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'God bless me': The story behind Yankees pitcher Luis Gil's throat tattoo

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'God bless me': The story behind Yankees pitcher Luis Gil's throat tattoo

They’re three words, tattooed in capital letters across Luis Gil’s throat, and they’re as loud as the screams he unleashes after a big strikeout.

“GOD BLESS ME.”

For Gil, the New York Yankees’ rookie wunderkind, it’s a public message in a peculiar place and with a personal (and blunt) meaning.

For opposing hitters, it’s the last thing they see before he delivers the ferocious fastballs that have put him on a short list of possible starters for the American League at this year’s All-Star Game.

Gil, who takes the mound against the Baltimore Orioles at Yankee Stadium on Thursday afternoon, is 9-1 in 14 starts this season.

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The 26-year-old also leads the AL with a 2.03 ERA and a .142 batting average against. His 96 strikeouts are the sixth-most.

He does it with a heater that averages 96.8 mph — tied for the sixth-fastest in MLB, according to MLB’s Statcast — a low-90s changeup and a slider. It’s come after he was the surprise pick to replace injured ace Gerrit Cole in the rotation out of spring training.

“It starts with the fastball,” manager Aaron Boone said. “It’s elite. It’s special. He can lean on it. … To see him hunger to get better and learn from everything that he’s gone through, build a really solid routine — that’s what’s been really satisfying about Luis.”

And while keeping the Yankees in first place in the AL East has been his chief concern, his Christian faith will remain his main motivator.

The point of the tat is simple.

“It’s just a message for God to protect me,” he said via a translator in Kansas City last week.

He wanted it in a place it would be seen.

“It’s a reminder in asking to be protected,” he said.

How he got there wasn’t so simple.

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Growing up in the Dominican Republic, Gil said he always felt a greater power in his life.

“I’ve been put in really good situations. … Ever since I could remember, I could see things shaping around me,” he said.

It wasn’t until he was about 15 or 16 years old that he became deeply religious. It was after he signed with the Minnesota Twins. The $90,000 signing bonus he received wasn’t life-changing money, especially relative to the seven-figure deals other teens out of the D.R. were signing at the time.

But the chance to possibly one day pitch in the major leagues? It felt like a blessing.

“From that moment on,” he said, “I developed my strong faith.”

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He called religion a “good way to anchor myself into something that could help me through my career and understanding the opportunity I was going to have, something to help me through the journey.” He added that he prays right after he wakes up and just before he goes to sleep.

The tattoo wasn’t Gil’s first, though. His arms and the side of his neck are covered in colored ink. Some of it is religious imagery. He had many of them when he made his MLB debut on Aug. 3, 2021.

But Gil added the neck art in the winter. Yes, it was painful.

“But it was quick,” he said.

He was overcoming shoulder surgery when he was traded at age 19 to the Yankees in exchange for outfielder Jake Cave. In 2022, Gil needed Tommy John surgery that sidelined him for the rest of the year and nearly all of 2023. He knew that in 2024 he might get a chance to establish himself in the Bronx.

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With the tattoo, he wanted to double down on how he felt in his heart.

“It’s a way to be thankful,” he said.

His teammates love it.

Starting pitcher Marcus Stroman has more tattoos than Gil. He’s covered from his legs all the way to his neck and to the back of his head.

“I love someone who has the confidence to get a neck tat,” Stroman said. “I think a lot of people in society are like, ‘Oh, a neck tat, you can’t get a neck tat.’ But I just feel like that speaks to the confidence in someone because it’s always so frowned upon, I guess, in American society.

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“I had those conceptions, too. But once you feel settled and confident with who you are as a person — I’ll tat my whole body. It doesn’t change anything besides outside opinions.”

Left fielder Alex Verdugo is tatted up, too, but he has a limit. He won’t get them on his hands, neck or his face.

“My mom doesn’t like tattoos much,” he said. “She’s already mad enough at the little tattoos that I have. … It takes a lot of confidence to get it on your neck. It’s a spot that I’ve avoided, but it works for him, right? I love it. Maybe I’ll get one on my neck.”

Rookie catcher Austin Wells remembered what he thought the first time he saw Gil’s neck tattoo.

“Probably a little shocked,” he said. “But I think it works for him.”

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Wells said he did something similar to Gil. When Wells suffered a cracked rib in spring training 2022, he wasn’t allowed to work out for weeks. He used the downtime to bolster his tattoo collection, putting a Chi Rho — a Catholic marking symbolizing the Holy Trinity — on the inside of his forearm.

On Wednesday, the buzz around Gil’s tattoo had reached a new level. Several Yankees players were wearing the same navy-colored shirt while walking around the clubhouse and during pregame workouts.

The wording on their chests?

“GOD BLESS ME.”

(Photo: Adam Hunger / Getty Images)

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Can You Match the Places These Authors Lived With Settings in Their Books?

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Can You Match the Places These Authors Lived With Settings in Their Books?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

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It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

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Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

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Summer’s Best Beach Reads

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Summer’s Best Beach Reads

Moore is a dependable ingredient in any summer reading soufflé. Her airy novels accomplish what they came to do: entertain and transport, without the pyrotechnics of, say, books that eschew quotation marks. In “Down With the Shipmans,” three sisters, laden with baggage, converge on their late mother’s beach cottage, only to learn that their father and his much younger wife are planning to sell the place.

The stakes are high, the drama is juicy and the views are sublime. Moore even provides two beach dogs — Leo (an unruly pit bull mix) and Cinnamon (“golden retriever, red bandanna, long pink tongue”) — to keep things lively. (Comes out June 2)

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