I loathe the trivialization of poetry that happens in creative writing classes. Teachers set exercises to stimulate subject matter: Write a poem about an imaginary landscape with real people in it. Write about a place your parents lived in before you were born. We have enough terrible poetry around without encouraging more of it.

I have written some poetry and two prose books about baseball, but if I had been a rich man, I probably would not have written many of the magazine essays that I have had to do. But, needing to write magazine essays to support myself, I looked to things that I cared about and wanted to write about, and certainly baseball was one of them.

You know how, when you fly from coast to coast on a really clear day, looking down from many miles up, you can see the little baseball diamonds everywhere? And every time I see a baseball diamond my heart goes out to it. And I think somewhere down there- I don't see any houses, I can hardly see any roads- but I know that people down there are playing the game we all love.

Work is style, and there is style without thought; not in theory, only in fact. When I take a sentence in my hand, raise it to the light, rub my hand across it, disjoin it, put it back together again with a comma added, raising the pitch in the front part; when I rub the grain of it, comb the fur of it, re-assemble the bones of it, I am making something that carries with it the sound of a voice, the firmness of a hand. Maybe little more.

Some of us are darkness lovers. We do not dislike the early and late daylight of June, but we cherish the increasing dark of November, which we wrap around ourselves in the prosperous warmth of wood stove, oil and electric blanket. Inside our warmth we fold ourselves, partly tuber, partly bear, in the dark and its cold - around us, outside us, safely away from us. We tuck ourselves up in the comfort of cold's opposite, warming ourslves by thought of the cold, lighting ourselves by darkness's idea.

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