Connect with us

Culture

Al Horford's secret to NBA longevity: Advice from Tom Brady, diet and toe stretches

Published

on

Al Horford's secret to NBA longevity: Advice from Tom Brady, diet and toe stretches

BOSTON — With two minutes left until halftime of a second-round closeout game, Al Horford spotted a loose ball deep in the right corner. The Boston Celtics led the Cleveland Cavaliers by five points with a chance to advance to the Eastern Conference finals, but Horford believed his team lacked energy. He wanted to lift everyone.

As the ball headed toward the Boston bench, Horford engaged in a race against two visible threats: Dean Wade and the out-of-bounds line. A third threat, which Horford first committed to fighting off early in his career, went unseen. Horford turned 38 on June 3 and has long engaged in a competition against Father Time.

Horford won the race against Wade for a rebound and saved the possession by throwing the ball off the Cavaliers forward. As the Boston bench rose to let Horford know the value of his hustle, fans inside TD Garden roared.

It was nothing new for Horford to deliver a timely play in a big game, but savoring such moments seems wise these days. No matter how hard he tries to preserve his physical gifts, his body eventually will break down.

Though his longevity receives attention because of his continued status as a key piece on a title contender, it has taken him decades of work to reach this point of his career, still with so much left to give the game.

Advertisement

Horford’s on-court presence is a feat. Now wrapping up his 17th season, he is one of only five players left from the 2007 NBA Draft. Only six players older than Horford logged minutes this season. In that group, only LeBron James, Chris Paul and Kyle Lowry were regulars in team rotations.

In a league with enough skill and 3-point shooting to punish some of the best defensive centers, Horford was the oldest NBA big man to receive nightly playing time. To date, he has dodged the factors that can derail a career — injuries, wear and tear and off-court issues.

Horford will enter the NBA Finals against the Dallas Mavericks ranked 98th all-time in regular-season minutes played and 26th all-time in postseason minutes played. His teammates marvel at not just the way he still performs, but also how he has set himself up to do so.

Jayson Tatum, who says Horford stays in “perfect shape,” has stolen parts of the veteran’s daily routine. Payton Pritchard, whose locker sits next to Horford’s at the Celtics practice facility and TD Garden, says he watches everything Horford does to pick up how to approach the game. Celtics head coach Joe Mazzulla, two years younger than Horford, calls it an honor to coach a player like him. On a roster loaded with hard-working veterans, Horford is the role model for other role models.

Horford has gone to great lengths to postpone the inevitable. Long before age started to diminish him physically, Horford began working toward this type of sustained success. Even before he considered playing this many years in the NBA a realistic possibility, he paid close attention to the work habits of elite athletes. He picked the brains of NBA legends. He worked briefly with Alex Guerrero, Tom Brady’s longtime fitness and nutrition advisor and co-founder of TB12, their injury prevention company. He also sought advice from Brady himself.

Advertisement

If the Celtics go on to win the championship this season, it would come in no small part due to Horford’s ability to hold off the effects of age.

“It’s funny,” the five-time NBA All-Star said, “because I feel like everybody has been talking about me being old since I was, like, 23 years old. Because I was already thinking ahead, thinking team, thinking all these other things (about the future), and that’s just who I am.”


Al Horford has been a key part of Boston’s playoff run this season. (Adam Glanzman / Getty Images)

Horford picked up a nickname during his freshman season at the University of Florida: The Godfather. At 18, he was already no-nonsense.

“He just had this ability to lead,” said Duke Werner, the men’s basketball athletic trainer at Florida and now the school’s assistant athletic director for sports health. “The way he went about his business, he was just very professional at a young age.”

In the early 2000s, the Gators already were prioritizing recovery for their athletes. Under Werner and head coach Billy Donovan, it was mandatory for players to receive recovery treatments after each practice. Among the options were massage therapy, cryotherapy and flexibility programs.

Advertisement

Werner emphasized these activities were crucial — and not just on the days the players were feeling less than their best. For teenagers, the importance of proper physical maintenance doesn’t always come easily. But for Horford, who had watched his father, Tito, take great care of himself throughout a long professional basketball career that included 63 games over three NBA seasons, the message sank in quickly.

“What set Al apart a little bit on that was his curiosity about how to stay healthy and how to be the best that he could be,” Werner said. “At that age, a lot of guys aren’t doing that. There are a lot of other things they’re worried about other than trying to stay healthy.”

When Horford arrived on campus as the 47th-ranked recruit, Werner and Donovan discussed the need for him to improve his lateral quickness and explosiveness. They believed his body was too stiff. Horford took the message to heart.

He averaged 22.8 minutes per game as a freshman on a team that starred Anthony Roberson, David Lee and Matt Walsh. While finishing a respectable 24-8 in 2004-05, the Gators were building the foundation of a team that would go on to win back-to-back national championships.

Advertisement

Horford and his recruiting class, which included Joakim Noah and Corey Brewer, took over the reins of the team the following season. At practices, Florida did an injury prevention program before stretching.

According to Werner, the players went through four stations, which included ankle and lower back work. For a while, Werner and Donovan believed Horford and Brewer were too lax in their attitude during that portion of practice. Eventually, Werner and Donovan called the two players into the office.

“From then on, boy, Horf was serious,” Werner said.

Horford said Werner’s advice convinced him to take better care of his body. During a three-year career at Florida, he only missed two games. Werner remembered Horford only had one injury during his time at the school.

“I had a high ankle sprain,” Horford said, “and I kind of played through it.”

Advertisement

The Godfather approached everything from the film room to the weight room with great diligence. After winning the national title as sophomores, Horford, Noah, Brewer and Taurean Green returned to Florida and did it again as juniors. In the summer of 2007, those four plus teammate Chris Richard were selected in the NBA Draft.

“They all played in the NBA,” Werner said. “We always kind of had a guess that he would probably stick around (the NBA) the longest. We always thought with his maturity level that he would be the guy still playing.”

Werner’s lessons stuck with Horford, who named the trainer as one of the reasons for his NBA longevity. The curiosity to learn more about what worked best for his body never left.


Horford with the Florida Gators in the 2006 NCAA Tournament. (Elsa / Getty Images)

In 2015, near the end of a day with Guerrero at the TB12 training facility, Horford saw Brady walk into the gym. It was during the summer, the depths of the NFL offseason. Still, Brady looked game-ready.

“He was already so locked in,” Horford said.

Advertisement

In Atlanta, where Horford played at the time, the Hawks medical staff was changing. The transition helped convince Horford to look for training support elsewhere. Horford wanted to explore the TB12 program after seeing Brady’s commitment to his nutrition and lifestyle. Before the 2015-16 season, he visited the facility in Foxborough, Mass., to undergo testing and learn, from Guerrero, some of Brady’s tricks.

Horford also investigated the approaches of other elite athletes, including Cristiano Ronaldo and LeBron James. If he found something that would benefit him, he pursued it. In his 20s, he reached out to Manu Ginóbili and Vince Carter — two NBA All-Stars who played into their 40s — for advice.

“They all preach very similar things — treatment and staying after and being committed,” Horford said. “For me, honestly, I feel like a lot of guys my age try to do all those things as we understand the importance of it.”

Horford first hired a personal chef during his second season in the NBA. His current chef has been with him for 10 years. She’s moved from city to city — including two stops in Boston — all to work with him. At this point, Horford said, she’s family.

“She’s connected with the team, as well,” Horford said. “She’s very conscious of everything that I need to be eating, how I should eat before the game, how I should eat postgame, how I should eat the next day for recovery, and just making sure that we’re maximizing and eating as clean as we can. It’s all things that are going to help me perform better, foods are going to put me in the best position.”

Advertisement

Outside of his diet, Horford continued to hunt additional ways to maximize his physical gifts. After learning about Brady’s unique style of preparation, Horford wanted to discover more.

Why?

“For me,” Horford said, “it’s just Tom.”

At TB12, according to Guerrero, Horford wanted to focus on two areas: injury prevention and a position-specific workout regimen that would allow him to flourish for years to come. Still in his 20s, he was already thinking about the shifting NBA game. During the 2015-16 season, Horford started shooting 3-pointers regularly for the first time. He also wanted to change his body to keep up with the new demands of his position.

“We talked about, what is your ultimate playing weight based off your position?” Guerrero said. “At your position, what does that entail? Do you need to move? Is it more based on speed or quickness, quickness or power and strength? Once he began to define that for himself and his position, you can make a customizable program for him that’s based on what he’s looking to achieve.”

Advertisement

Some of the lessons were scientific. Guerrero emphasized that Horford’s body would undergo a physiological shift every five years and he would need to adapt his program according to his body’s new reality. The quicker he adjusted to the changes, essentially by retraining his brain and body, the easier it would be to achieve longevity.

“The idea was being able to play and continue to do what you love doing for as long as you want,” Guerrero said. “We talked at the very beginning that the game should never take it away from you. You should be able to leave on your terms.”

While Horford was at the facility, he and Brady discussed a wide range of topics, including nutrition, hydration and workout regimens. During the conversation, Brady, whose extraordinarily strict diet has been well publicized, emphasized that what worked for him wouldn’t necessarily work for everyone else.

“For me, it was, like, how can I fit that into my lifestyle?” Horford said, adding that his diet was never as strict as Brady’s. “How can I take some of this stuff and use it to my benefit?”

As much as anyone, Brady valued his time. Guerrero considered that crucial for any professional athlete whose time is limited because they are pulled in so many directions. Everything Brady did had a purpose.

Advertisement

“Your workouts are purpose-specific,” Guerrero said. “Your diet is purpose-specific. Your recovery is purpose-specific. All with the goal of making sure you maximize the time that you have in a given day.”

Horford said the most lasting lesson that day came from witnessing Brady’s focus, determination and commitment to the everyday process.

“I’ve never seen somebody so present, period,” Horford said. “I feel like a lot of the times, we’re always thinking about different things or thinking ahead or thinking whatever. And he was just very, very, very, very in the moment. That was something that really stuck with me.”


Like Tom Brady, Horford is hoping to bring a championship to Boston. (Maddie Meyer / Getty Images)

At the Celtics practice facility in early February, hours before a game against James’ Lakers, Horford raved about the way the 39-year-old has adjusted his game with age. It seemed telling that Horford, who understands the physical investment James has made over the years, focused more on James’ ability to adapt over time.

These days, Horford said, James is more likely to let one of his teammates take control of the offense while he works off the ball.

Advertisement

“It’s not easy to adjust to the game,” Horford said.

Horford should know. Not many players in this generation have done it better. He didn’t attempt 10 3-pointers in a single season until the seventh season of his career, but he eventually became a knockdown outside shooter because he saw where the game was headed and what he would need to survive in it.

After shooting 44.6 percent on 3-point attempts last season, he followed by hitting 41.9 percent on such attempts this season. With modifications to his game, he has found new ways to make an impact even as some of his athleticism wanes.

Years ago, Danny Ainge predicted Horford would be the rare star able to thrive in a smaller role late in his career. During Horford’s second season with the Celtics, Ainge was told the big man could potentially play until 40. It was the first time Horford had considered playing so long.

“Danny Ainge is the one that put that in my head a little bit,” Horford said.

Ainge believed in the possibility for several reasons: He embraced a clean lifestyle. He possessed an adaptable game, a healthy body and the right mentality.

“He’s a versatile player,” Ainge said. “He may not be the same player at 40 that he is at 32, but he’s gonna be able to still contribute, and that’s part of it. It’s not just the body part, but the mental part. I think Al has the humility to just play a lesser role and be part of a team.”

Horford accepted a sixth-man role this season for the first time in his career. He attempted a career-low 6.4 field goals per game during the regular season. The Celtics utilized him primarily as a floor spacer, not the offensive hub he used to be.

Advertisement

To preserve his body, he sat out one leg of regular season back-to-backs. He still prepared to handle large minutes when necessary. That need arrived early in the playoffs when Kristaps Porziņģis suffered a calf injury during Game 3 of the Celtics’ first-round series against Miami.

With Porziņģis missing every game since, Horford slid into the starting lineup. The first unit with him in has blasted opponents by 18 points per 100 possessions through Boston’s first 14 postseason games. The Celtics have been 12.7 points better per 100 possessions with Horford on the court during the playoffs.

Though he had some trouble stopping Donovan Mitchell in the second round against the Cavaliers, he consistently shut down Darius Garland on switches during the closeout game of that series. To help lead a Game 3 comeback win against the Pacers one round later, Horford drilled seven 3-pointers, blocked three shots and grabbed three offensive rebounds.

To Horford’s teammates, it’s no secret why he’s still a major factor in his 17th season, or why, in a league where many big men get played off the court deep in the playoffs, he never has. Before games, Horford can be seen using resistance bands to stretch each of his big toes for several minutes. There is no body part too small to strengthen or exercise too monotonous to adopt.

Horford doesn’t take days off. When the Celtics don’t have practice or a game, he said he typically does some sort of cardio exercise, 30 to 40 minutes of stretching, soft tissue work if needed, weight training if he’s due for it, and, “as much as I can,” an additional workout on the court.

Advertisement

“Doing that, to me, it’s important,” Horford said. “If I can, I like just getting outside, getting out in the sun preferably. I feel like it does help me, so that’s what I do. I don’t have a super elaborate (off-day schedule), but I do make sure that I’m being productive on the off days.”

Horford has long thought about his future. How much longer does he hope to play?

“My whole thing has always been this: as long as I feel good physically,” Horford said in February. “I don’t want to feel limited. I don’t want to be not myself out there. So, I don’t want to put a limit on it. And that’s the one thing that I saw from Tom (Brady), one of the things I took from him that I thought was great. Just listening to interviews with him and things like that, he never put a limit on when he was going to play, and I don’t want to limit myself with that.”

With the NBA Finals starting Thursday in Boston, Horford is four wins away from what would be the first championship in his illustrious career. The Mavericks, led by Luka Dončić and Kyrie Irving, will test his defense. His ability to withstand their attacks and occupy Dallas’ rim protectors on the other end of the court could help decide the series, especially if Porziņģis is limited.

Horford will be ready for the challenge.

Advertisement

“I feel like I’ve prepared my body and myself to be in this position,” he said. “And even though it’s hard, it’s something I welcome.”

(Illustration: Sean Reilly / The Athletic; photos: Scott Cunningham, Adam Glanzman / Getty Images)

Culture

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

Published

on

What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

Advertisement

Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

Advertisement

Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

Advertisement

Wallace Stevens in 1950.

Advertisement

Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

Advertisement

Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

Advertisement

Continue Reading

Culture

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Published

on

Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

Advertisement
Advertisement
Advertisement
Advertisement

When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

Advertisement

Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

Advertisement

“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

Advertisement

But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

Advertisement

This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

Advertisement

Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

Advertisement

It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

Advertisement

“You’re just a kid,

Gordie–”

Advertisement

“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

Advertisement

if I was!

It’s like

God gave you something,

all those stories

you can make up,

Advertisement

and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

Advertisement

and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

Advertisement

So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

Advertisement

I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

Advertisement

Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

Advertisement

We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

Advertisement

Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

Advertisement

The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

Advertisement

They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

Advertisement

I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

Advertisement

and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

Advertisement

did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

Advertisement

Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

Advertisement

“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

Advertisement

I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

Advertisement

“The Body” Read by Wil Wheaton

“Will you shut up

Advertisement

and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

Advertisement

Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

Advertisement

“It’s not really much—”

“Naw,

we don’t expect much

Advertisement

from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

Advertisement

“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

Advertisement

and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

Advertisement

When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

Advertisement

“I feel the loss.”

Wheaton remembers River Phoenix.

Advertisement

The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

Advertisement

And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

Advertisement

Near the end

of 1971,

Chris

went into a Chicken Delight

Advertisement

in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

Advertisement

One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

Advertisement

and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

Advertisement

It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

Continue Reading

Culture

Do You Know the Comics That Inspired These TV Adventures?

Published

on

Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

Continue Reading

Trending