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Kepner: With new uniforms, MLB makes another fashion flop

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Kepner: With new uniforms, MLB makes another fashion flop

Twenty years ago, after blowing the lead in a critical playoff game for the Minnesota Twins, Juan Rincón described the feeling with an all-time baseball malaprop: “Nobody wants to be in my pants right now.”

These days, it seems, nobody wants to be in any pair of baseball pants. Major leaguers reported to spring training this week to find that they cannot customize their pants anymore, and that their new style of jerseys – designed by Nike, manufactured by Fanatics – is not up to big league standards.

As The Athletic’s Stephen J. Nesbitt wrote, players around the league “criticized the jerseys’ poor fit, cheap look, inconsistent quality and small lettering.”

Sigh. Major League Baseball just can’t help itself, and it keeps getting worse.

In 2019, for the cringy “Players Weekend,” they staged an all-white vs. all-black uniform series that evoked “Spy vs. Spy” from the old Mad Magazine. The next year, as part of a 10-year deal with Nike worth more than $1 billion, they let Nike slap its logo on the front of every jersey.

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Then came “City Connect” uniforms, in case you ever wondered how your favorite player would look as a blueberry, a cloud or a license plate. The All-Star Game, always a cavalcade of colors with players wearing their regular uniforms, became a three-hour ad for generic Nike jerseys.

Now this.

Baseball’s relationship with Nike is like the “Seinfeld” episode when George tries to be friends with Elaine’s cool boyfriend. He wears his hat backwards and goes rock climbing, unable to hide his infatuation. He’s desperate to be a dude, but he’s still a Costanza.

That’s not to say baseball should be stuffy. Last season’s rule changes made the product more dynamic and appealing. Plenty of other initiatives – the annual Little League Classic, the DREAM Series, the “MLB The Show” video game, the comprehensive, user-friendly MLB app – also help grow the game.

But baseball doesn’t seem to understand its own visual appeal. Let the other leagues cheapen their jerseys with advertisements. Baseball should be above that, but the last collective bargaining agreement allows teams to sell ad space on uniforms. So now the Atlanta Braves wear a sleeve patch depicting a yellow bag of concrete mix, the Toronto Blue Jays come at you with a neon green square for a bank, and the Houston Astros sport a garish patch for Oxy – the energy producer, not the drug.

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When Rob Manfred became commissioner in 2015, he said he had no interest in allowing ads on jerseys. That changed, of course, and Manfred was at least honest about the reversal in 2022: “It’s a revenue source that is significant enough that it’s really impossible for a sport to ignore over the long haul. I think that’s the truth.”

It’s a business, of course. But just because you can make money by selling something doesn’t mean you should. Several teams will not sell naming rights to their ballparks because there’s more value in continuity and tradition. It’s still Dodger Stadium, not Guggenheim Field. It’s still Yankee Stadium, not Starr Insurance Park.

Manfred’s approach to the All-Star uniforms reflected a belief that Nike can do no wrong.

“I never thought that a baseball team wearing different jerseys in a game was a particularly appealing look for us,” he said in 2022. “I understand that people can have different views on that topic, but it is part of a larger program designed to market the game in a non-traditional way.”

Fine, but why obscure the identity of your players? The All-Star Game should be a showcase, and a regular-season uniform gives an easy clue: “Oh, right, he’s that guy on the Marlins who’s been doing so well….” If everyone looks the same, you miss that connection.

Manfred reiterated his faith in Nike on Thursday at Grapefruit League media day.

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“I think you know, in baseball, with any new initiative, there’s going to be some negative feedback. First and most important, these are Nike jerseys,” Manfred said. “We entered this partnership with Nike. Just who they are and the kind of products they produce, everything they’ve done for us so far has been absolutely 100 percent successful across the board.

“The jerseys are different. They’re designed to be performance wear as opposed to what has traditionally been worn. So they are going to be different. But they have been tested more extensively than any jersey in any sport. The feedback from the All-Star Game last year was uniformly positive from the players. I think after people wear them for a little bit, they’re going to be really popular.”

The 2024 uniforms have a markedly smaller typeface for the player’s name. This, quite obviously, will only make it harder to know who we’re watching. How is that a possibly good thing?

“Look at the last names, bro,” Angels reliever Carlos Estévez said. “I’m 6-foot-6. This is going to look tiny on me.”

Hey, maybe the players – many with Nike sponsorship deals – will change their minds once they play a few games. Maybe, in time, the jerseys won’t look like the replica you buy when you’re trying to save money but still want to kinda look authentic.

But the underlying concept persists. Baseball, guided by Nike, is trying to force-feed all these stylistic changes instead of just letting them happen organically. Consider the last few decades of uniforms trends, and how they reflected the times:

In the 1970s, color TVs gave rise to bright, gaudy uniforms. By the late 1980s and early 1990s, things were more conservative – button-down jerseys, belts, whites at home, grays on the road, a nostalgic turn also reflected in the retro ballpark boom.

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The Marlins won the 1997 World Series while wearing their sleeveless white jerseys. (AP Photo/Eric Draper)

Four expansion teams joined MLB in the 1990s, and two, the Florida Marlins and Arizona Diamondbacks, would soon win a World Series while wearing sleeveless jerseys in Game 7. All of the expansion teams wore black – with some combination of purple and/or teal – and black became the popular color, with the Mets, Blue Jays, Royals, A’s and others diving in.

In the 2010s, teams increasingly pivoted to alternate jerseys, which often became their de facto primary look. Four seasons in a row ended with the World Series winner wearing a colored jersey: the 2016 Cubs, 2017 Astros, 2018 Red Sox and 2019 Nationals.

The pants, thankfully, were still white or gray. Then City Connect came along, and now we’re seeing the White Sox, Pirates, Mariners, Reds, Rangers and Orioles in black pants. The Astros and Cubs have all-navy getups, and the Diamondbacks sometimes wear all-yellow. We’re reverting to the worst of the ’70s.

Some teams have made sharp updates to classic looks. In the last decade or so, the Orioles, Brewers, Blue Jays, Padres, Astros and Rangers have streamlined the vintage styles of their glory years, honoring their traditions in a fashion-forward way.

But when the league gets involved, it’s too much, too fast – an assault on the eyes for a sport that can, and should, be a visual delight.

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(Top photo of Giants pitcher Juan Sanchez: AP Photo/Ross D. Franklin)

Culture

I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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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.

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“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.

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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.

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Louise Glück in 1975.

Gerard Malanga

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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.

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“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.

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Can You Identify Where the Winter Scenes in These Novels Took Place?

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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.

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

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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.

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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.

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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.

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See the full list of the 10 Best Books of 2025 here.

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