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Five Seasons: A Baseball Companion

Five Seasons: A Baseball Companion

5.0 4
by Roger Angell

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Roger Angell’s chronicle of baseball’s most fascinating and unforgettable years
Classic New Yorker sportswriter Roger Angell calls 1972 to 1976 “the most important half-decade in the history of the game.” The early to mid-1970s brought unprecedented changes to America’s ancient pastime: astounding performances by Nolan


Roger Angell’s chronicle of baseball’s most fascinating and unforgettable years
Classic New Yorker sportswriter Roger Angell calls 1972 to 1976 “the most important half-decade in the history of the game.” The early to mid-1970s brought unprecedented changes to America’s ancient pastime: astounding performances by Nolan Ryan and Hank Aaron; the intensity of the “best-ever” 1975 World Series between the Cincinnati Reds and the Boston Red Sox; the changes growing from bitter and extended labor strikes and lockouts; and the vast new influence of network television on the game. Angell, always a fan as well as a writer, casts a knowing but noncynical eye on these events, offering a fresh perspective to baseball’s continuing appeal during this brilliant and transformative era.

Editorial Reviews

New York Times Book Review

“A book for people who miss good writing, who miss clarity, lucidity, style and passion. It’s a book for all seasons.”—New York Times Book Review
Boston Globe

“No one writes better about baseball.”—Boston Globe

“Roger Angell is our best writer on baseball.”—Newswee

“Angell’s passion for baseball is enough to convert the heathen.”—Time
Wall Street Journal

“Roger Angell is a stunning writer…. A writer who can translate the nuances of the game with perfect clarity.”—Tim McCarver, Wall Street Journal

— Tim McCarver

Los Angeles Times

"Angell is best known for 'The Summer Game,' in which he revolutionized baseball writing by bringing an essayist's eye to the ballpark. This collection, though, is even better, tracking the sport through the mid-1970s and opening with one of Angell's signature efforts—an evocative meditation on the ball itself."—Los Angeles Times
Wall Street Journal - Tim McCarver

“Roger Angell is a stunning writer…. A writer who can translate the nuances of the game with perfect clarity.”—Tim McCarver, Wall Street Journal

Product Details

Open Road Media
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Read an Excerpt

Five Seasons

A Baseball Companion

By Roger Angell


Copyright © 1977 Roger Angell
All rights reserved.
ISBN: 978-1-4532-9781-0


On the Ball

Summer 1976

IT WEIGHS JUST OVER five ounces and measures between 2.86 and 2.94 inches in diameter. It is made of a composition-cork nucleus encased in two thin layers of rubber, one black and one red, surrounded by 121 yards of tightly wrapped blue-gray wool yarn, 45 yards of white wool yarn, 53 more yards of blue-gray wool yarn, 150 yards of fine cotton yarn, a coat of rubber cement, and a cowhide (formerly horsehide) exterior, which is held together with 216 slightly raised red cotton stitches. Printed certifications, endorsements, and outdoor advertising spherically attest to its authenticity. Like most institutions, it is considered inferior in its present form to its ancient archetypes, and in this case the complaint is probably justified; on occasion in recent years it has actually been known to come apart under the demands of its brief but rigorous active career. Baseballs are assembled and hand-stitched in Taiwan (before this year the work was done in Haiti, and before 1973 in Chicopee, Massachusetts), and contemporary pitchers claim that there is a tangible variation in the size and feel of the balls that now come into play in a single game; a true peewee is treasured by hurlers, and its departure from the premises, by fair means or foul, is secretly mourned. But never mind: any baseball is beautiful. No other small package comes as close to the ideal in design and utility. It is a perfect object for a man's hand. Pick it up and it instantly suggests its purpose; it is meant to be thrown a considerable distance—thrown hard and with precision. Its feel and heft are the beginning of the sport's critical dimensions; if it were a fraction of an inch larger or smaller, a few centigrams heavier or lighter, the game of baseball would be utterly different. Hold a baseball in your hand. As it happens, this one is not brand-new. Here, just to one side of the curved surgical welt of stitches, there is a pale-green grass smudge, darkening on one edge almost to black—the mark of an old infield play, a tough grounder now lost in memory. Feel the ball, turn it over in your hand; hold it across the seam or the other way, with the seam just to the side of your middle finger. Speculation stirs. You want to get outdoors and throw this spare and sensual object to somebody or, at the very least, watch somebody else throw it. The game has begun.

Thinking about the ball and its attributes seems to refresh our appreciation of this game. A couple of years ago, I began to wonder why it was that pitchers, taken as a group, seemed to be so much livelier and more garrulous than hitters. I considered the possibility of some obscure physiological linkage (the discobologlottal syndrome) and the more obvious occupational discrepancies (pitchers have a lot more spare time than other players), but then it came to me that a pitcher is the only man in baseball who can properly look on the ball as being his instrument, his accomplice. He is the only player who is granted the privilege of making offensive plans, and once the game begins he is (in concert with his catcher) the only man on the field who knows what is meant to happen next. Everything in baseball begins with the pitch, and every other part of the game—hitting, fielding, and throwing—is reflexive and defensive. (The hitters on a ball team are referred to as the "offense," but almost three quarters of the time this is an absolute misnomer.) The batter tapping the dirt off his spikes and now stepping into the box looks sour and glum, and who can blame him, for the ball has somehow been granted in perpetuity to the wrong people. It is already an object of suspicion and hatred, and the reflex that allows him occasionally to deflect that tiny onrushing dot with his bat, and sometimes even to relaunch it violently in the opposite direction, is such a miraculous response of eye and body as to remain virtually inexplicable, even to him. There are a few dugout flannelmouths (Ted Williams, Harry Walker, Pete Rose) who can talk convincingly about the art of hitting, but, like most arts, it does not in the end seem communicable. Pitching is different. It is a craft ("the crafty portsider ...") and is thus within reach.

The smiling pitcher begins not only with the advantage of holding his fate in his own hands, or hand, but with the knowledge that every advantage of physics and psychology seems to be on his side. A great number of surprising and unpleasant things can be done to the ball as it is delivered from the grasp of a two-hundred-pound optimist, and the first of these is simply to transform it into a projectile. Most pitchers seem hesitant to say so, but if you press them a little they will admit that the prime ingredient in their intense personal struggle with the batter is probably fear. A few pitchers in the majors have thrived without a real fastball—junk men like Eddie Lopat and Mike Cuellar, superior control artists like Bobby Shantz and Randy Jones, knuckleballers like Hoyt Wilhelm and Charlie Hough—but almost everyone else has had to hump up and throw at least an occasional no-nonsense hard one, which crosses the plate at eighty-five miles per hour, or better, and thus causes the hitter to—well, to think a little. The fastball sets up all the other pitches in the hurler's repertoire—the curve, the slider, the sinker, and so on—but its other purpose is to intimidate. Great fastballers like Bob Gibson, Jim Bunning, Sandy Koufax, and Nolan Ryan have always run up high strikeout figures because their money pitch was almost untouchable, but their deeper measures of success—twenty-victory seasons and low earned-run averages—were due to the fact that none of the hitters they faced, not even the best of them, was immune to the thought of what a 90-mph missile could do to a man if it struck him. They had been ever so slightly distracted, and distraction is bad for hitting. The intention of the pitcher has almost nothing to do with this; very few pitches are delivered with intent to maim. The bad dream, however, will not go away. Walter Johnson, the greatest fireballer of them all, had almost absolute control, but he is said to have worried constantly about what might happen if one of his pitches got away from him. Good hitters know all this and resolutely don't think about it (a good hitter is a man who can keep his back foot firmly planted in the box even while the rest of him is pulling back or bailing out on an inside fastball), but even these icy customers are less settled in their minds than they would like to be, just because the man out there on the mound is hiding that cannon behind his hip. Hitters, of course, do not call this fear. The word is "respect."

It should not be inferred, of course, that major-league pitchers are wholly averse to hitting batters, or almost hitting batters. A fastball up around the Adam's apple not only is a first-class distracter, as noted, but also discourages a hitter from habitually leaning forward in order to put more of his bat on a dipping curve or a slider over the outer rim of the plate. The truth of the matter is that pitchers and batters are engaged in a permanent private duel over their property rights to the plate, and a tough, proud hurler who senses that the man now in the batter's box has recently had the better of things will often respond in the most direct manner possible, with a hummer to the ribs. Allie Reynolds, Sal Maglie, Don Drysdale, Early Wynn, and Bob Gibson were cold-eyed lawmen of this stripe, and the practice has by no means vanished, in spite of strictures and deplorings from the high chambers of baseball. Early this year, Lynn McGlothen, of the Cards, routinely plunked the Mets' Del Unser, who had lately been feasting on his pitches, and then violated the ancient protocol in these matters by admitting intent. Dock Ellis, now a Yankee but then a Pirate, decided early in the 1974 season that the Cincinnati Reds had somehow established dominance over his club, and he determined to set things right in his own way. (This incident is described at length in a lively new baseball book, Dock Ellis in the Country of Baseball, by Donald Hall.) The first Cincinnati batter of the game was Pete Rose, and the first pitch from Ellis was at his head—"not actually to hit him," Ellis said later, but as a "message to let him know that he was going to be hit." He then hit Rose in the side. The next pitch hit the next Red batter, Joe Morgan, in the kidney. The third batter was Dan Driessen, who took Ellis's second pitch in the back. With the bases loaded, Dock now threw four pitches at Tony Perez (one behind his back), but missed with all of them, walking in a run. He then missed Johnny Bench (and the plate) twice, whereupon Pirate manager Danny Murtaugh came out to the mound, stared at Ellis with silent surmise, and beckoned for a new pitcher.

Hitters can accept this sort of fugue, even if they don't exactly enjoy it, but what they do admittedly detest is a young and scatter-armed smoke-thrower, the true wild man. One famous aborigine was Steve Dalkowski, an Oriole farmhand of the late nineteen fifties and early sixties who set records for strikeouts and jumpy batters wherever he played. In one typical stay with a Class D league, he threw 121 strikeouts and gave up 129 walks and 39 wild pitches, all in the span of 62 innings. Dalkowski never made it to the majors, but, being a legend, he is secure for the ages. "Once I saw him work a game in the Appalachian League," a gravel-voiced retired coach said to me not long ago, "and nothing was hit forward for seven innings—not even a foul ball." An attempt was once made to clock Dalkowski on a recording device, but his eventual mark of 93.5 mph was discounted, since he threw for forty minutes before steering a pitch into the machine's recording zone.

Better-known names in these annals of anxiety are Rex Barney, a briefly flaring Brooklyn nova of the nineteen forties, who once threw a no-hit game but eventually walked and wild-pitched his way out of baseball; Ryne Duren, the extremely fast and extremely nearsighted reliever for the Yankees and other American League clubs in the fifties and sixties, whose traditional initial warm-up pitch on his being summoned to the mound was a twelve-foot-high fastball to the foul screen; and a pair of rookies named Sandy Koufax and Bob Feller. Koufax, to be sure, eventually became a superb control artist, but it took him seven years before he got his great stuff entirely together, and there were times when it seemed certain that he would be known only as another Rex Barney. Sandy recalls that when he first brought his boyish assortment of fiery sailers and bouncing rockets to spring-training camp he had difficulty getting in any mound work, because whenever he picked up his glove all the available catchers would suddenly remember pressing appointments in some distant part of the compound. Feller had almost a career-long struggle with his control, and four times managed to lead his league simultaneously in walks and in strikeouts. His first appearance against another major-league club came in an exhibition game against the Cardinals in the summer of 1936, when he was seventeen years old; he entered the game in the fourth inning, and eventually struck out eight batters in three innings, but when his searing fastball missed the plate it had the batters jumping around in the box like roasting popcorn. Frank Frisch, the St. Louis player-manager, carefully observed Feller's first three or four deliveries and then walked down to the end of the dugout, picked up a pencil, and removed himself from the Cardinal lineup.

The chronically depressed outlook of major-league batters was pushed to the edge of paranoia in the nineteen fifties by the sudden and utterly unexpected arrival of the slider, or the Pitcher's Friend. The slider is an easy pitch to throw and a hard one to hit. It is delivered with the same motion as the fastball, but with the pitcher's wrist rotated approximately ninety degrees (to the right for a right-hander, to the left for a southpaw), which has the effect of placing the delivering forefinger and middle finger slightly off center on the ball. The positions of hand, wrist, and arm are almost identical with those that produce a good spiral forward pass with a football. The result is an apparent three-quarter-speed fastball that suddenly changes its mind and direction. It doesn't break much—in its early days it was slightingly known as the "nickel curve"—but a couple of inches of lateral movement at the plateward end of the ball's brief sixty-foot-six-inch journey can make for an epidemic of pop-ups, foul balls, and harmless grounders. "Epidemic" is not an exaggeration. The slider was the prime agent responsible for the sickening and decline of major-league batting averages in the two decades after the Second World War, which culminated in a combined average of .237 for the two leagues in 1968. A subsequent crash program of immunization and prevention by the authorities produced from the laboratory a smaller strike zone and a lowering of the pitcher's mound by five inches, but the hitters, while saved from extermination, have never regained their state of rosy-cheeked, pre-slider good health.

For me, the true mystery of the slider is not its flight path but the circumstances of its discovery. Professional baseball got under way in the eighteen-seventies, and during all the ensuing summers uncounted thousands of young would-be Mathewsons and Seavers spent their afternoons flinging the ball in every conceivable fashion as they searched for magic fadeaways and flutter balls that would take them to Cooperstown. Why did eighty years pass before anybody noticed that a slight cocking of the wrist would be sufficient to usher in the pitchers' Golden Age? Where were Tom Swift and Frank Merriwell? What happened to American Know-How? This is almost a national disgrace. The mystery is deepened by the fact that—to my knowledge, at least—no particular pitcher or pitching coach is given credit for the discovery and propagation of the slider. Bob Lemon, who may be the first man to have pitched his way into the Hall of Fame with a slider, says he learned the pitch from Mel Harder, who was an elder mound statesman with the Indians when Lemon came up to that club, in 1946. I have also heard some old-timers say that George Blaeholder was throwing a pretty fair slider for the St. Louis Browns way back in the nineteen-twenties. But none of these worthies ever claimed to be the Johnny Appleseed of the pitch. The thing seemed to generate itself—a weed in the bullpen which overran the field.

The slider has made baseball more difficult for the fan as well as for the batter. Since its action is late and minimal, and since its delivery does not require the easily recognizable arm-snap by the pitcher that heralds the true curve, the slider can be spotted only by an attentive spectator seated very close to home plate. A curve thrown by famous old pretzel-benders like Tommy Bridges and Sal Maglie really used to curve; you could see the thing break even if you were way out in the top deck of Section 31. Most fans, however, do not admit the loss. The contemporary bleacher critic, having watched a doll-size distant slugger swing mightily and tap the ball down to second on four bounces, smiles and enters the out in his scorecard. "Slider," he announces, and everybody nods wisely in agreement.

The mystery of the knuckleball is ancient and honored. Its practitioners cheerfully admit that they do not understand why the pitch behaves the way it does; nor do they know, or care much, which particular lepidopteran path it will follow on its way past the batter's infuriated swipe. They merely prop the ball on their fingertips (not, in actual fact, on the knuckles) and launch it more or less in the fashion of a paper airplane, and then, most of the time, finish the delivery with a faceward motion of the glove, thus hiding a grin. Now science has confirmed the phenomenon. Writing in The American Journal of Physics, Eric Sawyer and Robert G. Watts, of Tulane University, recently reported that wind-tunnel tests showed that a slowly spinning baseball is subject to forces capable of making it swerve a foot or more between the pitcher's mound and the plate. The secret, they say, appears to be the raised seams of the ball, which cause a "roughness pattern" and an uneven flow of air, resulting in a "non-symmetric lateral force distribution and ... a net force in one direction or another."


Excerpted from Five Seasons by Roger Angell. Copyright © 1977 Roger Angell. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

Roger Angell (b. 1920) is a celebrated New Yorker writer and editor. First published in the magazine in 1944, he became a fiction editor and regular contributor in 1956; and remains as a senior editor and staff writer. In addition to seven classic books on baseball, which include The Summer Game (1972), Five Seasons (1977), and Season Ticket (1988), he has written works of fiction, humor, and a memoir, Let Me Finish (2006). He edited the short story collection Nothing But You: Love Stories from The New Yorker (1997). In 2011, he was awarded the PEN/ESPN Lifetime Achievement Award for Literary Sports Writing. Angell lives in New York City. 
Roger Angell (b. 1920) is a celebrated New Yorker writer and editor. First published in the magazine in 1944, he became a fiction editor and regular contributor in 1956; and remains as a senior editor and staff writer. In addition to seven classic books on baseball, which include The Summer Game (1972), Five Seasons (1977), and Season Ticket (1988), he has written works of fiction, humor, and a memoir, Let Me Finish (2006). He edited the short story collection Nothing But You: Love Stories from The New Yorker(1997). In 2011, he was awarded the PEN/ESPN Lifetime Achievement Award for Literary Sports Writing. Angell lives in New York City.     

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Five Seasons: A Baseball Companion 5 out of 5 based on 0 ratings. 4 reviews.
Anonymous More than 1 year ago
This collection of essays includes Agincourt and After, an account of the epic 1975 world series and especially the 6th game. Not only great sportswriting, but great writing peripd.
JimRGill2012 9 months ago
Roger Angell has been doubly blessed with a passionate love for baseball and an undeniable talent for writing. Fortunately, for us, he combines these two elements of his character quite often. In this collection of essays, he turns his enlightened lens on the 1972-1976 major league baseball seasons, which featured landmark events like Hank Aaron’s 715th home run, the Amazin’ Mets of 1973, the birth of the free agent era, and Carlton Fisk’s incredible shot in Game 6 of the 1975 World Series at Fenway. Angell’s pellucid prose animates these events, and many others, in a way that will instantly recall them to the forefront of your memory—if you were lucky enough to live through them—or make you wish you’d witnessed them if they somehow escaped the scope of your life. Angell also examines some everyday fans like three rabid Detroit devotees as well as some of the game’s invisible stars like professional scouts. A true baseball lover couldn’t do much better than to read anything Angell has ever written about the game. From the months of November through February, nothing fills the baseball void as Angell does.
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