Wednesday, August 16, 2017

Local Art Seen: Sue Rauschenfels' Open House

This past month Sue Rauschenfels hosted an art opening in her home on the South Shore of Pike Lake. Rauschenfels is an artist whom I'd first gotten to know through her contributions to a Duluth Dylan Fest art show in 2014 and a subsequent show of her work at Beaners and Superior's North End Arts Gallery, which led to my interviewing her for  my column in The Reader at that time.

Upon entering her home one is struck by the light cascading off the glistening woodwork, showering into the rooms through an abundance of windows, providing ample light for viewing her work. The lakefront property, quietly poised on the waterfront, has a tidy feeling of warmth as you approach it, much like the paintings and pictures she creates, working in watercolor, acrylic, ink and/or collage.


Here are some photos I took of her paintings. The reflections on the glass and all the light flooding the room resulted in several happy accidents.


The colorations and expressions remind me of Marc Chagall.


I see vibrant pastel flowers dancing.

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Meantime, art goes on all around you. Engage it.

Tuesday, August 15, 2017

Artist Shawna Gilmore's Woodlandia

Two years ago when I saw Shawna Gilmore's show at the Kruk Gallery in Superior I was swept away by the personality and vim she put in her paintings. This month Gilmore has an exhibition of new works on display at the Lakeside Gallery, and it's equally fun, her spunk and spirit continuing to run amok. If you get a chance, drop by during the month of August and acquaint yourself with Gilmore's work. I'm sure we'll be seeing more of her paintings around town over the coming years.

EN: Where do your ideas come from?

Shawna Gilmore: I think it wouldn't be a surprise to know I have a very active imagination and vivid dream life. I find a healthy dose of escapism through my work which gives me fortitude to walk through the challenges of life. I read a lot. I laugh a lot. I enjoy playfulness and the bizarre. I love to learn and observe. I enjoy a sense of wonder and perpetual curiosity. All of these things feed into ideas for paintings. I don't really limit myself to reality when I think of images for paintings. There are a lot of what ifs in my world which makes for limitless possibilities and scenarios.


EN: Your colors are vibrant and uplifting. Is this a reflection of your own spirit?

SG: I used to be so afraid of color. My focus in college was drawing and printmaking, color seemed scary. But color is so emotive that it became increasingly difficult to avoid my fear for much longer. So instead of running from it, I decided to try it. I've really learned a lot about color in the few years. I try to use colors I'm drawn to that have a sort of timelessness to them. I don't think I'll ever be a color expert. So much of life is facing your fears and putting aside your insecurities, for me it builds my faith and brings me much joy to overcome even something as common as using color.

I suppose the colors I use reflect my own spirit, I guess I never thought too hard about that. But I can lean towards the optimistic side of life so that makes sense. It's hard to feel glum when you recognize all the blessings you have. I want to enjoy life. I want to find the hidden treasures in it and be filled with gratitude not languish in a pit of despair. When I paint, I want to enjoy what I paint. I want to look at it for years to come and still like it. I want to paint pictures that bring joy, hope, amusement, or wonder.

EN: The word whimsical comes to mind when I look at your work. Is that a fair description of your subject matter? Or are their hidden political messages in your paintings?

SG: Hahaha, no hidden politics in my work, I think you might call me apolitical. I have enough drama and chaos in my own personal life that gives me little margin for the intense emotions of politics. My paintings are for the weary of heart, those who need a moment to breathe, dream or escape the weight of the day.


EN: For example, is that a poisonous snake you have decorated with daisies? 

SG: Well, I do enjoy a little mischief, danger and unknown outcomes in my work. Those more politically passionate might be able to draw conclusions in my work that connect with them and to me that is ok. I'm most interested in providing part of a narrative for the viewer to enter and make their own. I'm not especially fond of snakes, but one with friendly daisy flowers seemed a little less creepy.

EN: I see you have begun painting on panel substrates. Care to comment on this new direction? 

SG:  I've always preferred painting on wood. I've dabbled on plywood, hardboard, paper, never canvas, but I continually return to wood. There is something about the solid, smoothness that makes me happy. Once I discovered deep cradled wood panels, I never turned back. Framing has always been a hang up for me and cradled wood eliminates the need for a frame.


EN: Do you have any local artists whose work has inspired you? 

SG: There are so many excellent creatives in our area, but I am particularly fond of the work of Wendy Rouse, Adam Swanson and Jonathan Thunder.

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Thanks for sharing, Shawna.

EdNote: You can see more of Shawna Gilmore's paintings next door to Lakeside Gallery at the Amity Coffee Shop (have some java while you're there) and at Art on the Planet on Tower Avenue in Superior, as well as at her website.

Wendy Rouse frequently has work on display at Lizzards Gallery in Downtown Duluth, and Adam Swanson's work will be found there as well.

EdNote: TONIGHT Jonathan Thunder will be giving an Artist Talk at the Duluth Art Institute at 5:30 in conjunction with a book signing. Will I see you there?

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Meantime art goes on all around you. Get into it.

Monday, August 14, 2017

Kenneth Timm On Choosing the Writer's Life

I met Kenneth Timm this past spring during my third year serving on the Advisory Board for the University of Wisconsin - Superior School of Writing. He was one of several students whose work impressed me at a Senior Capstone Portfolio Presentation this past May. I asked if he might be open to being in the spotlight here sometime, and we finally got to it here. You can find a link to some of his writing at the end of this interview.

EN: How did you come to take an interesting in writing?

Kenneth Timm: I began writing when I was a young boy. At the age of seven or eight, I started jotting thoughts down and organizing them into writings of one kind or another. It was the structure of writing that interested me then, and still does today in much the same way. Like a piece of music or poetry, well written prose must flow. Creating that flow regardless of content is the challenge I enjoy. For what it’s worth, even though I started writing when I was really young, doing it for a living never really seemed like a possibility until the recent past.

EN: What kinds of writing do you specialize in?

KT: I have done and can do a variety of types of writing. Creative nonfiction is by far my favorite genre to write in, but I’ve experimented with and enjoy nature writing, and have also found creative fiction to be an interesting challenge. On the business side of things, I have experience with promotional, informational and technical writing.

EN: What do you enjoy most and what are you currently working on?

KT: As mentioned above, creative nonfiction is my favorite thing to write. There always seems to be something more impactful about true-to-life stories. Perhaps they are more relatable? I enjoy writing short pieces (1,000 words or less) that are perspectives of simple happenings around me that can oftentimes be overlooked. For the moment, though, I’ve taken a short break from that type of writing in an effort to regenerate after an intensive month of writing a blog to capture the daily events of a 600 mile walk. It was most challenging finding the time required to update a blog on a daily basis, and it became something of a thorn in my side. After a few weeks of separation from the end of the walk, I am just now beginning to write again. It was a good lesson in personal limits…

EN: How important is college for writer? That is, why not just write? In what ways did your classes at UWS broaden you or help you move forward in your career?

KT: Where my personal writing is concerned, I cannot possibly overstate the importance of having gotten a college education. There are several reasons for this. First—and most importantly—I was forced to get comfortable with other writers reading and critiquing my work. Workshopping written pieces can be a nerve-racking and humbling experience, but one a writer must get comfortable with. It is also a means of vastly improving on a piece that may or may not exist without the college environment. Secondly, writing classes in college forced me to write, and with each piece I wrote, my skills improved. At the very least, taking college writing classes exposed me to a wide variety of genres, and gave me the confidence required to attempt projects completely outside of my comfort zone.

EN: Can you share three or four tips for people seeking to pursue a writing career?

KT: (1) Write, write, write! Do it as often as possible; make a commitment to doing it daily. Also, experiment with different types of writing. Before college, I had no idea that I could write poetry!

(2) Surround yourself with other writers. The perspectives of others are highly valuable. Oftentimes we are just too close to our own work to see its flaws, shortcomings or potential. Along that same line of thinking, get used to and appreciate the criticism of others, but know when you feel strongly enough about something you’ve written to “just say no” to a suggested change.

(3) Take college writing classes! Especially if it feels uncomfortable to do so. Enough said…

(4) Treat writing like the job it is. Being a professional writer is difficult and time consuming work. Identify one or more physical locations where you write best. Also, find the time(s) of day when you write most effectively. Then combine those things and STICK TO THEM.

EN: Do you have a website or way for people seeking a writer to find you?

KT: I have a writer’s profile page. Here is the link: https://sites.google.com/site/freeinggeorge/

I also created a blog for the 600-mile walk earlier this summer. While I’ not updating it at this point, I will be getting back into it in the near future.

* * * *
Thank you, Ken. Keep it going.

Sunday, August 13, 2017

Local Art Seen: Lake Superior Art Festival @ Brighton Beach


What a beautiful day for the artists who shared their work on Brighton Beach yesterday, and for those who came to soak it in. You couldn't have asked for any better. The oceanside setting, I mean our Great Lake which one experiences on a scale comparable to an ocean front, produced a balm-like backdrop for the artists' temporary tent city just above the rocky shore. The lake seemed especially calm, in contrast to its turbulent demeanor a few days earlier.

The sponsors of yesterday's art festival included Republic Bank, Lizzards Art Gallery & Framing, and Paper Hog. Thank you.

44 regional artists participated, from Grand Marais to the Twin Cities, though most hailed from Duluth. Photography, watercolors, stained glass, jewelry, pottery, woodwork, fiber arts and painting were all represented.  What follows are some of my favorite images from a tour of the show.

A small painting from the Art Zoo, by Claudia Faith.
Steer me to the art section, please.
Aaron Kloss has opened a gallery in Lakeside where more of his paintings
can be found. 
I learned that Ryan Tischer will be opening a downtown gallery soon.
Sandra Haff is Steppin' Out with her mixed media assemblages with found objects.
The animalia cutouts were fun. 

Stoneware Pottery by Aaron and Jena Levandowski
One thing that has changed since the first years of the Park Point Art Fair is the advent of the Internet. Nowadays many artists and craftspersons have websites, a social media presence and an Etsy storefront from which they can do business year round. The art fairs provide them an opportunity to instant feedback on new directions and ideas they introduce. 

This particular event appears to have been a bi-product of Lake Superior Artrepreneurs. Perhaps as they grow they will have a website that links to all the individual artists' websites and Etsy stores.  

Next week is the Bayfront Park Art Fair down by the bay. If nothing else, you should go for the food trucks. Let's hope for nice weather. It's another beautiful setting for an art walk. 

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Meantime, art goes on all around you. Are you a collector? Next time, bring something home with you. :-)

Saturday, August 12, 2017

Brett Whiteley: Art, Dylan and the Other Thing


"An intriguing, absorbing and assured account of Brett Whiteley's life and work." 
--Mark Knopfler, Dire Straits

Brett Whitely was an artist who became a fairly substantial force in the Australian art world, with international recognition, having lived and painted in Italy, Britain, New York and Fiji. Born in 1939, Whitely was the youngest artist to have work acquired by the Tate in London.

After living in Italy and Britain, and looking for the epicenter of the times, he moved to New York for a spell where he took up residence in the famed Chelsea Hotel where he and his family "befriended Janis Joplin, Bob Dylan, Jimi Hendrix, and the rock and roll royalty of the era."*

After two years in the Big Apple, he became impatient with the amount of time it was taking to get recognition, whereupon he up and left for Fiji, then ultimately returned to Australia where for the rest of his life he pursued his passion for the arts.

The book is called Brett Whiteley: Art, Life and the Other Thing, by Ashleigh Wilson. A central, inescapable thread that runs throughout the book is the music of Bob Dylan. Even his ex-wife's book about their relationship took its name from a Dylan song, Tangled Up In Blue, My Years with Brett Whiteley.

Mark Knopfler, by Brett Whiteley
Though he'd won Australia's most prestigious prizes and great recognition for his art, the final chapter of Whitely's life closed out early when he overdosed in a motel room in June 1992, two years after his wife left him.

The book is a bio that not only tells Whitely's story, it includes many illustrations and photos of his work beginning with his earliest drawings. (His drawing of a cowboy that he drew at age 7 reminds me of a cowboy I drew in second grade.) By the time he was 20 he'd gained recognition as someone to notice.

When I first saw the cover the the book it stylistically brought to mind the art of Britain's Ralph Steadman: the energetic expressiveness, the draftsmanship, the bold distortions of a practiced eye and hand, the confidence with which he approached his work.

To some extent Whiteley was a product of his times, meaning he was immersed in an ethos of drugs, sex and rock 'n roll. Reading about his life journey, one sees echoes of many other artists of his era. From early immersion in LSD and mind-expanding explorations there is a descent into heroin and the cycles of addiction. Jim Morrison and Jerry Garcia come to mind, even Dylan himself had his peaks and valleys.

* * * *
Dylan by Whiteley
Brett Whiteley described Bob Dylan as ''the most satisfactory voice in pop, I think. There's sort of mango and Courvoisier and the best sort of hissing and low gravel Jewishness on it.'' But Dylan's importance for Brett Whiteley went beyond a mere appreciation of the voice.

His sister, Frannie, records in her biography of Brett that ,"He found an intellectual and spiritual brother in this man... Brett was obsessed with poet-musician Dylan... He collected his albums and was intimate with every song as though they were speaking to him directly. He listened to Dylan almost daily for most of his life."

* * * *
Whitely images from the book.
According to artist/blogger Harry Kent, The Chelsea Hotel was also where Bob Dylan lived in the 60's, where he wrote Sad Eyed Lady of the Lowlands. Brett kept a huge portrait of Dylan on the wall of his modest penthouse apartment there. It was an acquaintance and adoration that would last the rest of his days.

I believe that he discovered in the person of Dylan the kind of intuitive artist, gifted genius even, that he himself aspired to be ... a bringer of gifts from the gods. He saw in Dylan a kindred spirit writ large. In short, he idolized the man and the musician.

* * * * 
Ashleigh Wilson's book is replete with photos of Whiteley's paintings, sculptures and illustrations. It also contains a fairly thorough index so that one is able to find your way through the book back to its various references. Dylan references are sprinkled throughout, and in places come in chunks. 

Those who have long followed Dylan's career remember well his tour in the 1980s with Tom Petty and band. It was during this time that a major event came together in Whiteley's personal life. While in Sidney Whiteley hosted a Bob Dylan press conference in his art studio. This was huge for him personally. Here's an excerpt from this 1986 event:

This was not Dylan's last visit to Whiteley's studio. In 1992 while again in Sidney, Dylan paid a visit to the artist's lair. Artist Harry Kent, whose TACHISME blog is full of insightful commentary on a variety of arts related themes, devoted this 2012 entry to Brett Whiteley, which concludes with Dylan's 1992 visit a month before Whiteley passed on.

Brett had bought tickets to every show and carried with him every night a copy of the catalogue from his recent exhibition in case he got the opportunity to present it to Bob. Dylan's minders were under orders not to admit anyone new to his dressing room. But Brett was not new and the opportunity came. Dylan looked at drawings and asked, "How'd you do that man?" Brett was elated over meeting, "Tastic".

But better was to come. The following day Dylan came to the Brett's studio. They spent a couple of hours together looking at Brett's work and discussing painting. All his life Dylan's student, in those sweet hours he now found himself his hero's teacher.

A month later, Brett Whiteley was dead.

Reading these things leaves me saddened. Life is complicated. It's apparent that even fame and riches come packaged with challenges.

*https://en.wikipedia.org/wiki/Brett_Whiteley
**You can find a copy of the book itself here on Amazon

Friday, August 11, 2017

A Visit with Author Mark Larson: How the Chicago Theater Scene Came to Rock the World

I was introduced to Mark Larson via my Chicago connection to the theater/literary scene, Margie Marcus, who shared with me her story of being in on the ground floor with Chicago's Steppenwolf Theater. Her enthusiasm for the arts is infectious, and over the years she's taken advantage of every opportunity she could afford to see her friends' evolving careers in theater and to hear authors talk about their projects.

A few years back Bill Payne, Dean of the College of Fine Arts here at the University of Minnesota, Duluth (UMD) told me about how Chicago's theater scene took root and emerged to foster so many significant careers. Therefore, when Margie mentioned that Mark Larson was producing a book that excavated details and stories from the people who were part of this Chicago phenomenon, it seemed worth pursuing and sharing here.

One common denominator between Margie's story and Mark's is Studs Terkel. Here's a quick Mark Larson snapshot. And here's a little information about his new book which will be released sometime in 2018...

EN: How did Chicago become so influential in the arts?

Mark Larson: In 1953, when my narrative begins, Chicago had very little in the way of homegrown theater for audiences to see. Their choices were mostly touring shows from New York, summer stock and some community theater. But the convergence of such talents as Paul Sills, David Shepherd, Ed Asner, Mike Nichols, Elaine May, Fritz Weaver, Barbara Harris, Joyce (Hiller) Piven, Byrne Piven and others, at the University of Chicago, began to change all that. They formed a company called Playwrights Theater Club, ambitiously mounting some two dozen classic plays in two years, and, in the process, discovering their own significant talent. By 1955, David Shepherd and some of the people who started Playwrights created an improv company called Compass Players that before the end of the decade birthed the now world famous Second City which continues to mass produce huge comedic and dramatic talents. A combination of factors made Chicago a fertile context to foment a creative movement that would eventually yield over 250 working theater companies. The sixties encouraged experimentation and dismissal of all the old rules, the Democratic Convention of ’68 gave creative hearts and minds something significant at which to aim their talents. Housing and performance space was reactively affordable, encouraging young artists to rent an abandoned storefront (which sometimes doubled as a domicile), slam in a stage and some chairs (usually scavenged) and test their talents in front of an audience that seemed willing and eager to see new works and talents in the making. That spirit of risk-taking and making do, and the conditions that encouraged modest beginnings continue today.

EN: Your upcoming book Ensemble Chicago is subtitled The Making of a Theater Town, An Oral History.  How long have you been interviewing the principle players in Chicago's theatre scene? 300 interviews is an impressive number. Who are some of the folks we'll be reading about in your book?

ML: As of the summer of 2016, I have been working on this book for 2.5 years. I have spoken to many artists that readers will have heard of, like Michael Shannon, William H. Macy, Alan Arkin, Barbara Harris, William Petersen, Jeff Perry, Laurie Metcalf, Brian Dennehy, Ed Asner, Jim Belushi, Amy Landecker, David Schwimmer, George Wendt and many more. But the premise of the book is that Chicago became the theater town it is because many talents converged, cooperated and built it together. So there are also interviews with artists, critics and administrators whose names readers will not know but who are no less significant to the story, like sound designers Rob Milburn and Michael Bodeen, stage manager Joe Drummond who just retired after 43 years at the venerable Goodman Theater, and architect, John Morris, who worked with theater companies to design buildings that reflected the aesthetic that brought them to prominence, like Steppenwolf Theater, Black Ensemble Theater and Lookingglass Theater among others.

EN: What have been your own biggest personal takeaways as a result of assembling this book?

ML: Personal takeaways: Memory is a precarious and adventurous ladder. Few people know they’re making history while they’re making it and rarely give it a moment’s thought; fewer still, have that as their intention. And only a handful, years later, are willing or able to admit, Yea, I guess we did do something that became part of history. Many of those who have achieved our traditional notions of success and/or fame still see themselves as the scruffy kids scrounging for a lunch a drink a fuck and a place to perform. Each generation has honored its responsibility to lift up and encourage the next and usually-- not always, but usually--delights in seeing their successors succeed beyond their own achievements. Because ticket prices are relatively low, compared to New York, Chicago audiences see a great deal more theater than most New Yorkers. Sometimes the artists who were cutting-edge, risk-taking, shatter-the-rules radicals of their day have become Luddites today who say things like, “I don’t trust that whole Internet thing.” Rarely do they hesitate to take a walk with me into their past and often stay longer than they originally said they had time for. Even the ones who have become household names wish they could (and sometimes do) perform on a little platform in a storefront with folding chairs and coffee can lights. It’s thrilling to remember that even the most venerable institutions that have changed the city’s figurative as well as literal landscape were once nothing more than an ambitious conversation over a drink in a bar or sitting at the lakefront or laying in a bed. Someone saying, “Know what I’ve been thinking…?”

EN: Though Studs Terkel was born in New York, he's associated with Chicago. Was he, in some way, an inspiration for your "Oral Biography" approach to this subject?

ML: Studs moved with his family to Chicago when he was eight years old, and Chicagoans consider him our guy. Studs was a major influence on my choosing this approach. I had read his books Working and Division Street when I was young and was deeply affected by the ways he honored all lives and many points of view making no distinction between the so-called celebrity and the average working (or non-working) man or woman. That ethos guided my own work, that and his potent ability to listen deeply. I was also privileged to be interviewed by him twice. Once for his book, Race, in which he gave me the false name, Peter Soderstum. He later interviewed me again for Hope Dies Last. While he ultimately did not use the latter interview, I did get to spend another three hours in his living room soaking up an up-close tutorial by the master. I also got to sit in on a live interview he did with Burr Tillstrom in the WFMT studio from which he broadcast live for years.

* * * *
Of our common connection, Mr. Larson had this to say: "I've known Margie a year or so. I was moderating an event for John Mayer who wrote a book on Steppenwolf, and Margie introduced herself afterward." That's how many good things begin, with an introduction.

Like Chicago itself, this book is big. To get a sense of its breadth visit the website, http://ensemble-chicago.com.

* * * *
Thanks, Mark, for making time to share a piece of your story.

Photos: Sarah Elizabeth Larson Photography

Thursday, August 10, 2017

Throwback Thursday: The Greatest Baseball Player of All Time

My junior year in high school at BRHS-West I wrote a paper for English class on the theme, "Who was the greatest baseball player of all time." I was passionate about my theme because I was, at that time, passionate about the Great American Game. I researched my butt off, wrestling with the problem of establishing criteria for comparing stats of old timers and current players. I likewise had to determine how much weight to give fielding skills, leadership, base running and pitching.

When all was said and done, I wrote what I thought was a stellar paper. Ty Cobb, the Georgia Peach, was the greatest. And when all was said and done, Ms. Saltzbart graced that paper with a U and U-. U (Unsatisfactory) for research, and U- for the writing itself.

Now for the record, up until that time I had always been an A student. I was in the honors programs, and even in Ms. Saltzbart's class I had almost all Aces throughout the year so that my final grade averaged to be a C in the fourth quarter even with these bad marks, my first C in high school. And like the dutiful "good kid" I was, I accepted my fate... except, I had to ask why this happened. Where had I gone wrong?

When I went to speak with her after class the following day she replied that I failed because, "Joe DiMaggio is the greatest baseball player of all time." That was the sum total of why I failed. She had nothing more to say.

All these years I dismissed her conclusion as wacko. Until today, actually. It may be that all my rambling comparisons of baseball stats missed something important. In Hemingway's Nobel Prize-winning Old Man and the Sea, Santiago took inspiration from DiMaggio, the man who never gave up. The theme song from the Oscar-winning The Graduate features this Paul Simon line, "Where have you gone, Joe DiMaggio?" The great pop culture status icon Marilyn Monroe even married the guy. In other words, I never factored in the effect Joe DiMaggio had had on the broader culture.

Seven player strikes and all the wrangling over contracts, salaries and taxes for stadiums has taken a lot of luster off the Great American Game. There was a time when It Happens Every Spring played on Saturday Night at the Movies the weekend before the season opener. There was a time when everyone knew more than a few of the stars. And literary giants wrote about the men who played it.

One such literary giant of our century past was John Updike, and the player he wrote an incredible baseball essay about was Ted Williams. Hub Fans Bid Kid Adieu is a must read if you were ever a fan of baseball. The essay, which begins as follows, appeared in The New Yorker in 1960 back when I was reading Casper the Friendly Ghost comics. The opening is wonderful.

Fenway Park, in Boston, is a lyric little bandbox of a ballpark. Everything is painted green and seems in curiously sharp focus, like the inside of an old-fashioned peeping-type Easter egg. It was built in 1912 and rebuilt in 1934, and offers, as do most Boston artifacts, a compromise between Man's Euclidean determinations and Nature's beguiling irregularities. Its right field is one of the deepest in the American League, while its left field is the shortest; the high left-field wall, three hundred and fifteen feet from home plate along the foul line, virtually thrusts its surface at right-handed hitters. On the afternoon of Wednesday, September 28th, as I took a seat behind third base, a uniformed groundkeeper was treading the top of this wall, picking batting-practice home runs out of the screen, like a mushroom gatherer seen in Wordsworthian perspective on the verge of a cliff. The day was overcast, chill, and uninspirational. The Boston team was the worst in twenty-seven seasons. A jangling medley of incompetent youth and aging competence, the Red Sox were finishing in seventh place only because the Kansas City Athletics had locked them out of the cellar. They were scheduled to play the Baltimore Orioles, a much nimbler blend of May and December, who had been dumped from pennant contention a week before by the insatiable Yankees. I, and 10,453 others, had shown up primarily because this was the Red Sox's last home game of the season, and therefore the last time in all eternity that their regular left fielder, known to the headlines as TED, KID, SPLINTER, THUMPER, TW, and, most cloyingly, MISTER WONDERFUL, would play in Boston. "WHAT WILL WE DO WITHOUT TED? HUB FANS ASK" ran the headline on a newspaper being read by a bulb-nosed cigar smoker a few rows away. Williams' retirement had been announced, doubted (he had been threatening retirement for years), confirmed by Tom Yawkey, the Red Sox owner, and at last widely accepted as the sad but probable truth. He was forty-two and had redeemed his abysmal season of 1959 with a—considering his advanced age—fine one. He had been giving away his gloves and bats and had grudgingly consented to a sentimental ceremony today. This was not necessarily his last game; the Red Sox were scheduled to travel to New York and wind up the season with three games there.

Ted Williams was another of the great ones. It may be that had I read Updike before writing about Ty Cobb I would have produced a better paper. Or if I had taken a typing class freshman year instead of senior year, since my handwriting may have been a tad too illegible for a teacher staring at a pile of term papers through eyes befogged by cocktails. ("Objection! Calls for speculation.")

I would strongly encourage you to follow this link and bookmark the Updike piece. It's a masterful work and one of the greater bits of baseball literature ever written.

Trivia: Joe DiMaggio's contract, when making appearances, stipulated that he be introduced as "the greatest baseball player of all time." May we ourselves never be quite so vain.

* * * *
This blog post was originally published on August 11, 2010.
Check out this page to see who Encyclopedia Britannica's editor picked as the Top Ten Baseball Players of All Time.