Culture
Rosenthal: Mookie Betts' latest goal? Become 'a legend in the game'
GLENDALE, Ariz. — Mookie Betts keeps upping the ante. He talked last season about wanting to become a Hall of Famer. His latest goal: To become, in his words, “a legend in the game.”
Betts, 31, made that declaration in an interview I conducted with him Tuesday for Fox Sports. I asked him, after winning two World Series and an MVP award, what keeps him going at this stage of his career. What motivates him. What fuels him.
“My family, obviously,” said Betts, who is married with two children. “But then just a drive within myself just to be great. I want to be great. When I’m done, I want you to remember not necessarily just the baseball player, but Mookie. I want to be a legend in the game.
“How I create that, I have no idea. I’m just kind of going about it and bringing smiles to people’s faces when I can, trying to sign some autographs when I can, be the best player I can be when I’m playing, be the best teammate I can be.
“Whatever comes my way, I’m just going to try and be the best at it no matter what. If it’s sitting on the bench, I want to be the best cheerleader. Whatever it is. I think if I can do that, I feel like that will create some type of legacy that I can leave. You won’t remember all the on-field stuff, but I want people to remember who Mookie was off the field for sure.”
Major leaguers rarely speak this way. Until recently, the sport’s culture discouraged individualism of any kind. Freedom of expression is becoming more accepted, as evidenced by the league’s “Let the Kids Play” promotional campaign in 2019. But even now, few players openly discuss individual goals, preferring to focus only on the team.
Betts, to be sure, is intent on his Los Angeles Dodgers winning the World Series, something they did in the shortened 2020 season, but haven’t accomplished in a full season since 1988. Coming off the team’s $1 billion offseason, which included the additions of Shohei Ohtani and Yoshinobu Yamamoto, he spoke of a “sense of urgency” this spring.
“We’ve been to the playoffs so many times and haven’t come through,” Betts said, referring to the team’s 11 straight playoff appearances. “We’ve gotten one, but one for nine or ten is not very good in our sport, really in general.”
Betts fields ground balls at Camelback Ranch earlier this month. (Rick Scuteri / USA Today)
To become a “legend in the game,” at least from the perspective of Dodgers fans, Betts knows he must perform better in October. He was brilliant in the 2020 postseason, but went a combined 2-for-25 as the Dodgers were knocked out in the past two Division Series, first by the San Diego Padres, then by the Arizona Diamondbacks, both times after winning 100 or more regular-season games.
Yet, when Betts mentioned his goal of becoming a legend, he was not necessarily talking about on-field performance. I asked him when he realized it was possible for him to achieve such status, and that it was something he even wanted. His answer was telling.
“My friends really stay on me,” Betts said. “They tell me to embrace who you are. Embrace when you walk into somewhere and someone wants to come take a picture or someone gets nervous. I used to kind of shy away from it. Now when I see somebody that’s kind of shy, I go and talk to them. I go and humanize myself.
“I’m a normal person just like everyone else, but there are some things that I do a little differently, and there are some lives that I affect a little differently, and I think I should embrace that. I’m trying. I’m doing my best. It’s weird for me, and it’s weird even saying something like that. But it really stems from my friends. They’ve been with me since I was in the fifth grade, so they’ve seen where I was then. We had no idea any of this was going to happen.”
“This” includes his remarkable 2018 season with the Boston Red Sox, when he won the American League batting title with a .346 batting average, helped the Red Sox win the World Series and was voted AL MVP. It also includes seven All-Star appearances and six Gold Gloves, not to mention a $365 million contract, the third largest guarantee in major-league history.
Betts’ popularity, however, stems not only from his immense all-around skills, but also from fans relating to a player who is listed at only 5-foot-9, 180 pounds. Betts is far from a behemoth. He also displays, at times, an endearing, almost childlike joy for the game.
The Dodgers plan to use Betts mostly at second base this season — he joked to reporters recently that he left his right-field glove and cleats in Los Angeles. Last season, he moved deftly between right, second and shortstop, demonstrating rare versatility, particularly for a superstar.
“It just felt like I was able to be a kid again,” said Betts, a native of Nashville, Tenn. “Growing up, I never played one position. I was almost like the utility guy. I had four uniforms, and whoever called and needed a right fielder or a shortstop or a second baseman or a third baseman or a first baseman, that’s kind of where we went. It’s almost weird playing just one position, especially in the outfield.”
Wait, Betts played for four different youth teams at once?
“Wherever they needed,” he continued, smiling. “Sometimes I would go just pitch, and sometimes I would go play left. It didn’t matter. My dad, I appreciate that from him because I think that really taught me how to be a baseball player instead of just playing one position the whole time.”
For Betts, it was the start of something big, a major-league career that is about to enter its 11th season. The Hall of Fame seems well within his reach, and still he wants more. To win another World Series. To be admired on and off the field. To become — yes, he said it — a legend in the game.
(Top photo of Mookie Betts: Masterpress / Getty Images)
Culture
I Think This Poem Is Kind of Into You
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.
“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.
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.
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.
“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.
Culture
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.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
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.
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.
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.
See the full list of the 10 Best Books of 2025 here.
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