T.C. Boyle Stories

by T. Coraghessan Boyle

  Poised on the dugout steps like a bird dog, Hector waits, his eyes riveted on the bullpen. Please, he whispers, praying for the intercession of the Niño and pledging a hundred votary candles—at least, at least. Can it be?—yes, milk of my mother, yes—Kerensky himself strutting out onto the field like a fighting cock. Kerensky!

  Come to the birthday boy, Kerensky, he murmurs, so certain he’s going to put it in the stands he could point like the immeasurable Bambino. His tired old legs shuffle with impatience as Kerensky stalks across the field, and then he’s turning to pick Asunción out of the crowd. She’s on her feet now, Reina too, the kids come alive beside her. And Hector Jr., the book forgotten, his face transfigured with the look of rapture he used to get when he was a boy sitting on the steps of the dugout. Hector can’t help himself: he grins and gives them the thumbs-up sign.

  Then, as Kerensky fires his warm-up smoke, the loudspeaker crackles and Hector emerges from the shadow of the dugout into the tapering golden shafts of the late-afternoon sun. That pitch, I want that one, he mutters, carrying his bat like a javelin and shooting a glare at Kerensky, but something’s wrong here, the announcer’s got it screwed up: BATTING FOR RARITAN, NUMBER 39, DAVE TOOL. What the—? And now somebody’s tugging at his sleeve and he’s turning to gape with incomprehension at the freckle-faced batboy, Dave Tool striding out of the dugout with his big forty-two-ounce stick, Dupuy’s face locked up like a vault, and the crowd, on its feet, chanting Tool, Tool, Tool! For a moment he just stands there, frozen with disbelief. Then Tool is brushing by him and the idiot of a batboy is leading him toward the dugout as if he were an old blind fisherman poised on the edge of the dock.

  He feels as if his legs have been cut out from under him. Tool! Dupuy is yanking him for Tool? For what? So he can play the lefty-righty percentages like some chess head or something? Tool, of all people, Tool, with his thirty-five home runs a season and lifetime B.A. of .234; Tool, who’s worn so many uniforms they had to expand the league to make room for him—what’s he going to do? Raging, Hector flings down his bat and comes at Dupuy like a cat tossed in a bag. You crazy, you jerk, he sputters. I woulda hit him. I woulda won the game. I dreamed it. And then, his voice breaking: It’s my birthday, for Christ’s sake!

  But Dupuy can’t answer him, because on the first pitch Tool slams a real worm burner to short and the game is going into extra innings.

  By seven o’clock, half the fans have given up and gone home. In the top of the fourteenth, when the visitors came up with a pair of runs on a two-out pinch-hit home run, there was a real exodus, but then the Dodgers struck back for two to knot it up again. Then it was three up and three down, regular as clockwork. Now, at the end of the nineteenth, with the score deadlocked at seven all and the players dragging themselves around the field like gut-shot horses, Hector is beginning to think he may get a second chance after all. Especially the way Depuy’s been using up players like some crazy general on the Western Front, yanking pitchers, juggling his defense, throwing in pinch runners and pinch hitters until he’s just about gone through the entire roster. Asunción is still there among the faithful, the foolish, and the self-deluded, fumbling with her rosary and mouthing prayers for Jesus Christ Our Lord, the Madonna, Hector, the home team, and her departed mother, in that order. Reina too, looking like the survivor of some disaster, Franklin and Alfredo asleep in their seats, the niñitas gone off somewhere—for Coke and dogs, maybe. And Hector Jr. looks like he’s going to stick it out too, though he should be back in his closet writing about the mystical so-and-so and the way he illustrates his poems with gods and men and serpents. Watching him, Hector can feel his heart turn over.

  In the bottom of the twentieth, with one down and Gilley on first—he’s a starting pitcher but Dupuy sent him in to run for Manfredonia after Manfredonia jammed his ankle like a turkey and had to be helped off the field—Hector pushes himself up from the bench and ambles down to where Dupuy sits in the corner, contemplatively spitting a gout of tobacco juice and saliva into the drain at his feet. Let me hit, Bernard, come on, Hector says, easing down beside him.

  Can’t, comes the reply, and Dupuy never even raises his head. Can’t risk it, champ. Look around you—and here the manager’s voice quavers with uncertainty, with fear and despair and the dull edge of hopelessness—I got nobody left. I hit you, I got to play you.

  No, no, you don’t understand—I’m going to win it. I swear.

  And then the two of them, like old bankrupts on a bench in Miami Beach, look up to watch Phelan hit into a double play.

  A buzz runs through the crowd when the Dodgers take the field for the top of the twenty-second. Though Phelan is limping, Thorkelsson’s asleep on his feet, and Dorfman, fresh on the mound, is the only pitcher left on the roster, the moment is electric. One more inning and they tie the record set by the Mets and Giants back in ‘64, and then they’re making history. Drunk, sober, and then drunk again, saturated with fats and nitrates and sugar, the crowd begins to come to life. Go, Dodgers! Eat shit! Yo Mama! Phelan’s a bum!

  Hector can feel it too. The rage and frustration that had consumed him back in the ninth are gone, replaced by a dawning sense of wonder—he could have won it then, yes, and against his nemesis Kerensky too—but the Niño and Santa Griselda have been saving him for something greater. He sees it now, knows it in his bones: he’s going to be the hero of the longest game in history.

  As if to bear him out, Dorfman, the kid from Albuquerque, puts in a good inning, cutting the bushed Braves down in order. In the dugout, Doc Pusser, the team physician, is handing out the little green pills that keep your eyes open and Dupuy is blowing into a cup of coffee and staring morosely out at the playing field. Hector watches as Tool, who’d stayed in the game at first base, fans on three pitches, then he shoves in beside Dorfman and tells the kid he’s looking good out there. With his big cornhusker’s ears and nose like a tweezer, Dorfman could be a caricature of the green rookie. He says nothing. Hey, don’t let it get to you, kid—I’m going to win this one for you. Next inning or maybe the inning after. Then he tells him how he saw it in a vision and how it’s his birthday and the kid’s going to get the victory, one of the biggest of all time. Twenty-four, twenty-five innings maybe.

  Hector had heard of a game once in the Mexican League that took three days to play and went seventy-three innings, did Dorfman know that? It was down in Culiacán. Chito Marti, the converted bullfighter, had finally ended it by dropping down dead of exhaustion in center field, allowing Sexto Silvestro, who’d broken his leg rounding third, to crawl home with the winning run. But Hector doesn’t think this game will go that long. Dorfman sighs and extracts a bit of wax from his ear as Pantaleo, the third-string catcher, hits back to the pitcher to end the inning. I hope not, he says, uncoiling himself from the bench; my arm’d fall off.

  Ten o’clock comes and goes. Dorfman’s still in there, throwing breaking stuff and a little smoke at the Braves, who look as if they just stepped out of The Night of the Living Dead. The home team isn’t doing much better. Dupuy’s run through the whole team but for Hector, and three or four of the guys have been in there since two in the afternoon; the rest are a bunch of ginks and gimps who can barely stand up. Out in the stands, the fans look grim. The vendors ran out of beer an hour back, and they haven’t had dogs or kraut or Coke or anything since eight-thirty.

  In the bottom of the twenty-seventh Phelan goes berserk in the dugout and Dupuy has to pin him to the floor while Doc Pusser shoves something up his nose to calm him. Next inning the balls-and-strikes ump passes out cold, and Dorfman, who’s beginning to look a little fagged, walks the first two batters but manages to weasel his way out of the inning without giving up the go-ahead run. Meanwhile, Thorkelsson has been dropping ice cubes down his trousers to keep awake, Martinez is smoking something suspicious in the can, and Ferenc Fortnoi, the third baseman, has begun talking to himself in a tortured Slovene dialect. For his part, Hector feels stronger and more alert as the game goes on.
Though he hasn’t had a bite since breakfast he feels impervious to the pangs of hunger, as if he were preparing himself, mortifying his flesh like a saint in the desert.

  And then, in the top of the thirty-first, with half the fans asleep and the other half staring into nothingness like the inmates of the asylum of Our Lady of Guadalupe, where Hector had once visited his halfwit uncle when he was a boy, Pluto Morales cracks one down the first-base line and Tool flubs it. Right away it looks like trouble, because Chester Bubo is running around right field looking up at the sky like a birdwatcher while the balls snakes through the grass, caroms off his left foot, and coasts like silk to the edge of the warning track. Morales meanwhile is rounding second and coming on for third, running in slow motion, flat-footed and hump-backed, his face drained of color, arms flapping like the undersize wings of some big flightless bird. It’s not even close. By the time Bubo can locate the ball, Morales is ten feet from the plate, pitching into a face-first slide that’s at least three parts collapse, and that’s it, the Braves are up by one. It looks black for the hometeam. But Dorfman, though his arm has begun to swell like a sausage, shows some grit, bears down, and retires the side to end the historic top of the unprecedented thirty-first inning.

  Now, at long last, the hour has come. It’ll be Bubo, Dorfman, and Tool for the Dodgers in their half of the inning, which means that Hector will hit for Dorfman. I been saving you, champ, Dupuy rasps, the empty Gelusil bottle clenched in his fist like a hand grenade. Go on in there, he murmurs, and his voice fades away to nothing as Bubo pops the first pitch up in back of the plate. Go on in there and do your stuff.

  Sucking in his gut, Hector strides out onto the brightly lit field like a nineteen-year-old, the familiar cry in his ears, the haggard fans on their feet, a sickle moon sketched in overhead as if in some cartoon strip featuring drunken husbands and the milkman. Asunción looks as if she’s been nailed to the cross, Reina wakes with a start and shakes the little ones into consciousness, and Hector Jr. staggers to his feet like a battered middleweight coming out for the fifteenth round. They’re all watching him. The fans whose lives are like empty sacks, the wife who wants him home in front of the TV, his divorced daughter with the four kids and another on the way, his son, pride of his life, who reads for the doctor of philosophy while his crazy padrecito puts on a pair of long stockings and chases around after a little white ball like a case of arrested development. He’ll show them. He’ll show them some cojones, some true grit and desire: the game’s not over yet.

  On the mound for the Braves is Bo Brannerman, a big mustachioed machine of a man, normally a starter but pressed into desperate relief service tonight. A fine pitcher—Hector would be the first to admit it—but he just pitched two nights ago and he’s worn thin as wire. Hector steps up to the plate, feeling legendary. He glances over at Tool in the on-deck circle, and then down at Booger, the third-base coach. All systems go. He cuts at the air twice and then watches Brannerman rear back and release the ball: strike one. Hector smiles. Why rush things? Give them a thrill. He watches a low outside slider that just about bounces to even the count, and then stands like a statue as Brannerman slices the corner of the plate for strike two. From the stands, a chant of Viejo, Viejo, and Asunción’s piercing soprano, Hit him, Hector!

  Hector has no worries, the moment eternal, replayed through games uncountable, with pitchers who were over the hill when he was a rookie with San Buitre, with pups like Brannerman, with big-leaguers and Hall of Famers. Here it comes, Hector, 92 MPH, the big gringo trying to throw it by you, the matchless wrists, the flawless swing, one terrific moment of suspended animation—and all of a sudden you’re starring in your own movie.

  How does it go? The ball cutting through the night sky like a comet, arching high over the center fielder’s hapless scrambling form to slam off the wall while your legs churn up the basepaths, you round first in a gallop, taking second, and heading for third … but wait, you spill hot coffee on your hand and you can’t feel it, the demons apply the live wire to your tailbone, your legs give out and they cut you down at third while the stadium erupts in howls of execration and abuse and the niñitos break down, faces flooded with tears of humiliation, Hector Jr. turning his back in disgust and Asunción raging like a harpy, Abuelo! Abuelo! Abuelo!

  Stunned, shrunken, humiliated, you stagger back to the dugout in a maelstrom of abuse, paper cups, flying spittle, your life a waste, the game a cheat, and then, crowning irony, that bum Tool, worthless all the way back to his washerwoman grandmother and the drunken muttering whey-faced tribe that gave him suck, stands tall like a giant and sends the first pitch out of the park to tie it. Oh, the pain. Flat feet, fire in your legs, your poor tired old heart skipping a beat in mortification. And now Dupuy, red in the face, shouting: The game could be over but for you, you crazy gimpy old beaner washout! You want to hide in your locker, bury yourself under the shower-room floor, but you have to watch as the next two men reach base and you pray with fervor that they’ll score and put an end to your debasement. But no, Thorkelsson whiffs and the new inning dawns as inevitably as the new minute, the new hour, the new day, endless, implacable, world without end.

  But wait, wait: who’s going to pitch? Dorfman’s out, there’s nobody left, the astonishing thirty-second inning is marching across the scoreboard like an invading army, and suddenly Dupuy is standing over you—no, no, he’s down on one knee, begging. Hector, he’s saying, didn’t you use to pitch down in Mexico when you were a kid, didn’t I hear that someplace? Yes, you’re saying, yes, but that was—

  And then you’re out on the mound, in command once again, elevated like some half-mad old king in a play, and throwing smoke. The first two batters go down on strikes and the fans are rabid with excitement. Asunción will raise a shrine, Hector Jr. worships you more than all the poets that ever lived, but can it be? You walk the next three and then give up the grand slam to little Tommy Oshimisi! Mother of God, will it never cease? But wait, wait, wait: here comes the bottom of the thirty-second and Brannerman’s wild. He walks a couple, gets a couple out, somebody reaches on an infield single and the bases are loaded for you, Hector Quesadilla, stepping up to the plate now like the Iron Man himself. The wind-up, the delivery, the ball hanging there like a piñata, like a birthday gift, and then the stick flashes in your hands like an archangel’s sword, and the game goes on forever.

  (1983)

  WE ARE NORSEMEN

  We are Norsemen, hardy and bold. We mount the black waves in our doughty sleek ships and go a-raiding. We are Norsemen, tough as stone. At least some of us are. Myself, I’m a skald—a poet, that is. I go along with Thorkell Son of Thorkell the Misaligned and Kolbein Snub when they sack the Irish coast and violate the Irish children, women, dogs and cattle and burn the Irish houses and pitch the ancient priceless Irish manuscripts into the sea. Then I sing about it. Doggerel like this:

  Fell I not nor failed at

  Fierce words, but my piercing

  Blade mouth gave forth bloody

  Bane speech, its harsh teaching.

  Catch the kennings? That’s the secret of this skaldic verse—make it esoteric and shoot it full of kennings. Anyway, it’s a living.

  But I’m not here to carp about a skald’s life, I’m here to make art. Spin a tale for posterity. Weave a web of mystery.

  That year the winter ran at us like a sword, October to May. You know the sort of thing: permafrosting winds, record cold. The hot springs crusted over, birds stiffened on the wing and dropped to the earth like stones, Thorkell the Old froze to the crossbar in the privy. Even worse: thin-ribbed wolves yabbered on our doorstep, chewed up our coats and boots, and then—one snowy night—made off with Thorkell the Young. It was impossible. We crouched round the fire, thatch leaking and froze our norns off. The days were short, the mead barrel deep. We drank, shivered, roasted a joint, told tales. The fire played off our faces, red-gold and amber, and we fastened on the narrator’s voice like a log on a dark sea, entranced, falling in
on ourselves, the soft cadences pulling us through the waves, illuminating shorelines, battlefields, mountains of plunder. Unfortunately, the voice was most often mine. Believe me, a winter like that a skald really earns his keep—six months, seven days a week, and an audience of hardbitten critics with frost in their beards. The nights dragged on.

  One bleak morning we saw that yellow shoots had begun to stab through the cattle droppings in the yard—we stretched, yawned, and began to fill our boats with harrying materiel. We took our battle axes, our throwing axes, our hewing axes, our massive stroke-dealing swords, our disemboweling spears, a couple of strips of jerky and a jug of water. As I said, we were tough. Some of us wore our twin-horned battle helmets, the sight of which interrupts the vital functions of our victims and enemies and inspires high-keyed vibrato. Others of us, in view of fifteen-degree temperatures and a stiff breeze whitening the peaks of the waves, felt that the virtue of toughness had its limits. I decided on a lynx hat that gave elaborate consideration to the ears.

  We fought over the gravel brake to launch our terrible swift ship. The wind shrieked of graves robbed, the sky was a hearth gone cold. An icy froth soaked us to the waist. Then we were off, manning the oars in smooth Nordic synch, the ship lurching through rocky breakers, heaving up, slapping down. The spray shot needles in our eyes, the oars lifted and dipped. An hour later the mainland winked into oblivion behind the dark lids of sea and sky.