Culture
Life as an MLB catcher: Violet bruises, ballooned ankles — and now, broken arms
Catching was a family tradition, so when Red Sox backstop Reese McGuire was 8 or 9, as he recalled, he tested out his new catching gear in the backyard on Christmas. As he crouched in the grass and baseballs caromed off his forearms, his grandfather told him: “It takes a tough kid to be a catcher. You have to enjoy the bruises.”
“We’re all kind of crazy, I think, to get back there,” said Diamondbacks catcher Tucker Barnhart, who has spent the last 11 seasons as a target squatting behind home plate.
Catching is not for the faint of heart — or thigh or wrist or toe or hip or knee or hand or shoulder.
Around the league, most catchers are banged up, always hovering on the edge of the injured list.
Late last month, Angels catcher Logan O’Hoppe was dealing with a black-and-blue shoulder, leaving him hardly able to lift his arm after absorbing a foul ball. His backup, Matt Thaiss, had a bruised hand after catching José Soriano’s 98-mph sinkers. Then O’Hoppe left a game last week after taking a foul ball to the hand. Giants catcher Patrick Bailey took a foul ball last month on the exposed area of the toe where the foot shield doesn’t quite reach. Three days later, he landed on the concussion injured list after taking a foul ball to the face mask. Red Sox catcher Connor Wong also recently dealt with a bruise under his toenail. Wong went on to describe a previous bruise to the teardrop of his quad, which made crouching painful and, well, crouching is a key part of the job.
“It’s our duty to be that tank back there and roll with the punches,” Wong said.
And for over a century, they have, accepting the bruises and strains that have come with the long-established territory. But as the game evolves, the demands of the job are making it even more hazardous; catchers have shifted closer to the plate to aid with pitch framing, but as The Athletic’s Katie Woo wrote last week, that has caused a rise in catcher interference calls and has opened up catchers to more punishment.
Last week, Cardinals catcher Willson Contreras was struck by the swing of New York Mets’ J.D. Martinez and has a broken left arm to show for it.
“There’s always a risk being a catcher,” Contreras said after the injury. “Could have been something different. It could’ve been off my knee, it could be a concussion. That risk is always going to be there.”
Contreras is expected to miss six to eight weeks with a fractured forearm. (AP Photo / Jeff Roberson)
Add it to the list. There’s a reason Barnhart and other veteran voices, including the thick Boston accent of Cleveland bench coach Craig Albernaz, can be heard on the first day of spring training every year relaying a familiar message: It’s all downhill from here.
“The amount of excitement,” Barnhart said about the dawn of a new season, “and, ‘Man, I feel great’ — and then Day 2 happens.”
They won’t return to 100 percent until the depths of winter, after they’ve recovered from every foul tip, every achy muscle, every nick and bruise in every nook of the body. The job is unrelenting and unforgiving; the pain and danger are ever-present.
And yet, for a team to succeed, so much necessarily falls on a catcher’s sore shoulders. They build a rapport with each pitcher. They know their tendencies and what’s been clicking. They know how they’ve attacked certain hitters in the past. They see the scouting reports on every single member of the opposing roster. That’s quite the learning curve for any fill-in, and Barnhart said it’s why catchers are so motivated to avoid time off.
“You have to have, for a lack of a better term,” Barnhart said, “a ‘f— it’ mentality.”
“If you cut my arm off,” said Guardians catcher Austin Hedges, “if I can play, I’m gonna go f—ing play.”
Well, as long as it’s his left arm, he clarified. He still has to throw the ball back to the pitcher 150 times a game, a tall order if he’s limited to his non-throwing hand.
Hedges scrolled through thousands of photos on his phone one day last week in search of evidence of the gnarliest bruise he could find. He located one that occupied nearly his entire right thigh, one with rich shades of indigo, plum and mulberry. He shook his head and laughed. The culprit? One single foul tip.
Austin Hedges’ thigh bruise. (Courtesy of Austin Hedges)
“The foul balls seem to always hit you in a spot where you don’t have gear or have the least amount of gear,” Barnhart said.
In 2022, Hedges suffered a low ankle sprain while lunging toward first base. Two weeks after that healed, he suffered a high ankle sprain as he tumbled into the dugout trying to corral a pop-up. His heel turned a dark violet and his ankle ballooned in size. He struggled to rotate while batting. He couldn’t comfortably position himself behind the plate or push off his backside, which resulted in him long-hopping the ball to second when trying to nab a base-stealer.
“You’re in pain, but you never get to shut it off,” Hedges said. “If you can play, you play. There’s no hesitation. You see how people react to getting hit by pitches. It doesn’t feel a whole lot better getting a foul tip off flesh. Then you just have to come back and act like it’s not even a thing.”
Austin Hedges’ swollen ankle. (Courtesy of Austin Hedges)
In June 2011, Chris Gimenez was scheduled to catch Mariners ace Félix Hernández one afternoon, but during batting practice the day before, Gimenez strained his left oblique. Seattle’s starting catcher, Miguel Olivo, experienced leg cramping that night, so Gimenez, who could barely inhale without cringing in pain, had to fill in for the final six innings.
For Gimenez, there was no dodging the pain in his side, especially when trying to corral Michael Pineda’s upper-90s heaters and when applying a tag at the plate on an assist from Ichiro. Gimenez tried to drop down a bunt when he batted since swinging proved unbearable. Chipper Jones shouted at him from third base, asking why he was bunting with two outs, but Mariners manager Eric Wedge had instructed Gimenez to do whatever caused him the least suffering. Seattle just wanted to keep Gimenez physically able to crouch behind the plate. He headed to the injured list the next day.
Albernaz was listed at 5-foot-8 and 185 pounds as a player, small stature for a catcher.
“I got plowed over a lot,” he said.
He also knew he couldn’t afford to sit out when granted a chance to play since he was an undrafted free agent who waited nine years for a big-league opportunity.
At one point, he thought his playing career had ended early, thanks to loose bodies in his knee getting wedged in his joint and leaving him unable to crouch.
Albernaz’s fellow coach in Cleveland, Sandy Alomar Jr., lasted 20 years as a major-league catcher. He has the battle scars to prove it. He underwent six surgeries on his left knee and three on his right.
“If you want to be a catcher,” Alomar said, “you’re never going to be 100 percent. Ever.”
Even now, he has a bone spur in his left foot from years of absorbing foul tips.
Even with all that catchers of Alomar’s generation had to deal with, it was rare for them to be struck by the hitter’s backswing. That has become an increasing problem for the modern catcher, as was highlighted by the Contreras injury.
Tigers manager A.J. Hinch said that teams are trying to walk the line between asking their catchers to steal strikes via closer-to-the-plate pitch framing, and putting them in dangerous situations by inching a bit too close.
“We do want our guys close enough to be impactful with the low strike but not walking into harm’s way,” Hinch said. “It’s a tough balance when the incentive to do it is real and the risk is extreme.”
GO DEEPER
Catcher’s interference calls are skyrocketing in MLB. It’s putting players at risk
Even as the risks become more intense, there are teams and individuals trying to find ways to make catching less of a burden on the human body. Hinch noted teams are searching for methods intended to “chip away at some of the physical responsibilities” of catching, whether altering their stances or adding bullpen catchers to lighten their to-do list. Giants manager Bob Melvin suggested everyday catchers like J.T. Realmuto are an endangered species.
With that in mind, some catchers have dropped one knee to the dirt to save the wear and tear on their knees, but several catchers and coaches stressed it’s not a cure-all. Hedges said it places more of a burden on his ankles, and it makes his inner thighs more vulnerable to foul tips.
“There’s nowhere for it to miss you,” said Jerry Narron, the Angels’ catching coach, who suggested catchers need “a football mentality.”
“It just seems like there’s always something that’s hurting,” Barnhart said.
“You feel like if you play a guy two out of three,” Melvin said, “that’s about as far as you can go with it.”
Most appearances at catcher, by season
| 2023 | 2022 | 2021 | 2003 |
|---|---|---|---|
|
J.T. Realmuto, 130 |
J.T. Realmuto, 132 |
Christian Vázquez, 125 |
Jason Kendall, 146 |
|
Cal Raleigh, 121 |
Sean Murphy, 116 |
Salvador Perez, 123 |
Ramón Hernández, 137 |
|
Elías Díaz, 120 |
Martín Maldonado, 110 |
Martín Maldonado, 119 |
Iván Rodriguez, 135 |
|
Jonah Heim, 120 |
Will Smith, 108 |
Yadier Molina, 118 |
Brad Ausmus/A.J. Pierzynski/Jorge Posada, 133 |
|
Shea Langeliers, 118 |
Cal Raleigh, 107 |
Will Smith, 115 |
Mike Matheny, 132 |
On Sept. 9, 2021, after socking a pair of solo homers against the Nationals, then-Braves catcher Stephen Vogt blocked a ball in the dirt, twisted his body and attempted an off-balance throw to third, where Juan Soto was trying to advance 90 feet. During his throwing motion, Vogt felt a pop in his hip. He couldn’t squat. Two muscles had ripped off his pelvis and he had a sports hernia. He needed season-ending surgery, which had him contemplating retirement after his team marched to a World Series title.
“You get beat up every single night as a catcher,” said Vogt, who now manages the Guardians. “It’s just part of the job.”
When Vogt made a mound visit during a recent series in Houston, he told catcher Bo Naylor: “Man, you’re getting your butt kicked tonight.’”
Naylor said nothing is more irritating than a foul ball off the hand. He added that he’ll occasionally be completing his pregame routine on a foam roller when a sharp pain pops up unexpectedly. That’s when he cycles through every possible pain-inducer from the previous night.
“Wait, why does this hurt? Oh yeah, I got a foul ball there last night,” he said.
McGuire said he wakes up “every day” with a mysterious bruise or ache. On April 30, it was his thumb, from a foul tip that struck his mitt at an awkward angle. Adrenaline fueled him the rest of that game, but it was stiff when he woke up the next day; he hadn’t realized how hard he had jammed it.
“Most of us have some sort of thumb injury,” said Cubs catcher Yan Gomes, who uses a protective guard and a stockpile of tape for added security.
All of them, not most, have some sort of something. Hinch, who caught for parts of seven big-league seasons, said it’s “the reason we all look like hell when we’re done playing.”
In August 2018, Joey Votto joined the Reds’ injured list, and Barnhart and Curt Casali, the club’s catchers, shared some of the first-base duties in his absence. For the catchers, it was like a spa day.
“We’d always joke with each other,” Barnhart said, “that, ‘Man, if my body always felt like this and I got to go to the plate, this is a great feeling. You don’t have to squat down. You’re not worried about getting hit. All you have to do is stand at first base and catch the ball? That’s it? My body feels great.’”
— The Athletic‘s C. Trent Rosecrans, Chad Jennings, Stephen J. Nesbitt, Sam Blum, Cody Stavenhagen and Andy McCullough contributed reporting.
(Top photo of Contreras suffering a broken arm: Dilip Vishwanat / Getty Images)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
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.
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.
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?
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.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
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.
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.
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.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
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.”
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.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, 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 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?
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.
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.”
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.
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.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
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.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, 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, 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.”
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.
“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.
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.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “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 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.”
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.
“I feel the loss.”
Wheaton remembers River Phoenix.
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.
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.
Near the end
of 1971,
Chris
went into a Chicken Delight 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. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them 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.
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.
Culture
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.
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