolish thing to do—it wasn’t as if he could run away. He opened the door again, and again it cracked against something solid.
“Ow!” came a cry from inside. “Please stop!”
The room turned out to be a bathroom, and a person about Henry’s age was lying on the black-and-white checkerboard tile, clutching the top of his head. His ashen hair was cropped close, and between the fingers of his canary-yellow rubber gloves Henry could see a cut edged with blood. Water ran in the tub, and a toothbrush lay at his side, frothing with grainy, aqua-flecked cleanser. “Are you okay?” Henry asked.
“This grout is filthy.” The young man sat up, rubbed his head. “You’d think they would clean the grout.” His skin was the color of weak coffee. He put on a pair of wire-rimmed glasses and surveyed Henry from head to toe. “Who are you?”
“I’m Henry,” Henry said.
“Really?” The young man’s lunular eyebrows lifted. “Are you sure?”
Henry looked down at the palm of his right hand, as if that might be the place to find some irrefutable sign of Henryness. “Pretty sure.”
The young man rose to his feet and, after peeling off one of his bright-yellow gloves, pumped Henry’s hand warmly. “I was expecting someone larger,” he explained. “Because of the baseball factor. My name’s Owen Dunne. I’ll be your gay mulatto roommate.”
Henry nodded in a way he hoped was appropriate.
“I was supposed to have this room to myself.” Owen swept one hand before him, as if spanning a broad vista. “It was part of my scholarship package, as the winner of the Maria Westish Award. I’ve always dreamed of living alone. Haven’t you?”
Henry, actually, had always dreamed of living with someone who owned a copy of Aparicio’s book. “Do you play baseball?