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MLB world reacts to Willie Mays' death

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1 year ago

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MLB world reacts to Willie Mays' death

Major League Baseball and San Francisco Giants legend Willie Mays died Tuesday at age 93.

The “Say Hey Kid” performed with a showman’s flair, making basket catches in center field, taking daring chances on the base paths, winning four home run crowns, 12 Gold Glove Awards and laughing with a gleeful high-pitched voice.

Mays spent 21 of his 23 major-league seasons with the Giants organization in New York and San Francisco. He batted .301 with 660 home runs, 339 stolen bases and 3,293 hits and won two National League MVP awards.

Mays left an indelible mark on baseball, sparking many members of the MLB community to pay tribute to him at Tuesday night’s games and on social media.

Quotes and anecdotes around MLB:

Ken Griffey Jr.: “My heart is on the floor,” the Hall of Famer told MLB Network. “I’m just grateful and thankful that I was able to spend the time I had with (Mays) because he is a true giant, on and off the field.”

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Aaron Judge: The New York Yankees star outfielder and a California native reflected on meeting Mays.

“I have a family friend that is pretty close with his family,” Judge said. “I got a chance to meet him. He showed me a couple of things about throwing the baseball from the outfield, which I still remember. I have a couple of cool things that are signed in my childhood room still.”

Judge added: “Terrible, terrible news (of his death). I was a big Willie Mays fan. What he meant to the game, California, all of the Giants fans out there, especially me growing up, you wanted to play like Willie and make those catches that he did.

“The numbers he put up on the field and what he did are impressive, but him as a person and human being was even bigger. It was bigger than baseball. He was something special. The baseball world is definitely gonna be missing a great one.”

Mike Yastrzemski: “The things that he did, we’ll never see again,” the Giants outfielder said of Mays’ career. “He was such a talented player and he played the game as purely as anybody could. To be able to watch that on film — I’m glad there was film for it — because it’s something that’s going to be watched and studied for the rest of time.”

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Giants react to the death of Willie Mays: ‘The things he did we’ll never see again’

Sergio Romo: “Every day he was very willing to give his time, to give his expertise, to give his advice,” Romo, a three-time World Series champion with the Giants, told NBC Sports Bay Area about Mays visiting the club. “He made you feel visible.”

Bruce Bochy: This game allows you to meet some tremendous players and people, and I got to spend a lot of time with Willie during my tenure (in San Francisco) and it’s a sad day,” the former Giants manager and current Texas Rangers manager said. “What a legend he is.”

Billy Owens: The Oakland A’s assistant general manager and a Bay Area native paid tribute to Mays in a text message to The Athletic’s Melissa Lockard.

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“Say Hey was EVERYTHING…….Right there with Muhammad Ali as the Greatest,” Owens said. “The Excellence was Documented. The Style can never be duplicated. His power, speed and grace forever unique. The catch still captured the imagination almost a century later. Willie was New York(Polo Grounds) and San Francisco(Candlestick Park). I’ll watch Rickwood Field(Birmingham) this week and imagine Willie doing basket catches in Center Field and hitting homers into the Stratosphere. RIP Say Hey Willie Mays.”

Steven Kwan: The Cleveland Guardians outfielder and a Bay Area native said, “(Mays) was the face of the Giants. It was him and Barry Bonds and they would always be together. You’d see them talking. You wished you could be a fly on the wall for those conversations.”

Stephen Vogt: Cleveland Guardians manager Stephen Vogt’s grandfather lived in Oklahoma, and there were no MLB teams nearby. He chose the New York Giants as his team, mostly because he hated the Yankees and Dodgers. He loved watching Mays, and he’d prattle on and on about the center fielder to his son, Randy.

The Giants relocated to San Francisco in 1958 when Randy was three years old. The Giants became his team, and Mays was Randy’s hero. The family visited Candlestick Park every year.

Stephen grew up a Giants fan, too. The Vogts had season tickets in the upper deck down the left-field line. Stephen signed with San Francisco for the 2019 season. That spring, he met Mays. The two chatted in the clubhouse and took a picture together. Randy framed that photo, which sits on a shelf in his office.

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“One of the people who was a god to you,” Vogt said of Mays. “It was just this unfathomable figure. You never really saw him on TV, (just) highlights. It was really cool to meet him and then get a chance to chat with him.”

Harold Reynolds: “Willie was like a father to all of us,” the former Seattle Mariners second baseman told MLB Network. “He was from that generation that was passing it on. … He had advice for you on every aspect of your life.”

Craig Counsell: “I’m saddened by the news about Willie Mays,” the Chicago Cubs manager said. “This is one of the Mt. Rushmore of baseball players in my opinion. A legend in our game. I got to meet him a couple times. He was the kind of person, along with Hank Aaron, that made you nervous because of how great they were. It was sad news to hear during the game today.”

Cody Bellinger: “I saw the news (of Mays’ death) in the seventh inning and was pretty saddened by it. Wearing the number 24 is special. He’s one of the best players in our game. Just seeing him around a few times on the field was a true blessing. An unbelievable guy and best wishes to his family right now.”

Bellinger wears No. 24 with the Cubs, the same jersey number Mays wore with the Giants and the New York Mets.

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The Athletic’s Chris Kirschner, Melissa Lockard, Zack Meisel and Sahadev Sharma contributed to this story.

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(Photo: Michael Ochs Archives / Getty Images)

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Culture

I Think This Poem Is Kind of Into You

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3 days ago

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December 11, 2025

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I Think This Poem Is Kind of Into You

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By A.O. Scott

A.O. Scott, a critic at large for the Book Review, recorded the poem that appears in this piece.

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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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Culture

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

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5 days ago

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December 9, 2025

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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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Culture

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

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2 weeks ago

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December 2, 2025

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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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