Million Dollar Baby: Stories from the Corner

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Overview

This hard-hitting collection of powerful and moving tales based on the experiences of the late, great fight manager and cut man Jerry Boyd, who wrote under the pen name F.X. Toole, is the basis for the Oscar-winning motion picture starring Hilary Swank and Morgan Freeman. Breathing life into vivid, compelling characters who radiate the fierce intensity of the worlds they inhabit, Million Dollar Baby "is not just fight fiction at its finest, it is excellent fiction, period" (Dan ...

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Overview

This hard-hitting collection of powerful and moving tales based on the experiences of the late, great fight manager and cut man Jerry Boyd, who wrote under the pen name F.X. Toole, is the basis for the Oscar-winning motion picture starring Hilary Swank and Morgan Freeman. Breathing life into vivid, compelling characters who radiate the fierce intensity of the worlds they inhabit, Million Dollar Baby "is not just fight fiction at its finest, it is excellent fiction, period" (Dan Rather).

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Editorial Reviews

The New York Post
Move over Frank and Malachy McCourt. A new gray-haired, streetwise Irish-American writer appears to be ready to burst upon the publishing world.
Kirkus Reviews
A debut collection of six stories about the world of boxing, from an insider who finds beauty in its ugliness, sweetness in its savagery.
Library Journal
A boxing cut man uses swabs, pressure, ice, and home-mixed salve to stop his fighter's bleeding between rounds. Toole, 70, whose experience as a cut man inspired this hard-boiled debut collection of contemporary fight stories, writes with blunt authority about this world. His strongest tales feature old trainers or cut men like himself, wisely noble holdovers from boxing's Hibernian age. Toole's old-fashioned modern stories often deal in broad ethnic types--hillbillies and homeboys, "4-dollar whores," Irish trainers exclaiming "Jaysus!"--but the real fight world is littered with such contrasts. His coldly plotted novella "Million $$$ Baby" begins like the most familiar old pulp story of the grumpy veteran trainer and the eager would-be student; then Toole freshens the clich by making the boxer an innocent young woman from the Ozarks. Here and there, though, Toole's authenticity breaks down, as in the unconvincing stories that lean heavily on black street dialog, "Frozen Water" and "Black Jew." Overall, his tales distinguish themselves by staying in the heartbreaking thick of it, never using boxing na vely as a savage metaphor for life (some life!). As a storyteller, Toole is both sentimental as a bar song and as cruelly precise as the sport he chronicles. Recommended for large fiction collections.--Nathan Ward, "Library Journal" Copyright 2000 Cahners Business Information.
Valberg
[A] magnificent debut...You may feel you've gone a couple of rounds yourself after this emotional wallop of a read.
Entertainment Weekly
The New Yorker
Riveting stories...A less confident author might try to dress up such simple material with flashy prose. But Toole is a traditionalist, enamored of boozy romanticism and colorful vernacular, and when he throws a punch it usually finds its target.
Allen Barra
Toole's prose is sharp and jablike, and at its best comes at you with the rhythm of a good gym fighter working on the speed bag. Toole has a talent for illuminating the thoughts of the near illiterate but streetwise... this is an impressive collection...
The New York Times Book Review
Publisher's Weekly
The story of the 69-year-old author of this astonishing first fiction collection is a salutary one; he wrote between gigs tending boxers in their corners as a "cut man" (who stanches the blood flow and allows fights to continue), finally got a story published by a small literary magazine, was spotted by a keen-eyed agent and achieved book publication. It's amazing it took so long, because Irish-born Toole, now living and working in Los Angeles, is a natural. His knowledge of the bizarre world of professional boxing is encyclopedic and utterly persuasive, his prose is as tight as a well-laced pair of gloves and his protagonists, in this collection of five stories and a novella, are mythically heroic (and occasionally evil) but convincing archetypes. "The Money Look" is an exquisite turning-the-tables yarn at the expense of a cynical crook of a fighter; "Black Jew" is a telling tale of humble ambition woven with the lure of big money. A lacerating account of a courageous, deeply endearing hillbilly woman fighter and her sad fate, "Million $$$ Baby," is arguably the best story in the book. "Fightin' in Philly" is an almost equally moving tale of the toll the ambition to be a title fighter takes on a man. Another innocent torn up by the fight game is portrayed in "Frozen Water." Only the title novella, "Rope Burns," falls somewhat behind the sterling standard set by the other stories, with their firm authority and dead-on dialogue. It is more ambitious, even operatic, in its pitting of an almost superhumanly noble Olympic contender against a low-life East Los Angeles gang member at the time of the Rodney King riots. Like all of Toole's stories, it's breathlessly readable, even though the climactic bloodshed feels forced, as if Toole's cool narrative style cannot bear so much melodramatic freight. But make no mistake, the man is a heavyweight fiction contender. Copyright 2000 Cahners Business Information.|
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Product Details

  • ISBN-13: 9780060819262
  • Publisher: HarperCollins Publishers
  • Publication date: 1/5/2005
  • Pages: 256
  • Sales rank: 573,278
  • Product dimensions: 5.31 (w) x 8.00 (h) x 0.57 (d)

Meet the Author

F. X. Toole was born in 1930. Having worked as a bullfighter, professional boxing "cut man," taxi driver, and saloon keeper, Toole published his first book of fiction at age seventy. He died in 2002, before seeing his short story "Million Dollar Baby" become an Academy Award-winning film.

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Read an Excerpt

Million Dollar Baby

Stories from the Corner


By F. X. Toole

OPEN ROAD INTEGRATED MEDIA

Copyright © 2000 F. X. Toole
All rights reserved.
ISBN: 978-1-4532-5398-4



CHAPTER 1

The Monkey Look


I stop blood.

I stop it between rounds for fighters so they can stay in the fight.

Blood ruins some boys. It was that way with Sonny Liston, God rest his soul. Bad as he was, he'd see his own blood and fall apart.

I'm not the one who decides when to stop the fight, and I don't stitch up cuts once the fight's over. And it's not my job to hospitalize a boy for brain damage. My job is to stop blood so the fighter can see enough to keep on fighting. I do that, maybe I save a boy's title. I do that one little thing, and I'm worth every cent they pay me. I stop the blood and save the fight, the boy loves me more than he loves his daddy.

But you can't always stop it. Fight guys know this. If the cut's too deep or wide, or maybe you got a severed vein down in there, the blood keeps coming. Sometimes it takes two or three rounds to stop the blood, maybe more—the boy's heart is pumping so hard, or he cuts more. Once you get the coagulant in there, sometimes it takes another shot from the opponent right on the cut itself to drive the blood far enough from the area so the stuff you're using can start to work. What I'm saying is there are all kinds of combinations you come up against down in the different layers of meat. When a good cut man stays ahead of the combinations, he can stop most cuts, but not every one.

Fights can be stopped for a lot of reasons. A football eye swollen shut can stop a fight. But fights aren't stopped just because a fighter is cut. It's where he's cut. Below the eye, or alongside it, that won't usually stop a fight. Neither will a cut if it's in or above the eyebrow, or up in the forehead, or in the scalp. Broken nose? Sometimes yes, sometimes no. A cut in the eyelid, because of possible damage to the eyeball and the threat of blindness, that can stop a fight quick. So will blood pumping down into a boy's eyes. Blood can blind a fighter, maybe cost him the fight, or worse, because when he can't see he starts taking shots he wouldn't otherwise take, and now he ends up on his ass blinking through the lights and shadows of future memories.

Boy gets cut, I always crack the seal of a new, one-ounce bottle of adrenaline chloride solution 1:1000. When it's fresh, it's clear like water but has a strong chemical smell. The outdated stuff turns a light pinkish color, or a pale piss-yellow. When that happens, it couldn't stop fly blood. I might pour adrenaline into a small plastic squeeze bottle if I need to use sterile gauze pads along with a swab, but I never use adrenaline from a previous fight. I dump it, even if three quarters of it is left. This way it can't carry blood over from another fight, and none of my boys can get AIDS from contaminated coagulant. I'd give AIDS to myself before I'd give it to one of my boys.

Trainers and managers and fighters call me. They know me from when I used to train fighters. But I got too old and was walking around with my back and neck crippled up all the time from catching punches with the punch mitts. Boxing is a game of half steps and quarter inches, a game where old men belong as much as the young. Without us, there couldn't be fights. Fans think boxing is about being tough. For members of the fancy, the fight game is about getting respect.

My first fight working the corner of Hoolie Garza came after his trainer talked to me, Ike Goody. Ike was a club fighter in the fifties, but like most first-rate trainers, he was never a champ. With the exception of Floyd Patterson, I don't remember another champ who ever made a champion. Hoolie Garza is a twenty-six-pounder, a smart featherweight Mexican boy who thinks he's smarter than he is. He was born in Guaymas, a port on the Gulf of California inside Baja. He was raised illegal in East Los Angeles, where he fought with his big brothers for food. His real name is Julio César Garza, but as a kid he was nicknamed Juli—in Spanish it's pronounced "hoolie." Juli was Americanized to Hoolie, the way Miguel, or Michael, is sometimes Americanized into Maikito.

After the Korean War, I went to school in Mexico City on the G.I. Bill. I wanted to learn Spanish, maybe teach it. So I hung around with Mexicans rather than other Americans. Some of my friends were bullfighters. I had a fling with the daughter of the secretary to the president of Mexico, a natural blonde who drove a car with license-plate number 32. She, God bless her, was one of the ways I learned Spanish on several levels and in different accents. I usually keep my Spanish to myself, like a lot of Latinos in the U.S. keep their English to themselves. But if they find out and ask about it, I tell them I was a student in Mexico and Spain both, and I say, "Hablo el españo sólo si me conviene—I speak Spanish only when it's to my advantage." They always smile. Some laugh out loud and wag their finger. A lot of Latino fighters coming to fight in L.A. use me in their corner; some fly me to Vegas. I'm as loyal to them as I am to an American, or to an Irishman, which is why I never bet on a fight I'm working—not on the boy I'm working with, and not on the other fighter. This way, if I somehow screw up and cause my boy to lose, it can never be said that I did business.

Ike caught up with me at Bill Slayton's gym in South Central Los Angeles. "Hoolie's got a fight in Tijuana, Old Mexico. He wants you."

"What's he getting?"

"Short money. You know about his California suspension problem? The Mexicans know about it, too. A lousy twenty-five hundred dollars for ten rounds. It's with a tough TJ boy, Chango Pedroza. They want to make a name off us. It's Hoolie's third fight after his suspension. Two wins by kayo. Hoolie says he'll pay the regular two percent. I told him no good, you won't work ten rounds for that, but he kept after me, so I said I'd talk to you."

"He smoking dope again?"

Ike shrugged. "I know he's hurting for bread."

"I don't work that cheap, fifty lousy dollars tell him. Tell him to get someone from down there."

"He's a bleeder. That's why he wants you."

"It's a hundred fifty miles down there, Ike, so I go for a tank of gas, right? Now I don't get home until after four A.M. I don't work for fifty here in L.A., unless it's a four-rounder."

See, Ike had always told me the truth, always done square business with me, so I believed that Ike was telling me the truth about what Hoolie told him about the purse ... but I knew some things about Hoolie, and who could tell what kind of truth he was telling Ike? Let me tell you, Hoolie was a hell of a fighter, a tough little bastard who'd meet you in the middle of the river and fight you. He had an underslung jaw and a hooked nose that pointed off at an angle. And scar tissue. At twenty-nine he was losing his hair, so he shaved his head. Tattoos from jail and from every country he'd fought in, roses and daggers, same old shit. Fought for a title his third fight out of the joint, where he did time for assault with a deadly weapon. Not his hands, he didn't want to hurt his hands, he pistol-whipped some guy who smiled at his wife. He almost won his title shot, but he got tired late, and the other guy came on in the tenth, eleventh, and twelfth. Hoolie, like always, was cut up, but the cuts didn't become a factor. After the title fight was over, Hoolie failed his piss test. They found traces of marijuana in his specimen and suspended him in California for a year, and held up his purse as well. It means Hoolie can't fight anywhere else in the States that counts because most state boxing commissions honor each other's ban.

But Hoolie was a good draw; promoters from all over wanted him because he was so tough and because of the blood. That's why Hoolie had to fight outside the States for short money—in Australia, in Latin America, in the Philippines, wherever there are little guys. And to stay busy, so he could be ready for his next shot at another belt.

So after Ike made three phone calls, I settled for a hundred. I took it because Ike was a longtime friend, and because it gave me an excuse to go down to a seafood restaurant there in TJ named La Costa, a place you can get some of the best camarones rancheros in the world—shrimp in a hot sauce with garlic, peppers, onions, tomatoes, and cilantro. Wash it down with a couple of Bohemias. For appetizers, they serve deep-fried freshwater smelt with fresh salsa and limes. I say an Act of Contrition every time I leave the place. Been going to La Costa thirty years.

I also took the fight because once the suspension is lifted, Hoolie's was sure to get another title fight. He uses me, I can make a little money. Ballpark, I get first cut of the purse, 2 percent. Some guys get more, some less. It's business. On a fifty-thousand-dollar fight, that means a thousand for me. But maybe my boy doesn't get cut at all, so I just sit ringside and watch. But I still get paid. Bigger fights, I try to get the same 2 percent if I can, or I charge a flat fee. But a four-round prelim boy, he needs a cut man same as a champ, right? So if I'm going to be at the arena with another boy anyway, and I like the prelim boy and his trainer, or maybe I feel sorry for a scared kid, a lot of times I don't charge—the prelim boy's only making four hundred bucks in the first place. Out of that, he's got to pay his trainer 10 percent off the top, and his manager another 33½. Ike doesn't charge his prelim boys.

But this is a game of money, right? So I got to be careful. I charge too little at the start, some boys won't respect me, and then they don't want to pay more when they make more. And some will stiff you, even after you save their careers.

Before I left Ike at Slayton's, I told him that the Tijuana Commission would look for any way to disqualify Hoolie, and he should warn Hoolie that they'd be sure to make him take a piss test if he won.

"You right, you right," said Ike. "Damn."

"Is he clean?"

"Say he is."

In TJ, Hoolie's got his wife, his mother, and two brothers he's got to feed; he's got to feed Ike and me, and Ike's backup corner man. There are two more as well: a homeboy member of Hoolie's Frogtown gang, and a black kick boxer, a kid called Tweety, who's as polite and well-spoken as a Jesuit. The weigh-in was at noon the same day of the fight, with the fights to go off at ten that night. Hoolie was staying in the same hotel where the fight's going off. He wants to eat at five, but not in the hotel, where at lunch he was pestered by people after his autograph. He's a big man in Mexico, what with him being born down there and making it in the States.

He asks me about seafood and if I know a good place to eat in town. I tout him on La Costa, but tell him it isn't cheap, and he says no big thing. So many people eating, it had to cost Hoolie a bundle. I wondered why he was paying for people who weren't family or working his corner, but he paid the tab without a bitch. No problem, until the waiter collected and counted Hoolie's money. I could tell from the waiter's face that Hoolie had stiffed him. So now I got to wonder if he'll do the same to me. I slip the waiter thirty dollars for himself. With the tank of gas I had to buy, I was working for nothing, right?, since the adrenaline I know I'll be using on Hoolie's cuts later that night has already cost me another seventeen dollars and change. But what am I going to do? I'd known these waiters for years, and I can't let them get stiffed on my call.

Some fighters cut all the time, others hardly ever. Hoolie's a bleeder, it's what you call a fighter who cuts easy. Guy like that can make for a long night. It's not something he can do anything about, being a bleeder, any more than a guy with a glass jaw can do something about not having a set of whiskers. I don't know if it's the bone structure around the eyes of a bleeder, or something to do with the elasticity or the thickness of the skin, but some of them get cut damn near every fight. It doesn't take long for a bleeder's eyes to droop from severed nerves, or before they develop a monkey look around the eyes from the buildup of scar tissue. Hoolie's got the monkey look. Nature builds up scar tissue to protect the eyes, but in boxing it's often the scar tissue that's the problem—the soft skin next to the scar will tear free from the scar because of the difference in texture between the two.

It was in the second round that Hoolie's eyes started to bleed. I kept him going, but the cuts in his eyelids got worse as the fight wore on. But as long as Ike and I could get him ready for the next round, he was standing up at the ten-second warning and waiting for the bell. Little shit, he recuperates between rounds better than anyone I ever saw. Punch by punch, he wore Pedroza down. Pedroza went after Hoolie's eyes, twisting his fists on impact to tear open the cuts even more. Hoolie stayed close, went to the body with shots to the liver, ribs, and heart. The liver shots made Pedroza gasp, the heart shots made him wobble.

Pedroza was a local boy, a good fighter with the will to win. The crowd was clearly in his corner, and so was the ref, who took a point away from Hoolie by calling a phony low blow. In Mexico, if somebody is cut, they tend to let the fights go longer than in the U.S. But if you happen to be the guy from out of town—and you're the one who's cut—and if the promoter is looking to get a win for his boy—you know you better knock him out in a hurry, because they'll stop the fight on you as soon as they figure the local boy's ahead on points. The ref kept calling time and looking at Hoolie's cuts, but I stopped the blood and the ref couldn't stop the fight.

I repaired Hoolie's eyes after the third and the fourth. After the fifth I did it again, then swabbed his nose with adrenaline to jack some energy into him through the mucus membrane. Hoolie punched himself on each side of his face and slid out to the center of the ring, his hands intentionally down low. Before Pedroza could get off on what he thought was an opening, Hoolie caught him with a sneak right-hand lead that stunned him. Then he caught him with a short left hook to the liver that paralyzed him. Pedroza went down on his face from an uppercut and then twisted into a tight ball of hurt. The timekeeper and the ref stretched the count, but they could have counted to fifty for all it mattered.

The crowd was howling and throwing beer into the ring. We got to the dressing room as fast as we could. The shower and the toilet were in the same closed cubicle within the dressing room. All of Hoolie's people crowded in while Ike and I were pumping fluids into him and trying to towel him down. We were all happy and toothy. It's always like that when you win. The press was polite, and Hoolie's fans pushed in to shake his hand. A bottle of tequila was passed around, an uncommon thing, and Hoolie took a couple of hits. Tweety positioned himself inside the crapper, turned off the light in there, and closed the door so he couldn't be seen.

Two minutes later the Commission doctor pushed through the dressing room door, followed by the promoter, whose number-one boy Hoolie had just dropped. With a smug look, the doctor held up a plastic specimen bottle. Ike glanced over at me, rolled his eyes.

"La-la-la," said the doctor, sure he'd busted Hoolie.

If Hoolie fails the test, the promoter's boy doesn't suffer the loss on his record, and the promoter doesn't have to pay Hoolie. Hoolie doesn't get paid, neither does Ike, neither do I. Hoolie took the piss bottle with a smile. He pulled open the door to the toilet so it covered half his body. It also blocked Tweety from the doctor. Hoolie dropped his trunks and cup to his knees and stood where the doctor could still see his bare ass. From my position, I watched the action. Hoolie handed the bottle inside the toilet to Tweety, who already had his dick out. Tweety pissed into the bottle while Hoolie made a piss face and jerked his arm around like he was shaking his dick. Tweety gave the bottle back to Hoolie, and after closing Tweety in, Hoolie passed the hot bottle back to the doctor. Hoolie's gangster pal stood in front of the door picking his nose.

From Hoolie's relaxed attitude, and from the heat of the specimen bottle, the doctor was no longer so sure that he'd nailed a drug offender. The promoter saw the doctor's face and began talking to himself.

The reason behind what the doctor and the promoter tried to do disgusted me, not the piss test. But the game Hoolie and Tweety ran got to me even more. I love boxing almost as much as I love the Sacraments. You play by the rules. You never throw a fight, and you never throw intentional low blows ... unless the other guy does it first. When I realized that Hoolie was still smoking dope, I got out of there as soon as I could.

"Hoolie," I said, "I got to go. How about takin care of me."

"I'm broke until the promoter pays me, man."

"When's that?"

"Tomorrow morning when the bank opens, homes. Hey, I'm good for it, you know me, man. I don't see you around, I'll give your piece to Ike so he can take care of you, what you say?"

"It's only a hundred."

"I'm broke, man, that's why I took this shit fight, and my wife's knocked up, man."


(Continues...)

Excerpted from Million Dollar Baby by F. X. Toole. Copyright © 2000 F. X. Toole. 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.

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Table of Contents

Contents

Member of the Fancy: An Introduction,
The Monkey Look,
Black Jew,
Million $$$ Baby,
Fightin in Philly,
Frozen Water,
Rope Burns,
Training A Heavyweight,
Holy Man,
Midnight Emissions,
A Biography of F.X. Toole,
Between Rounds: An Acknowledgment,

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First Chapter

Million Dollar Baby
Stories from the Corner

Chapter One



The Monkey Look



I stop blood.

I stop it between rounds for fighters so they can stay in the fight.

Blood ruins some boys. It was that way with Sonny Liston, God rest his soul. Bad as he was, he'd see his own blood and fall apart.

I'm not the one who decides when to stop the fight, and I don't stitch up cuts once the fight's over. And it's not my job to hospitalize a boy for brain damage. My Job is to stop blood so the fighter can see enough to keep on fighting. I do that, maybe I save a boy's title. I do that one little thing, and I'm worth every cent they pay me. I stop the blood and save the fight, the boy loves me more than he loves his daddy.

But you can't always stop it. Fight guys know this. If the cut's too deep or wide, or maybe you got a severed vein down in there, the blood keeps coming. Sometimes it takes two or three rounds to stop the blood, maybe more-the boy's heart is pumping so hard, or he cuts more. Once you get the coagulant in there, sometimes it takes another shot from the opponent right on the cut itself to drive the blood far enough from the area so the stuff you're using can start to work. What I'm saying is there are all kinds of combinations you come up against down in the different layers of meat. When a good cut man stays ahead of the combinations, he can stop most cuts, but not every one.

Fights can be stopped for a lot of reasons. A football eye swollen shut can stop a fight. But fights aren't stopped just because a fighter is cut. It's where he's cut. Below the eye, or alongside it, that won't usually stop a fight. Neither will a cut if it's in or above the eyebrow, or up in the forehead, or in the scalp. Broken nose? Sometimes yes, sometimes no. A cut in the eyelid, because of possible damage to the eyeball and the threat of blindness, that can stop a fight quick. So will blood pumping down into a boy's eyes. Blood can blind a fighter, maybe cost him the fight, or worse, because when he can't see he starts taking shots he wouldn't otherwise take, and now he ends up on his ass blinking through the lights and shadows of future memories.

Boy gets cut, I always crack the seal of a new, one-ounce bottle of adrenaline chloride solution 1:1000 When it's fresh, it's clear like water but has a strong chemical smell. The outdated stuff turns a light pinkish color, or a pale piss-yellow. When that happens, it couldn't stop fly blood. I might pour adrenaline into a small plastic squeeze bottle if I need to use sterile gauze pads along with a swab, but I never use adrenaline from a previous fight. I dump it, even if three quarters of it is left. This way it can't carry blood over from another fight, and none of my boys can get AIDS from contaminated coagulant. I'd give AIDS to myself before I'd give it to one of my boys.

Trainers and managers and fighters call me. They know me from when I used to train fighters. But I got too old and was walking around with my back and neck crippled up all the time from catching punches with the punch mitts. Boxing is a game of half steps and quarter inches, a game where old men belong as much as the young. Without its, there couldn't be fights. Fans think boxing is about being tough. For members of the fancy, the fight game is about getting respect.

My first fight working the corner of Hoolie Garza came after his trainer talked to me, Ike Goody. Ike was a club fighter in the fifties, but like most first-rate trainers, he was never a champ. With the exception of Floyd Patterson, I don't remember another champ who ever made a champion. Hoolie Garza is a twenty-six-pounder, a smart featherweight Mexican boy who thinks he's smarter than he is. Ile was born in Guaymas, a port on the Gulf of California inside Baia. He was raised illegal in East Los Angeles, where he fought, with his big brothers for food. His real name is Julio Cesar Garza, but as a kid he was nicknamed Juli -- in Spanish it's pronounced "hoolie." Juli was Americanized to Hoolie, the way Miguel, or Michael, is sometimes Americanized into Maikito.

After the Korean War, I went to school in Mexico City on the G.I. Bill. I wanted to learn Spanish, maybe teach it. So I hung around with Mexicans rather than other Americans. Some of my friends were bullfighters. I had a fling with the daughter of the secretary to the president of Mexico, a natural blonde who drove a car with license-plate number 32. She, God bless her, was one of the ways I learned Spanish on several levels and in different accents. I usually keep my Spanish to myself, like a lot of Latinos in the U.S. keep their English to themselves. But if they find out and ask about it, I tell them I was a student in Mexico and Spain both, and I say, "Hablo el espanol solo si me conviene-- I speak Spanish only when it's to my advantage." They always smile. Some laugh out loud and wag their finger. A lot of Latino fighters coming to fight in L.A. use me in their corner; some fly me to Vegas. I'm as loyal to them as I am to an American or to an Irishman, which is why I never bet on a fight I'm working -- not on the boy I'm working with, and not on the other fighter. This way, if I somehow screw up and cause my boy to lose, it can never be said that I did business...

Million Dollar Baby
Stories from the Corner
. Copyright © by F. X. Toole. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted February 14, 2005

    WOW! Now that's Acurate!

    A collection of six short stories that provide a clear and unobstructed view into the world of boxing. Each story has it's own theme and plot, but they all provide an excellent insight to what goes on in the gym, on the apron and in the ring. The author does an excellent job of representing all of the true characters of Boxing. Every one of which you can find ringside at a small fight at the Blue Horizon. Note to potential readers: If you dont understand the game and science of boxing, this book will prove difficult.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 24, 2013

    OMG

    I just love the movie to this but also sad cause when shes fighting close to the end she breaks her neck:(

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 17, 2013

    No text was provided for this review.

Sort by: Showing all of 3 Customer Reviews

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