Culture
The 3 biggest highlights from Juan Soto’s gutsy performance in huge win over A’s
OAKLAND — Juan Soto didn’t feel great.
When he woke up Friday morning, his left knee was stiff, swollen and achy. The night prior, he slammed it into the wall making a sliding catch at T-Mobile Park in Seattle, and with just nine games left in the season and a month until his hotly anticipated free agency, he was worried something might be very wrong.
Turned out, he wasn’t just OK. He was en route to delivering another signature moment in his first and — avert your eyes, New York Yankees fans — perhaps only season in pinstripes.
Soto battled through soreness in his knee to deliver 10th-inning, pinch-hitting heroics in a crucial 4-2 win over the Oakland A’s at the Coliseum.
“Showman-like,” said Gerrit Cole, the night’s other hero who allowed just one run over nine innings and 99 pitches.
Let’s run through the most standout parts of Soto’s brief, but impactful performance.
Soto. Clutch. pic.twitter.com/w8Xf28blfL
— New York Yankees (@Yankees) September 21, 2024
Playing through pain
Soto wasn’t totally ready. Though manager Aaron Boone’s initial lineup had the 25-year-old batting second and playing right field, Soto’s pregame work told the team to yank him out just hours before first pitch.
Earlier in the day, Soto received the best news of all: X-rays of his kneecap didn’t reveal structural damage.
“It was really a relief,” he said.
A bigger relief? Getting the job done when Boone called upon him with the game on the line.
In the 10th with the score tied 1-1, after Anthony Rizzo led off with a single to right field and moved automatic runner Jasson Domínguez to third base, Boone figured it was the right time. So, Soto pinch hit for center fielder Trent Grisham.
With the count 1-1, Oakland reliever T.J. McFarland whipped an 88-mph sinker that went all the way to the backstop for a wild pitch. Domínguez slid feet-first under the pitcher’s tag. The Yankees had taken the lead.
Then, on the next pitch, Soto roped a slider to the right-field corner. The ball (exit velocity: 110 mph) zipped over the left fielder’s head, scoring pinch-runner Oswaldo Cabrera from second base.
Soto cruised into second base and then came out for pinch runner Jon Berti.
“What a big-time at-bat,” Boone said.
“That was awesome,” catcher Austin Wells said. “I mean, he couldn’t play the whole game? He came in at the end? Just a piece-o’-cake double. No, I’m glad he’s healthy, and he did a great job coming off the bench.”
It brought to mind Soto’s performance from nine days prior when he fouled a ball off his foot, went down in pain and then continued the at-bat only to crush a long two-run homer off Kansas City Royals starting pitcher Cole Ragans. The Yankees won the game 4-3.
Willingness to put his body on the line
On Friday afternoon, Soto spent time hitting in the cage with assistant hitting coach Pat Roessler and doing squats in the weight room. But he wasn’t ready. Soto and the Yankees decided to give him more time to rest. So, Aaron Judge shifted to right field and Grisham started in center.
Yet, by the time the middle of the game came around, Boone said that Soto approached him to tell him that he could hit if the game was on the line.
Soto didn’t have to do that. He could have taken the rest of the day to protect his knee — and his availability for the postseason. The Yankees clinched a playoff berth Wednesday and maintained their four-game lead in the American League East with eight games remaining.
But Soto wanted to play.
“I know we clinched and this and that,” he said. “But at the end of the day, the goal is to win the division, and we are really close. I didn’t think about any day off or anything. But we’re trying to be smart too and think about October and not think about right now. So, yeah, all the options came through my mind.”
Cole had a simple explanation.
“He loves the moment, man,” Cole said. “He loves it.”
Juan Soto discusses status of his knee, pinch-hitting, playoff anticipation and more. pic.twitter.com/WnpFPVpna2
— YES Network (@YESNetwork) September 21, 2024
A nod to his teammates and training staff
The Yankees’ dugout exploded after Soto’s double. It was clear how much Soto adores his teammates as he danced and sprayed champagne with them during Wednesday’s celebration of the Yankees nailing down a playoff spot.
But he put it into words Friday.
“These guys are unbelievable,” he said. “These guys are great. I love every single guy that is in here. We’ve been together since Day 1, and we’ve been showing love day in and day out, and it’s just a great feeling.”
Soto also credited the Yankees’ medical and strength staffers for their work on his knee.
“The trainers did a pretty good job to help me get the swelling down and it felt very good,” he said.
He added, “(The knee) reacted pretty well. So throughout the game, I was feeling good. It wasn’t sore or anything after all the work we put in, and that’s when I knew I had a good chance to be an option.”
(Photo: Thearon W. Henderson / Getty Images)
Culture
Finding Wisdom in a Poem by Wendy Cope
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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