Culture
'F— no, I don’t baby it': Red Sox's Liam Hendriks moves slowly, confidently back from Tommy John
BOSTON — Liam Hendriks had his pants down as he spoke. His undershorts were on, but his uniform was down to his knees. He’d just thrown his first bullpen of the year last Wednesday, a momentous step forward for any pitcher returning from Tommy John surgery. Yet he stood in the Boston Red Sox clubhouse refusing to treat the occasion as serious, or even notable.
How did his arm feel?
“Attached,” he said.
Was there some added adrenaline getting on a mound?
“Not really,” he answered.
What stood out about the rehab process?
“How boring it is,” Hendriks deadpanned.
None of this came across as dismissive. It was played for laughs, a break from the monotony for Hendriks, his teammates, and even the gathered reporters. He was speaking to a full scrum with TV cameras and microphones, all because of a 15-pitch bullpen three hours before game time. Give Hendriks credit for not rolling his eyes. He didn’t travel from Australia, through years of baseball obscurity and rounds of cancer treatment to celebrate a few pregame fastballs in the bullpen.
“I don’t know whether the trainers love me or want to kill me,” Hendriks said. “Every day is a struggle telling them to let me do more and having them try to hold me back into a normal stratosphere.
“Which sucks.”
He’s longing for moments of greater consequence and is confident they’re coming.
Liam Hendriks has faced intense physical and mental challenges over the past 20 months but has managed to maintain a sense of humor about it all. (Barry Chin / The Boston Globe via Getty Images)
There are numbers to help tell every baseball story and Hendriks’ career is told through his three All-Star Games, two Reliever of the Year awards, and 116 career saves. His backstory is chronicled through the 14 teams and six major-league organizations that saw him come and go before anyone trusted him with the ninth inning. He’s the one and only graduate of Australia’s Sacred Heart College to ever play in the majors, and he was designated for assignment four times and traded three more before most people had ever heard of him. Yet, here he is, a survivor in more ways than one.
Hendriks’ past 20 months have been all about four rounds of chemotherapy, a six-game rehab assignment in the minors weeks later, and his emotional big-league return last May. He had four good outings in June before season-ending Tommy John surgery in August and then entered free agency.
“Theoretically, I’ve got a new elbow,” Hendriks said this spring. “So, I’ve got another 10 (years) in me.”
Now 35 years old, Hendriks is hellbent on proving himself yet again. He signed a two-year deal with the Red Sox, in part, because they promised him two things: They believed he could pitch this season, and they wanted him to spend most of his rehab process with the big-league team. So, that’s what Hendriks has been doing. On the road, at home, throughout spring training. He hasn’t been rehabbing at some fancy, far-flung facility; he’s been throwing on the field, sitting at his corner locker, and making jokes on the bullpen bench. Cancer treatment kept him away from people for far too long last year. But he does not wallow. He does not question.
GO DEEPER
Inside the Red Sox trainer’s room with Lucas Giolito and Liam Hendriks
“I’ve never been a big ‘why me’ person,” Hendriks said. “I think it was inevitable that I was going to have something to do with my elbow. Unfortunately, it was in the same year that I dealt with a lot of other things, but it is what it is. There’s nothing I can do to change it. All I can do is show up to the park every day with a positive attitude and hopefully rub off on some of the younger guys here.”
When Hendriks reported to Red Sox camp, he’d been given a target of 64 mph, as in, a pitcher who typically throws a 95-mph fastball should be throwing roughly 64 mph when he’s seven months out from Tommy John surgery. In his early days of spring training, though — “My surgeon is probably not going to be happy about this,” Hendriks said — he was throwing in the mid-70s.
“Not consistently!” Hendriks clarified. “Consistently low 70s. But it’s still, the jump from where I was the time before that was a little too high. … A couple of times I was a little too strong in the paint. But I prefer to go too far than not do enough.”
Such is the Liam Hendriks Experience. Numbers don’t do justice to what he brings on the mound and off the field. He is a vein-bulging, obscenity-screaming, trash-talking wildman, but also a Lego-building, caregiving, joke-making teddy bear.
Within those extremes, a cancer diagnosis in December of 2022 was a shock. Stage 4 non-Hodgkin lymphoma. Doctors told Hendriks to expect six rounds of chemotherapy. He’s proud of the fact he needed only four. He can’t remember the exact date his last round started, only that it was the Chicago White Sox’s home opener, and he was supposed to be in their bullpen, not in some hospital. He had a bone marrow biopsy at the end of April and began a rehab assignment the first week of May.
His elbow lasted a little more than a month after that.
The truth is, Hendriks knew his elbow was in trouble long before it popped. He’d first learned of a small tear in his UCL in 2008. He’d pitched for more than a decade without snapping it, but as he ramped up in his return following cancer treatment — after a full six months off — he could tell it wasn’t right.
“He didn’t care,” former White Sox teammate and current Red Sox teammate Lucas Giolito said. “A lot of guys would be like, ‘Oh, this hurts,’ and in the training room or whatever. He was like, ‘I’m just going to go until it breaks.’”
Was there ever any thought of protecting it after going through so much to get back on the mound and a club option looming?
“No. F— no,” Hendriks said. “I don’t baby it.”
Hendriks said he’s come to believe he’s most susceptible to injury when he holds back.
“The elbow was gone no matter what,” he said. “So, I’m not sitting there to try to rehab another six weeks potentially and not come back. If it goes, it goes. If it doesn’t, it doesn’t. I was pretty sure it was already done, but I was holding out hope that it was maybe a little (bit) of scar tissue, and if that snaps off at the right time, I’ll be fine. It wasn’t that.”
This offseason, the White Sox declined a $15 million club option, making Hendriks a free agent. It’s not unusual for pitchers recovering from Tommy John surgery to sign two-year deals with an eye toward truly contributing in that second year. When Hendriks talked to interested teams this winter, though, he clarified that it wasn’t a 2025 negotiation.
“We made it very abundantly clear that if you’re coming in with that attitude, it’s a no-go,” Hendriks said. “There were some teams that reached out and just faded away straight from there.”
Hendriks expects to be pitching for the Red Sox this August. He signed a two-year deal that guarantees him $10 million but includes a $12 million mutual option for 2026. By the time he signed, Hendriks had begun playing catch with his physical therapist, and Hendriks said he was less worried about his elbow and more worried about spiking a throw to a non-baseball player. But Hendriks hit his partner in the chest, and the instant feedback was that Hendriks wasn’t “muscly,” meaning he was staying loose and not getting tense. The motion was as natural as ever.
When Hendriks talks about limits, he talks only about breaking them. From Australia to the All-Star Game. From being on waivers to signing long-term contracts. From Stage 4 cancer to a faster-than-expected recovery. From Tommy John surgery to having too much oomph on his fastball in spring training. Now a 15-pitch bullpen and a tongue-in-cheek miniature press conference.
Does the light at the end of a Tommy John tunnel look different than the light at the end of a cancer tunnel?
“Ehh, in my mind, it’s the same,” Hendriks said in spring training. “There’s still an end goal. There’s still a goal that I need to get back from. It’s just a little bit more of a slow-moving process.”
Hendriks doesn’t have a sit-back-and-wait personality, and he’s had to do exactly that for much of the past year and a half. He’s wired to pitch the ninth. Check with him again when that finally happens.
“It’s not that (rehab) is long. I can handle long,” Hendriks said. “I can’t handle slow. And it’s the slowness that’s really pissing me off.”
(Top photo of Hendriks in May 2024: Maddie Malhotra / Boston Red Sox/Getty Images)
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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