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Meet the guy who has pitched for five MLB teams in 2024: Sliders

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Meet the guy who has pitched for five MLB teams in 2024: Sliders

For Mike Baumann, it started the same way as his first seven seasons in professional baseball. He was, as always, employed by the Baltimore Orioles, the team that drafted him in the third round in 2017. He wanted to help a familiar organization while advancing his own career.

“My expectation was to take a step forward with the Orioles and to be a part of the bullpen,” Baumann said this week. “I was really excited. I was really looking forward to it. I didn’t perform like I wanted to, things just didn’t go my way and that’s the nature of the business.”

The business, though, has treated Baumann in a way that only one other player in the history of the sport has been treated. Baumann has appeared for five major league teams in 2024: the Orioles, Seattle Mariners, San Francisco Giants, Los Angeles Angels and Miami Marlins. He’s made so many stops, he should have his own concert-tour T-shirt:

Baltimore, March 28-May 17


Baumann played his entire career with the Orioles until he was traded to the Mariners on May 17. (Tommy Gilligan / USA Today)

Seattle, May 23-July 11


His stint with the Mariners only lasted seven weeks. (D. Ross Cameron / USA Today)

San Francisco (One Night Only!) – July 26


Baumann gave up two runs on three hits in two-thirds of an inning for the Giants against the Rockies. (Stan Szeto / USA Today)

Los Angeles, July 31-August 22


His tenure with the Angels consisted of 10 appearances. (Mark Goldman / Icon Sportswire via Getty Images)

Miami, August 27-present


Baumann has now been with the Marlins for 10 days. (John Hefti / USA Today)

According to the Elias Sports Bureau, Baumann’s busy itinerary ties him with pitcher Oliver Drake (2018) for most MLB teams in a single season. Twenty others have played for four teams in a season, including relievers Yohan Ramirez and Matt Bowman this year. But only Drake and Baumann have made it to five.

“It’s been a roller coaster of emotions, going from highs to lows, but every time I’ve been claimed, I’ve been grateful,” Baumann said. “I’ve been given a ton of opportunities, and I’ve been fortunate for that.”

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Zipping through five teams in one season takes several converging factors. Typically, the player needs a skill that teams want; a minimal salary; success in the past and less success in the present.

Baumann fits every category. He throws 96 mph and earns $749,000. He was 10-1 with a 3.76 ERA in 60 games for Baltimore last season, but has a 7.26 ERA since leaving the Orioles in May.

Most importantly, Baumann is out of minor-league options, meaning he cannot be sent to the minors without passing through waivers. Appearances aside, that made the stakes much different for him this season, especially with a strong team.

“I knew I was out of options, and I knew the Orioles had a ton of good depth,” Baumann said. “So going into the season, I told myself I’ve got to perform if I want to be a part of it.”

After a shaky start to the season, Baumann pitched well in his final six outings for Baltimore. But he was designated for assignment when starter Grayson Rodriguez returned from the injured list in mid-May, and the Orioles worked out a trade with the Mariners to send him on his way.

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“I wasn’t too surprised,” Baumann said. “I knew I was kind of the last guy in the bullpen. They had a lot of good arms in Triple A and some guys coming back from injury. So it was bittersweet; I loved the Orioles. But when I found out it was Seattle, they were a first-place team at the time and I was really looking forward to the opportunity.”

In his second game as a Mariner, Baumann worked a scoreless 10th inning to beat the rival Houston Astros. But with a 5.51 ERA for Seattle in 18 games, he lost his roster spot again and was traded to the Giants for cash.

With San Francisco, Baumann reunited with pitcher Sean Hjelle, a former teammate at Mahtomedi (Minn.) High School. The fun lasted for two-thirds of an inning against Colorado on July 26, and then it was onto the Angels, who acquired Baumann for cash.

“That one happened so fast,” he said of his Giants tenure. “I didn’t get time to settle in or even get to know a lot of people’s names.”

Five days after facing the Colorado Rockies in his Giants debut, Baumann faced them again in his first game with the Angels. After 10 games with the Angels (and a 6.75 ERA), he joined the Marlins and debuted on Aug. 27 against — who else? — the Rockies.

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If they didn’t know better, they’d think he was stalking them. But Baumann just goes where teams tell him to go, without getting too attached.

“I’ve been living in hotels, checking in and out,” he said. “It’s been the easiest way rather than actually getting apartment leases. I’ve kind of been narrowing down my suitcases. I’ve been traveling really light.”

If he’s looking for a higher meaning to all this, Baumann got it with the waiver claim by the Marlins on August 25. When he found out, he was home in Jacksonville, Fla., with his wife, Nicole, who was eight months pregnant with their first child and due this month. To join a team in the same state — albeit a five-hour drive from home — was an ideal fit.

“When we were out West, it was kind of like, ‘Am I going to be able to make the birth of my own child?’” Baumann said. “I remember I was so excited because after going back and forth across the country, I could just go down to Miami.”

The Marlins liked Baumann’s velocity (not just on the fastball, but also his 92 mph slider) and his knuckle curve. With better control, they believe Baumann could be a keeper. He’s had four outings for Miami through Thursday, two scoreless and two in which he allowed three runs.

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It’s a fitting performance for an historically uneven season that began on one coast, traversed another and wound up close to home.


Everyday Willy A

Adames, on a power surge, eyes 162

Willy Adames celebrated his 29th birthday on Monday by homering in his fifth game in a row, tying a Milwaukee Brewers club record. The five-game stretch included 11 RBIs, and even when the streak ended on Tuesday, Adames drove in another run to make him the first National Leaguer with 100 RBIs this season.

For Adames — who is positioning himself for a lucrative winter in free agency — another number might matter more: 162 games played. Adames has started every Brewers game at shortstop since Sept. 27, and he hopes to make it all the way this season.

“It’s fun to be out there every day, competing with the boys and just having fun,” Adames said. “I’ve never done it, so I want to do it. I keep fighting with the guys here that want to give me an off-day, but we’re trying to do it this year — and hopefully we can continue to play all the games in the postseason.”


Adames led the National League in RBIs with 100 heading into Thursday’s games. (Katie Stratman / USA Today)

Adames, whose career high in games is 152, is one of seven players who have played every game this season, with the Atlanta Braves’ Matt Olson and Marcell Ozuna, the New York Mets’ Pete Alonso and Francisco Lindor, the Philadelphia Phillies’ Nick Castellanos and the Kansas City Royals’ Bobby Witt Jr.

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Players sometimes take a break once playoff spots are decided, but it’s worth watching to see how many get to 162. The last time seven players appeared in all 162 games was 2007, with Jeff Francoeur, Carlos Lee, Juan Pierre, Jimmy Rollins, Grady Sizemore, Delmon Young and Ryan Zimmerman.

The majors’ longest active streak belongs to Olson, Atlanta’s first baseman, at 598 games. It appears that Cal Ripken Jr.’s record of 2,632, which stretched from 1982 to 1998, is safe.

“I think that’s going to be forever there,” Adames said. “I mean, playing two seasons (of consecutive games) is impressive. Imagine playing 2,000-plus.”


Gimme Five

Five bits of ballpark wisdom

Braves catching coach Sal Fasano on the masters of the position

For most of Sal Fasano’s formative years, a baseball team in his hometown sent a catcher to the All-Star Game. He was a Chicago kid in the 1980s, and if the White Sox’ Carlton Fisk didn’t make it, the Cubs’ Jody Davis usually did. Fasano paid attention to them and other standouts, especially Bob Boone, who made the punishing position seem alluring.

“I always had an affinity for catching,” Fasano said. “It’s like in football, I was an offensive lineman. Nobody loves offensive linemen. I do, and I love catching. I love the backbone. And that’s what we call them: the backbone.”

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Fasano, 53, served nine teams as a backbone backup from 1996 through 2008. His finest contemporaries, he said, were Jorge Posada, Jason Varitek and Bengie Molina. They combined for just three Gold Gloves, but invariably led their teams to the World Series.

“Some guys always win,” Fasano said, “and there’s a reason.”


Fasano (left) with Braves catcher Sean Murphy (right) in June. (David Butler II / USA Today)

The Braves have always won since Fasano joined their staff in 2018, the start of their six-year reign atop the National League East. Fasano, who also managed and coached in the Toronto Blue Jays’ and Angels’ farm systems, is the catching coach for the Braves, who are now chasing the Phillies in the East.

Both teams’ success, Fasano said, has a lot to do with catchers coaxing the best from their pitchers.

“Look at what (J.T.) Realmuto’s done with their pitching staff, and look at what our guys have done with our pitchers,” Fasano said. “You’ve got to have guys who know how to control the pitching staff — because it all revolves around that dude in the middle.”

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Here are some of Fasano’s insights about five aspects of catching, and who has done it best.

Receiving: “The way we did it in our day, it was treated differently. You didn’t want to move the ball very much, you wanted to keep your body still. It was a different technique, and I think Tyler Flowers became revolutionary. I mean, people caught on one knee before; Manny Sanguillen, Tony Peña, they did their thing and basically made it unique, so it was almost like their art form. … But Tyler Flowers came in and decided to say, ‘Hey, I might be able to create value for myself by stealing strikes.’ So when he went onto one knee, he basically revolutionized the whole system of catcher, because everybody does it now. Teams were studying what he was doing, so when I got hired over here, I was like, ‘You do your mechanic, I’ll learn what you’re doing.’ And then we tried to implement it throughout the system, and we’ve had a lot of success doing it.”

Quick release: “When you watch Realmuto, he’s one of the best athletes I’ve ever seen, (with) probably the best exchange I’ve ever seen in my life. Last year we broke him down for the playoffs and he’s averaging 1.78 to second base. Nobody’s doing that. Pudge (Rodriguez) might have been closest to that. Pudge was the best thrower in my era, like a 1.8. It’s just a math equation. And J.T., in this era, there’s not too many guys like that.”

Balls in the dirt: “If blocking was at zero when I played, blocking is at, like, plus-20 now. Guys block way better. I think Sean Murphy does a tremendous job. He’s one of my favorites when it comes to blocking. In the old days, when we had two knees up, it was really hard to get your knees down at the same time. That’s why being on one knee is actually easier. If both knees hit (the ground) off-time, it stiffens your body. Think about it: if you jump and land one foot at a time, your body’s actually going to vibrate, your eyes are going to vibrate, it’s chaos for your body. On one knee, it’s a slide, so you’re calmer. You can absorb the ball better, you can do a lot of things. But blocking is really a state of mind. I don’t care what technique you have, guys who love blocking are really good at blocking.”

Plays at the plate: “I watched Mike Macfarlane take beatings at home plate — but guys were out. You’ve gotta protect yourself, catch the ball, put the tag on, and if all else fails, complete the play. Those are my rules. Mike was really, really good at protecting home plate. I saw him get crushed by so many people. It was really difficult to watch. I’d say, ‘Mike, man, how do you do that?’ He said, ‘I just want to get into a turtleback. You know you’re gonna get hit and you’re gonna roll.’ It’s against the rules now if you’re in the lane, so we’ve had to make amendments to how we (protect) home plate, because we have to give them a lane. How can we put our left knee down and still create a lane? Or if it’s done early enough, I can take away the lane? And that’s what a lot of people don’t understand. So the little idiosyncrasies of what we can do behind the plate, a lot of people don’t know the rules. There’s a lot of practice and a lot of technique, and that’s what spring training is for.”

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Communicating with pitchers: “I was doing catching (instruction) for the Blue Jays, and I remember seeing Dan Jansen, he’s 18 years old at the time and he’s walking to the clubhouse and surrounded by three pitchers, and they’re just having a nice conversation. And I’m like, ‘Oooh, that guy’s born to be a catcher.’ We had just drafted him, he was raw, we didn’t know he was going to be a big league catcher. But once you realize, ‘Oh my gosh, his gift is communication,’ then I don’t care how he catches, I don’t care how he throws it, let’s nurture that. When you give him information, is he able to make the pitchers better? Because that’s really what our position is: can you make the people around you better? That’s the sign of greatness. It’s like Travis (d’Arnaud). We were in Double A, and Travis isn’t the most rah-rah, pump-your-fist kind of guy. He’s kind of like a comedian on the field, he has a good time. But when he has a man-to-man conversation, it’s always in the clubhouse, and he’s always talking to them on a personal level. So his personal relationships with pitchers are huge. Think about when he took the Mets to the World Series with all those young pitchers, and then he did it with us, too. I mean, does he throw the best? No. Does he catch the best? No. Does he block the best? No. But does he call a great game? Yes, and he’s able to get the most out of his pitchers.”


Off the Grid

A historical detour from the Immaculate Grid

Cliff Dapper – Dodgers catcher

In the long and lively history of the Dodgers’ franchise — from Brooklyn to Los Angeles, as the Bridegrooms, Superbas, Robins and Dodgers — 209 players have suited up as catcher. The one with the highest batting average (minimum 10 plate appearances) is also the only one to have been traded for a broadcaster. Cliff Dapper, then, made for a really fun answer on Monday’s grid.

After three seasons with his hometown Hollywood Stars in the old Pacific Coast League, Dapper dazzled with Brooklyn for eight games near the start of the 1942 season, going 7-for-18 (.471) with a homer and nine RBIs in eight games. He spent the next three years in military service and never returned to the majors.

In 1948, though, Dapper was still a Dodger farmhand when a need arose in the Brooklyn broadcast booth. The venerable voice of the team, Red Barber, had a bleeding ulcer and the Dodgers — always shrewd judges of talent — fixed their ears on Ernie Harwell, who was working for the minor-league Atlanta Crackers on WSB, a station with a powerful signal.

The Dodgers wanted Harwell but the Crackers needed something in return. That something turned out to be Dapper, who would spend 1949 as player-manager for the Crackers. Harwell, meanwhile, went on to a Hall of Fame career in the booth, spending most of his 55 major league seasons with the Detroit Tigers.

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To mark Harwell’s retirement in 2002, the Tigers invited Dapper to a ceremony at Comerica Park. It was the first time the two had ever met.

“It was the biggest thrill I have ever had in baseball,” Dapper, then 82, told his local paper, the North County Times in Escondido, Calif., after the event. “I still feel honored that I was traded for a great radio announcer. I’m just some rinky-dink.”

Dapper explained that Branch Rickey, the celebrated Dodgers general manager, was concerned that the trade would be embarrassing for him. In fact, Dapper said, he was eager to get a chance to manage, and thrilled to finally meet Harwell so many years later.

“He said to me, ‘I really appreciate you coming back here, Cliff,’” Dapper said. “He is such a gracious man.”

Harwell died in 2010 at age 92, a year before Dapper died at 91. The Tigers honored Harwell with a statue at the ceremony when the two met.

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“When I see a statue, I think of history, of Washington and Lincoln, generals Grant and Lee,” Harwell said that day, as reported by the Detroit Free Press. “I don’t deserve a statue or part of history. But let me tell you, from my heart, I’m proud this statue is me.”


Classic clip

Mark McGwire on “The Simpsons”

Monday marks the 26th anniversary of Mark McGwire’s 62nd home run in 1998, which made him the first player to break Roger Maris’ single-season record. It’s a moment viewed much differently now, but at the time — when we really should have known better — it was hailed as a soaring triumph.

With that, naturally, came television appearances for McGwire. In 1999, he appeared in Helen Hunt’s bedroom on “Mad About You,” wearing only a pillow. He was also on “The Simpsons” that year, distracting the ever-gullible citizens of Springfield with his home run prowess.

McGwire — dispatched by MLB to recover evidence that it was monitoring the town — utters a truly remarkable line, given everything that would surface about his use of steroids. It’s another celebrated instance of “The Simpsons” supposedly predicting the future.

In 1998, when the league and the media should have aggressively challenged the players’ association on the necessity of drug testing (“privacy” was the union’s rationale), we instead built up McGwire and Sammy Sosa into larger-than-life Greek Gods.

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As it turned out, McGwire’s big line on “The Simpsons” said it all: “Do you want to know the terrifying truth,” he asked, “or do you want to see me sock a few dingers?”

(Top photo of Mike Baumann: Lachlan Cunningham / Getty Images)

Culture

Famous Authors’ Less Famous Books

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Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

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Karl Leitz for Anthony Cotsifas Studio

Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?

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“Romola” was Eliot’s fourth novel, published between “The Mill on the Floss” (1860) and “Middlemarch” (1870-71). If my friends and I didn’t get this particular memo, and “Romola” is familiar to every Eliot fan but us, please skip the following.

“Romola” isn’t some fluky misfire better left unmentioned in light of Eliot’s greater work. It’s her only historical novel, set in Florence during the Italian Renaissance. It embraces big subjects like power, religion, art and social upheaval, but it’s not dry or overly intellectual. Its central character is a gifted, freethinking young woman named Romola, who enters a marriage so disastrous as to make Anna Karenina’s look relatively good.

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It probably matters that many of Eliot’s other books have been adapted into movies or TV series, with actors like Hugh Dancy, Ben Kingsley, Emily Watson and Rufus Sewell. The BBC may be doing even more than we thought to keep classic literature alive. (In 1924, “Romola” was made into a silent movie starring Lillian Gish. It doesn’t seem to have made much difference.)

Anthony Trollope, among others, loved “Romola.” He did, however, warn Eliot against aiming over her readers’ heads, which may help explain its obscurity.

All I can say, really, is that it’s a mystery why some great books stay with us and others don’t.

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‘Quiet Dell’ (2013) by Jayne Anne Phillips

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Karl Leitz for Anthony Cotsifas Studio

This was an Oprah Book of the Week, which probably disqualifies it from B-side status, but it’s not nearly as well known as Phillips’s debut story collection, “Black Tickets” (1979), or her most recent novel, “Night Watch” (2023), which won her a long-overdue Pulitzer Prize.

Phillips has no parallel in her use of potent, stylized language to shine a light into the darkest of corners. In “Quiet Dell,” her only true-crime novel, she’s at the height of her powers, which are particularly apparent when she aims her language laser at horrific events that actually occurred. Her gift for transforming skeevy little lives into what I can only call “Blade Runner” mythology is consistently stunning.

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Consider this passage from the opening chapter of “Quiet Dell”:

“Up high the bells are ringing for everyone alive. There are silver and gold and glass bells you can see through, and sleigh bells a hundred years old. My grandmother said there was a whisper for each one dead that year, and a feather drifting for each one waiting to be born.”

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The book is full of language like that — and of complex, often chillingly perverse characters. It’s a dark, underrecognized beauty.

‘Solaris’ (1961) by Stanislaw Lem

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Karl Leitz for Anthony Cotsifas Studio

You could argue that, in America, at least, the Polish writer Stanislaw Lem didn’t produce any A-side novels. You could just as easily argue that that makes all his novels both A-side and B-side.

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It’s science fiction. All right?

I love science and speculative fiction, but I know a lot of literary types who take pride in their utter lack of interest in it. I always urge those people to read “Solaris,” which might change their opinions about a vast number of popular books they dismiss as trivial. As far as I know, no one has yet taken me up on that.

“Solaris” involves the crew of a space station continuing the study of an aquatic planet that has long defied analysis by the astrophysicists of Earth. Part of what sets the book apart from a lot of other science-fiction novels is Lem’s respect for enigma. He doesn’t offer contrived explanations in an attempt to seduce readers into suspending disbelief. The crew members start to experience … manifestations? … drawn from their lives and memories. If the planet has any intentions, however, they remain mysterious. All anyone can tell is that their desires and their fears, some of which are summoned from their subconsciousness, are being received and reflected back to them so vividly that it becomes difficult to tell the real from the projected. “Solaris” has the peculiar distinction of having been made into not one but two bad movies. Read the book instead.

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‘Fox 8’ (2013) by George Saunders

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Karl Leitz for Anthony Cotsifas Studio

If one of the most significant living American writers had become hypervisible with his 2017 novel, “Lincoln in the Bardo,” we’d go back and read his earlier work, wouldn’t we? Yes, and we may very well have already done so with the story collections “Tenth of December” (2013) and “Pastoralia” (2000). But what if we hadn’t yet read Saunders’s 2013 novella, “Fox 8,” about an unusually intelligent fox who, by listening to a family from outside their windows at night, has learned to understand, and write, in fox-English?: “One day, walking neer one of your Yuman houses, smelling all the interest with snout, I herd, from inside, the most amazing sound. Turns out, what that sound is, was: the Yuman voice, making werds. They sounded grate! They sounded like prety music! I listened to those music werds until the sun went down.”

Once Saunders became more visible to more of us, we’d want to read a book that ventures into the consciousness of a different species (novels tend to be about human beings), that maps the differences and the overlaps in human and animal consciousness, explores the effects of language on consciousness and is great fun.

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We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

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Karl Leitz for Anthony Cotsifas Studio

You could argue that Woolf didn’t have any B-sides, and yet it’s hard to deny that more people have read “Mrs. Dalloway” (1925) and “To the Lighthouse” (1927) than have read “The Voyage Out” (1915) or “Monday or Tuesday” (1921). Those, along with “Orlando” (1928) and “The Waves” (1931), are Woolf’s most prominent novels.

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Four momentous novels is a considerable number for any writer, even a great one. That said, “Between the Acts,” her last novel, really should be considered the fifth of her significant books. The phrase “embarrassment of riches” comes to mind.

Five great novels by the same author is a lot for any reader to take on. Our reading time is finite. We won’t live long enough to read all the important books, no matter how old we get to be. I don’t expect many readers to be as devoted to Woolf as are the cohort of us who consider her to have been some sort of dark saint of literature and will snatch up any relic we can find. Fanatics like me will have read “Between the Acts” as well as “The Voyage Out,” “Monday or Tuesday” and “Flush” (1933), the story of Elizabeth Barrett Browning’s cocker spaniel. Speaking for myself, I don’t blame anyone who hasn’t gotten to those.

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I merely want to add “Between the Acts” to the A-side, lest anyone who’s either new to Woolf or a tourist in Woolf-landia fail to rank it along with the other four contenders.

As briefly as possible: It focuses on an annual village pageant that attempts to convey all of English history in a single evening. The pageant itself interweaves subtly, brilliantly, with the lives of the villagers playing the parts.

It’s one of Woolf’s most lusciously lyrical novels. And it’s a crash course, of sorts, in her genius for conjuring worlds in which the molehill matters as much as the mountain, never mind their differences in size.

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It’s also the most accessible of her greatest books. It could work for some as an entry point, in more or less the way William Faulkner’s “As I Lay Dying” (1930) can be the starter book before you go on to “The Sound and the Fury” (1929) or “Absalom, Absalom!” (1936).

As noted, there’s too much for us to read. We do the best we can.

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Culture

6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

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Whatever happens. Whatever
what is is is what
I want. Only that. But that.

Galway Kinnell in 1970. Photo by LaVerne Harrell Clark, © 1970 Arizona Board of Regents. Courtesy of the University of Arizona Poetry Center

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“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”

“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”

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Lucille Clifton in 1995. Afro American Newspapers/Gado/Getty Images

“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”

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‘Sonnet 94’ (1609) by William Shakespeare

They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.

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“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”

“It trombones magnificent, unbearable sorrow,” says Seidel.

“It’s smartass and bitter and bright,” says Seidel.

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These interviews have been edited and condensed.

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Culture

Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil

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Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil

Literature

FRANCE

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According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).

Classic

‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)

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Karl Leitz for Anthony Cotsifas Studio

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“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”

Contemporary

‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq

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“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”

JAPAN

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According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).

Classic

‘Man’yoshu’ (late eighth century)

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“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”

Contemporary

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‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata

“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”

INDIA

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According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).

Classic

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‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa

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“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”

Contemporary

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‘The Complex’ (2026) by Karan Mahajan

“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”

THE UNITED KINGDOM

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According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).

Classic

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‘Jane Eyre’ (1847) by Charlotte Brontë

“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”

Contemporary

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‘All That Man Is’ (2016) by David Szalay

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“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”

BRAZIL

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According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).

Classic

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‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis

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“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”

Contemporary

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‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron

“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”

These interviews have been edited and condensed.

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