The Devil's Snake Curve: A Fan's Notes From Left Fieldby Josh Ostergaard
The Devil's Snake Curve offers an alternative American history, in which colonialism, jingoism, capitalism, and faith are represented by baseball. Personal and political, it twines Japanese internment camps with the Yankees; Walmart with the Kansas City Royals; and facial hair patterns with militarism, Guantanamo, and the modern security state. An essay, a/i>
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The Devil's Snake Curve offers an alternative American history, in which colonialism, jingoism, capitalism, and faith are represented by baseball. Personal and political, it twines Japanese internment camps with the Yankees; Walmart with the Kansas City Royals; and facial hair patterns with militarism, Guantanamo, and the modern security state. An essay, a miscellany, and a passionate unsettling of Josh Ostergaard's relationship with our national pastime, it allows for both the clover of a childhood outfield and the persistence of the game's service to those in power. America and baseball are both hard to love or leave in this, by turns coruscating and heartfelt, debut.
Josh Ostergaard holds an MFA in creative writing from the University of Minnesota and an MA in cultural anthropology. He has been an urban anthropologist at the Field Museum and now works at Graywolf Press.
In his highly entertaining and always enlightening “subjective retelling of the sport’s history,” Ostergaard takes a nonlinear approach to discussing the cultural importance of baseball, successfully combining historical and personal anecdotes, statistical facts, and famous myths and legends. His goal is to show “the ways in which baseball has been represented in the U.S., and how these representations can be understood in the context of American history.” He moves easily from the relationship between baseball and political thinking shared during the early 1960s by fierce enemies Fidel Castro and Allen Dulles, to the ways baseball managers and owners attempted to enforce rules about hair length and mustaches at the same time that those rules were being rejected in American culture in general. One of the most provocative sections details the eerie symmetry between Clark Griffith, whose Washington Senators had been “squashed” by the New York Yankees for 17 straight seasons, and Hemingway’s character Santiago in The Old Man and the Sea, whose words and actions Ostergaard convincingly argues are subtle commentaries about the baseball postseason and the World Series. (Apr.)
"The Devil's Snake Curve will receive a particularly warm welcome from those who love the game but resist easy analogies comparing its slow, idiosyncratic progress to the slow idiosyncratic progress of the American experiment. Its young author, Josh Ostergaard, emerges from an ironic generation that tends to regard hero worship as faintly ridiculous, meaning that individual legends from any given era are less interesting to him than whatever social, cultural, or political forces might have combined to prop those legends up." New York Times
"Expansive and inventive... a challenging reconsideration of a game that used to be called the national pastime." Star Tribune
“[Hi]ghly entertaining and always enlightening . . . [Ostergaard] moves easily from the relationship between baseball and political thinking shared during the early 1960s by fierce enemies Fidel Castro and Allen Dulles, to the ways baseball managers and owners attempted to enforce rules about hair length and mustaches at the same time that those rules were being rejected in American culture in general.” Publishers Weekly
“Smart, funny and wholly unique. Josh Ostergaard creates a collage of baseball's complications, tracing its shimmering lore and harsh realities. He gives us a game that is never static, never simple, but is worth knowing. In his hands, the familiar feels new again.” Lucas W. Mann, author of Class A: Baseball in the Middle of Everywhere
“I thought I wasn’t interested in baseball until I read this book. It’s like a box of eclectic baseball cards about our country and our culture curious, compelling, and disturbing in turn.” Eula Biss, author of Notes from No Man’s Land
"In a sports publishing season with few books about the scandal side of, say, NFL violence, NCAA hypocrisy, or drug use, there is a little book with a social conscience. Josh Ostergaard (who now works for Graywolf Press) has written The Devil’s Snake Curve: A Fan’s Notes from Left Field, a book of essays and 'miscellany.'" Publishers Weekly, Included in "PW's Top 10: Sports"
"Readers who, like the author, see baseball as a metaphor for, well, nearly everything, and who deem the Yankees as not only representative of the misdistribution of wealth in America but also connected to such events as the Bay of Pigs invasion and the Vietnam War will love this book. Those who merely enjoy baseball as baseball, even those who root for his despised Yankees, may still find plenty to like in Ostergaard's oddball take on the sport." Booklist
"One of the most fascinating books ever written about baseball."The Cultural Weekly
“This graceful, quietly humorous and thought-provoking collection of anecdotes probes deeply into the meaning behind each parcel of information to capture what baseball was in the days before what baseball is now.” MinnPost
"A former urban anthropologist, Ostergaard loves baseball and the stories that "lie on the game's outer edges," the "murmurs between innings" where baseball intersects with -- well, just about everything in American life." Pioneer Press
“Funny, off the beaten path, and fun to read, The Devil’s Snake Curve is the perfect book for anyone who likes their baseball a little bit different, enjoys irreverent humor, or really hate the Yankees.” Boston Red Thoughts
"One of baseball’s charms for writers is as a broad canvas for the expression of personal piques, politics, and flights of imagination. Following the example of The Empire Strikes Out by Robert Elias, lefty Chicago urban anthropologist Josh Ostergaard proffers a revisionist historical commentary on baseball in The Devil’s Snake Curve. . ." The Daily Beast
"Ostergaard is an incisive, intelligent writer . . . At best, the book is a brilliant exercise in sequence and transition, with dozens of short sections carefully laid out in order to maximize inference and suggestion.” The Corresponder
“The Devil’s Snake Curve is a unique baseball book, one that cleverly explores the history of the sport through cultural and political lenses.”Largehearted Boy
“This book is like a day at the ballpark. Histories are the murmurs between innings. They are the pitches that make up a game. They careen off the wall and roll into dark corners. The game is played in fragments. Meanings accrue. Memories interrupt history.”The Joy of Sox
"Even in the lengthy tradition of baseball literature, The Devil's Snake Curve defies easy comparison. . . There are a few real discoveries for even a devoted baseball history dweeb in The Devil’s Snake Curve."The Classical
"This anecdotal history of baseball is a gem. Musingsboth personal and historicalare intertwined with snippets of Americana, dashes of history, and cultural observations by an urban anthropologist. Flip through the book and randomly read about pissing in the Wrigley Field troughs, Allan Dulles' CIA coups, bubble gum and tobacco rituals, the politics of facial hair, and both religious and ideological attempts to co-opt sport. Or better yet, read it again it the way the author intended to see the connections between Baseball and Machines, Militarism, the Animal World, Nationalism and the Corporatocracy." Annie Bloom Books
“The Devil’s Snake Curve. . . is unique, insightful, humorous and worth reading. It is a kind of radical and high subjective view of the national pastime, a kind of “Fargo” of baseball books." Epoch Times
“Ostergaard seamlessly meshes baseball with pop culture and politics, both in the U.S. and around the world.” Ron Kaplan’s Baseball Bookshelf
"This collection of news reports, anecdotes, statistics and personal reminiscences turns an eclectic history of baseball into a backdrop for American political history. "Shelf Awareness
“Out of the many fragments of baseball history collected in The Devil’s Snake Curve, Josh Ostergaard has assembled a unique take on baseball’s complicated symbolism. Full of mustaches, advertisements, and more than a few reasons to hate the Yankees, it’s a story about how baseball became intertwined with our ideas about things like patriotism, civility, and masculinity. Ostergaard’s interpretation of baseball’s history is one I was increasingly drawn into, and while he doesn’t pretend to be objective, he leaves room for readers to make their own connections and draw their own conclusions. It is as thought provoking as it is entertaining.” Jacob Harksen, Elliot Bay Books
“An insightful, humorous social commentary on our nation. Drawing connections between the sport and capitalism, faith, and colonialism (just to name a few), Ostergaard draws the reader into his passionate perspective, and leaves us reflecting on the state of our country.”City Pages
”Ostergaard aligns baseball and history so that wonderful coincidences arise."Fiction Advocate
“[The Devil’s Snake Curve] scorches baseball’s corporate (i.e., greedy) side and its pen- chant for wrapping itself in the flag, which includes American-style imperial- ism, the kind that blithely, almost unconsciously, styles baseball as redemptive force, good for the world’s untamed and unwashed.”NINE
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Read an Excerpt
The Devil's Snake Curve
A Fan's Notes from Left Field
By Josh Ostergaard
COFFEE HOUSE PRESSCopyright © 2014 Josh Ostergaard
All rights reserved.
Long Ago, in Kansas
The clover in deep left field was delicious. I crouched for a better look, laid my glove on the thick green grass. My shoe was untied. A cluster of purple flowers gleamed, each blossom a mid-inning snack. I picked the best one—not the biggest, because their nectar has usually dried, but the darkest purple bud. I stood, tucked my glove under my arm, plucked the long purple threads, placed their white stems between my teeth, and pulled. Sweet nectar spread across my tongue. Coach called my name. I looked. The inning was over. My teammates were already in the dugout.
It was the worst part of winter: the dark, dead stretch between the end of the World Series and the day pitchers and catchers reported for spring training. At eleven years old, it was my season in hell. Days were short and temperatures steadily dropped, nothing to do but throw snowball strikes. But one day was different—in the basement I conjured sunshine.
A few months before, during the hottest part of summer, I had spent my allowance on two blank cassette tapes and stolen my older sister's tape recorder—a black-and-silver machine the size of a shoe. She always taped songs off the radio, like "Wake Me Up Before You Go-Go." We'd lie on the floor of her bedroom and listen. But I had a new plan. The Kansas City Royals played every night in our living room. The announcers kept us company, reciting the details of the games, sharing memories of past seasons. One sweltering evening, recorder in hand, I crept through the living room to our ancient family stereo and turned up the volume on the game. I placed the machine next to a speaker and pushed Record. The tape rolled slowly forward. I left the room to light the grill and ignored the game, hoping to remain ignorant of the score. I returned only to flip the tape.
Now it was winter, and even on a rare sunny day the light in Kansas was dim and thin, like air breathed through a heavy scarf. It was bitterly cold, and dirty snow was piled high on the edge of everyone's driveway. My older sister was busy with band practice, and my younger sister was busy reading Lord of the Flies. I could not take one more day of winter. I dug the tape from the nest of junk that was my bedroom, stole my sister's tape player, and darted down to our unfinished basement. It was dark, cold, and I was alone. Spring would never come. I settled in a corner, under a blanket, near a heat vent. I pushed play, the wheels turned slowly, and I heard announcer Denny Matthews say, "We'll be back in a few minutes with the lineup for today's game against the White Sox."
I sat and listened, and though I could hear the wind moaning outside our house as it whipped the branches of our giant cottonwood trees, the basement seemed to fill with sunlight and warmth. I listened to the announcers banter back and forth and call the play-by-play, and suddenly it was a hot July day, the peak of summer, with months still left in the baseball season. It was staying light until nine, the Kansas City Royals had hopes of winning, cared about winning, tried to win. In the emptiness of winter it seemed possible as I listened to Bret Saberhagen, Bo Jackson, Kevin Seitzer, and George Brett keep the Royals aloft in the league standings.
On my first visit to the Baseball Hall of Fame, I looked for the plaque awarded to Royals legend George Brett. While I was growing up in Royals country, Brett was one of the best players in the nation, keeping us in contention year after year, and he is the only player inducted wearing a Royals uniform. But his career is more than just a smattering of memories—it's a reminder of what became of the Royals after he retired. They lost 100 games in 2002, and in the year of this visit, 2004, they were on their way to losing 104.
Bronze plaques lined the wood-paneled walls. I did not see George Brett. I was surrounded by Yankees: Babe Ruth, Reggie Jackson, Whitey Ford, Yogi Berra, and on and on, everywhere I looked. The Royals' rivalry with the Yankees—my rivalry with the Yankees—bloomed in the late seventies and eighties, when the Royals fielded contending teams and actually beat them in the playoffs. Years later, disgust for the Yankees lingered in the Kansas City air like a stench from a rendering plant. As I stood in the Hall of Fame, I looked at the Yankees enshrined on the wall and felt anger zipping along the nerves in my arms and legs.
And then I found Brett's plaque:
Played each game with ceaseless intensity and unbridled passion.... Hit .390 in 1980 MVP season and led Royals to first World Series title in 1985.... A clutch hitter whose profound respect for the game led to universal reverence
The next season, 2005, the Royals lost 106 games, and in 2006 they lost an even 100. Reading Brett's plaque and seeing it there with the other greats was a balm, and though it reminded me that Kansas City has a disadvantage by dint of geography and economics, it also proved that the system once allowed Podunk teams to compete.
Many baseball stories are about fathers and sons. This one is not, though it could have been. When I was a kid, my dad and I saw the Athletics, Dodgers, Padres, Twins, Cardinals, Mets, Royals, Cubs, White Sox, and Blue Jays play in their home stadiums. As father and son, we watched Ken Griffey Sr. and Jr. play together in the Kingdome.
Every summer, my dad and I played catch in our backyard. When he was out of town, my mom wore his glove. We created our perfect little world and there is no downside to that story. They went to my little-league games and encouraged me when I struck out. My dad and I collected baseball cards, and he let me open his half of our shared box of 1987 Fleer. He even let me inscribe the value of the cards on their back side with a ballpoint pen, defacing the likes of Will Clark and Bobby Bonilla.
I could write much more about the side of baseball, and America, these stories represent. I've lived it. It's wonderful. The experiences my family and I had together through baseball were a magical part of my life as a kid. But as an adult, they turn my stomach sour. They don't reflect the world I live within and choose to see. The old way of seeing feels saccharine, though I realize it's more my feeling than hard fact.
I used to think baseball was a game of certainties. The pitcher and batter did their gritty work, and the blurred ball thudded into the catcher's mitt or bounced off the right field fence. The official scorekeeper recorded precisely what happened. Every pitch was tabulated, digested, and put to use in understanding what might come next. The hit-and-run. A double steal. A grand slam on a 2 and 0 count. The game was a controlled space of its own. Its boundaries were clear: foul lines, baselines, backstop, outfield walls, strike, ball, out, walk. A defined physical space where players played, and seemed to do what they wanted even as they followed rules. A space outside of time. There was no clock. The final inning could last an hour, or five minutes. The game was predictable, yet it birthed infinite stories about what happened in the past or could happen next. Even within these variations, it felt comforting to see the same pattern, game after game. It felt comforting to sing along before the first pitch with my hand over my heart and my eyes on our flag. It felt comforting to stand and stretch during the seventh inning, and sing again. It felt comforting to go to the ballpark and escape life for a while.
One of the great things about baseball is the breaks built into its flow. Three strikes are an out, pause. Four balls are a walk, pause. Every inning is split in half. Some innings are short, some are long, some are exciting, some are boring, but there is always an interlude. If the game is good, each pitch, each wipe of the brow between pitches, has drama and suspense. If not, there is time to let your mind wander while sitting in the bleachers.
Baseball rewards inattention. I eat a hot dog or two and drink a beer or two, and overhear snippets of lively conversation. The suburban couple in the row behind me have left their Doberman and their kitten home alone together. Will Kitty survive the game? I see a colleague in the next section, and wave, only to panic because I have just been caught faking a sick day. But so has she, and I relax and finish my third hot dog and enjoy the freedom of throwing the wrapper to the ground.
I can eat six hot dogs in nine innings.
There's time to sing and stretch during the seventh: Take Me Out to the Ballgame, and in some stadiums, God Bless America. The next inning begins. The game can change at any moment. What began as a pitchers' duel may end with a home run. This book is like a day at the ballpark. Its stories are the murmurs between innings. They are the pitches that make up a game. They careen off the wall and roll into dark corners. The game is played in fragments. Meanings accrue. Memories interrupt history. Each of us should be an umpire.
He'll Save Children, But Not the British Children
George Washington had rotten teeth and wore a wig atop his natural hair. At the time of his death, the United States was twenty-three years old and ready to have its way with the world. The sport of baseball was little more than a homunculus lodged in the brains of cricket-weary Revolutionary War veterans.
Two hundred thirty-one years after our nation's founding, a company that specializes in making children's toys purchased three strands of Washington's hair. Corporate executives had the hairs embedded, one by one, into baseball cards. Alongside Ryan Braun or Josh Hamilton, a lucky boy or girl might find a card bearing the likeness of our dear leader, and the words: "This card contains an authentic hair of George Washington, first collected by his adopted daughter Eleanor Parke Custis."
Lest we believe George Washington's follicular trinity bestowed moral authority to the sport of baseball, it is wise to remember our first president as poet Dobby Gibson has:
This and the fact that George Washington's dentures weren't made of wood they were constructed from his slaves' teeth.
A man named Henry Chadwick is credited with inventing an improved baseball box score. He modified the system used by the English and their colonies to monitor cricket scores and statistics. The 1850s were the beginning of attempts to tabulate, in statistical form, what happened during baseball games. The accumulation of data. The hope of improvement. Science. Precision. Control.
Scorecards allowed the fans to participate in the game, and were first printed and made available to baseball throngs during the 1870s. One of the most vibrant of baseball's early entrepreneurs, Harry M. Stevens, helped popularize the use of scorecards among fans a decade later. As he hawked the cards, Stevens attracted attention in the grandstands by wearing a silk hat and a red coat while loudly reciting Shakespeare.
But statistics beg for subversion. Mark Twain served as an umpire for a baseball game in Elmira, New York, in 1887 between the Unions and the Alerts. Twain didn't suffer from nostalgia. Insanity, maybe. Vision, definitely. He had a knack for the absurd.
The teams were made up of local businessmen and politicians. The mayor pitched for the Unions, and the Alerts had the county judge in centerfield. Bankers, telephone company staffers, lumber executives, and other "leading citizens" filled out the lineups for both sides. It was a friendly match, and umpires were chosen by the teams. The Unions hired Reverend Thomas K. Beecher. Nobody invited Mark Twain, but he showed up anyway and demanded to be made a general umpire.
As the game progressed, Twain imposed his own commandments:
Any ball is a strike that passes within eight feet of the plate on either side of it.
To wait for good balls causes delay and public dissatisfaction and is not going to be allowed on this occasion. The batsman will strike at everything that comes, whether he can reach it or not. In waiting intervals, pecking at the plate with the bat to see if it is there will not be allowed. The batsman is denied all professional affectations; he must stand up straight and attend strictly to business.
The pitcher must not wipe the ball on his pants; neither must he keep inspecting it and squirming and twisting it and trying to rub the skin off it with his hands. He must not keep the public waiting while he makes allusory feints at reputable parties or first or second base. All these foolings delay the game and dull the excitement.
It was still only the first inning, and Twain's umpiring quickly grew more bizarre. He was irreverent. Rightly and blissfully so. The crowd and the teams turned on him when his proclamations skittered beyond reason.
No more than fifteen men at a time will be allowed to leave their places to chase a foul or a fly or a bluebottle, and prevent the capture of it. The catcher will keep his nose out of the batsman's pocket and stand fair. Cripples will be removed from the field at once and substitutes put into their places. No public rubbings and rollings and restorings will be allowed. They cause delay. Presentation speeches by dumb people not permitted. Persons arriving at bases on their stomachs do not score. Parties who guy the umpire will be killed.
After making these demands, Twain declared the Alerts' inning was over, and an argument ensued among players and spectators that lasted over a half hour. Twain finally allowed Reverend Beecher to take his place as umpire the next inning, and when the game resumed, the "Unions scored sixty-four home runs in succession."
When a reporter later visited Twain at home, the famous author said he preferred theology to baseball and would allow younger men to umpire in the future. A week later the paper reported anew on Twain's umpiring:
Realizing he was taking his life in his hands when he began to umpire a game at Elmira, he took with him also a dangerous-looking package which he carefully deposited near his post of duty. Before the game began he blandly informed the audience that he didn't propose to be mobbed by the aristocracy of Elmira, or any equally disreputable assemblage, and that he had written his obituary the night before. The mysterious package, he said, contained dynamite, and when his decisions gave dissatisfaction he coolly placed one foot upon it and the hubbub immediately ceased. To carry out his threat Mark Twain would have had to go up with the others in the explosion, but he was fully as anxious to go as anybody on the field.
It was early July, the best time to live in Chicago, and I was on a kickball team for adults called the Blackout Brigade. We played in a park in the north central part of the city on public diamonds after the kids were gone. The hour before sunset, the light was pink and gold. Our team arrived, one by one, some on foot, some in cars, most on bikes. We laughed and wondered whether we would score any runs that night. A duffel bag was unzipped, hands reached for cold cans of Old Style. A bottle of Jameson appeared.
The other team wore short yellow shorts and tight green shirts, did calisthenics, and blasted the Rolling Stones through a small, staticky, battery-operated tape deck. They had their own ball, and used it to run drills. They wanted to win. Two shabby men were drawn in by the music. The Rolling Stones are chum for burned-out ex-hippies. They stopped and slipped their fingers through the chain-link fence. They leaned in to watch, and stayed the whole game.
Our pitcher rolled wide of home plate. Smoke had forced him to close his eyes, a cigarette dangled from his lips. By day he was an engineer for a steel mill south of the city. Another roll, and the batter kicked the ball to our third baseman, who had not been looking, so it toppled the can of beer at her feet. Two runs scored. The other team was serious. They stretched doubles into triples. They had the lead. It grew and grew and grew. They tried, we laughed.
Not long after Mark Twain's turn as an umpire, a pitcher named Pud Galvin, whose face was bejeweled with a mustache more luxuriant than the emperor tamarin's, put his faith in science and delivered into his blood a potion made from the testicles of critters such as guinea pigs, monkeys, dogs, and sheep. The neurologist Charles-Édouard Brown Séquard invented the potion, which seemed to be able to restore vigor to men whose vim had withered. On August 12, 1889, Pud Galvin received his injection, and the next day pitched a 9–0 shutout over Boston. In his long career, Galvin won 361 games and lost 308. He was later elected to the Hall of Fame, despite his use of testicular elixirs.
Excerpted from The Devil's Snake Curve by Josh Ostergaard. Copyright © 2014 Josh Ostergaard. Excerpted by permission of COFFEE HOUSE PRESS.
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Meet the Author
Josh Ostergaard: Josh Ostergaard holds an MFA in creative writing from the University of Minnesota and an MA in cultural anthropology. He has been an urban anthropologist at the Field Museum and now works at Graywolf Press.
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