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Why one of baseball's unique skills, switch hitting, is trending toward extinction

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Why one of baseball's unique skills, switch hitting, is trending toward extinction

CLEVELAND — Francisco Lindor is a natural right-handed batter who desperately wanted to switch hit as a child to be more like his heroes. His brother and his cousin were both switch hitters, as was his favorite player, Hall of Fame second baseman Roberto Alomar. 

Lindor pleaded with his father, Miguel, to bat left-handed. Miguel fought against it for years because Lindor was such a good hitter from the right side. Why intentionally make yourself worse by doing something so unnatural? It didn’t make sense. 

“That was the way my dad forced me to practice,” Lindor said. “If I did everything right, then I could hit from the left side.”

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Now Lindor is part of a dwindling subset of players. Switch hitters are a dying breed in the major leagues, particularly among Americans. 

Of the roughly 550 batters to log a plate appearance through the end of June, only 58 were switch hitters, according to Stathead. It continues a trend from last season, when baseball’s switch hitters plummeted to their lowest numbers in 50 years.

Only 26 of those are American-born players, one more than last year, which saw the lowest number among Americans in nearly 60 years.

While Latin players are often encouraged to switch hit as children, it has almost become taboo among youth in America. Seattle Mariners manager Scott Servais spent 11 years as a right-handed catcher in the majors. He believes being a switch hitter is the biggest advantage in all of sports.

“Youth baseball in our country has changed dramatically over the last 15 years,” Servais said. “The focus ultimately comes down to college scholarships or getting into pro ball, and the lack of patience in letting those things develop in young players. So they get on Select teams and they’re traveling all over the country and Mom and Dad are paying a lot of money to put you in front of all of the top coaches. Why would we ever put you in a situation where you might fail? And you’re going to fail. Switch hitting is really hard. It’s really hard when you’re young. And they’re afraid of failure.”

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Mets shortstop Francisco Lindor, who had to convince his dad to let him switch hit, is part of a shrinking number of major leaguers who can hit from both sides. (Charles LeClaire / USA Today)

Mariners catcher Cal Raleigh is unsure which side of the plate is his natural side. Raleigh, like Baltimore’s Adley Rutschman, is a triple world score combination of a switch-hitting catcher with power. He has always been right-hand dominant in everyday activities, but from his earliest memories in baseball, the slugging catcher could swing the bat from both sides of the plate because his father made him do it that way. 

“Every day I thank the Lord my dad made me a switch hitter,” Raleigh said. “Because I see some of this nasty stuff that’s being thrown up there.”

The number of switch hitters in baseball has been declining for the last decade and finally bottomed out last year, when only 63 of more than 650 players logged at-bats from both sides of the plate. That’s down from an all-time high of 111 switch hitters in 1998. American-born switch hitters peaked at 78 in 1987, according to Stathead.

Carlos Beltrán was a rookie with the Kansas City Royals during baseball’s switch-hitting peak. He played 20 years and hit 438 home runs as one of the best switch hitters of his era. He began toying with the idea after playing winter ball in Puerto Rico with Bernie Williams, who also switch hit. Beltrán struggled so much staying back on offspeed pitches and breaking balls that he wanted to give up and go back to hitting solely right-handed. Kevin Long, now the Phillies hitting coach, was with Beltrán in the minors and encouraged him to stick with it. 

“Thank God for Kevin Long,” Beltrán said. “He said, ‘We are so close. Let’s stay with it. Keep trying.’ I was grateful that I had a coach that believed that what I was doing was the right thing. And he didn’t let me really go back to the right side. I don’t know what my career would have been if I only would have been a right-handed hitter.”

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Carlos Beltran credits Kevin Long for encouraging him to stick with it in the minors when he was struggling to hit left-handed. (Bob Levey / Getty Images)

Baseball has changed drastically since Beltrán played. The game is more specialized, even at the youth levels, as hitters chase data and cutting-edge metrics. The changes make some of the past greats bristle. 

“This generation has lost the ability to hit,” said former Reds star Eric Davis, now a special assistant and roving instructor for the club. “You have a lot of guys today who are caught up in exit velocity and launch angle and they’re not being taught how to hit. They’re not good hitters. So the game is not going to bless them unless you develop a skill to play the game for a long time. And switch hitting for some guys is an avenue to play the game for a long time.”

Davis, who hit right-handed during his 17 seasons in the majors, switch hit early in his career but said he gave it up as a minor leaguer because his coaches told him he didn’t struggle to hit sliders. The majority of switch hitters are natural-born righties learning to hit left-handed. The biggest benefit is to hit sliders from right-handed pitchers that break toward the left-handed batter, rather than trying to hit pitches tailing away as a right-hander.

In youth leagues, however, pitchers don’t throw breaking pitches until they’re teenagers, and most don’t develop great movement until closer to high school. It leaves kids struggling to hit from a side of the plate where they aren’t comfortable and aren’t having success. And they’re doing it to hit breaking pitches that won’t actually start breaking drastically until years later.

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There is no magic age to begin switch hitting, but various hitters and coaches polled on the subject believe the right age to start ranges from 9 or 10 years old up to around 13. Beltran, who started switch hitting in the minor leagues, is the rare exception. For teenagers who wait until they reach high school, it’s often already too late.

“If you have problems with sliders and you want the ball coming toward you rather than going away from you, work on being a switch hitter,” said Cleveland Guardians veteran coach Sandy Alomar Jr., who played 20 years in the majors as a catcher. Alomar came up as a switch hitter like his brother, Roberto. His father made both boys switch hit at a young age. Sandy dropped hitting left-handed his first year in the minors, while Roberto compiled 2,724 hits, 210 home runs and 12 consecutive All-Star appearances as one of the greatest switch hitters of all time. He was inducted into the Baseball Hall of Fame in 2011.

Rutschman, Lindor and Cleveland’s José Ramírez are among the game’s best switch hitters today. Ramírez made his sixth All-Star team this year and Rutschman made his second. Lindor did not make the team, but his season was good enough to justify another All-Star bid.


Guardians third baseman José Ramírez, who competed in this year’s Home Run Derby, is among baseball’s best current switch hitters. (Jerome Miron / USA Today)

Reds third baseman Jeimer Candelario is one of the few American-born switch hitters, but he actually skews the numbers a bit. Candelario counts on the U.S. side because he was born in New York City, but his father moved the family to the Dominican Republic when he was 5 to open a baseball academy. Candelario worked on a plan developed by his father to hit from both sides of the plate every day as a child.

Latino players comprised about 30 percent of major-league rosters last year. They made up more than 60 percent of all switch hitters. 

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“It’s a lot of work. It’s not easy,” Candelario said. “Not every day is going to be perfect, but it’s the consistent work every single day. If you don’t fall in love with it, you’re not going to have success. You have to love it.”

Not everyone believes in the concept. Mets hitting coach Eric Chavez, who batted .268 with 260 home runs over 17 years as a left-handed hitting third baseman, marvels at what Lindor can do, but he doesn’t encourage others to try it. 

“You’re two different people, two different swings,” he said. “Because the body moves differently. You’re right-hand dominant, now you come to the left side and your right hand is on the bottom (of the bat). You’re training two different swings.

“You can have a right-handed at-bat and feel really good. In that same game, you can go lefty and think, ‘Oh crap, where’s my swing?’”

Alex Miklos played Division I baseball at Kent State University, where he was a three-year captain and led the nation in triples in 2014. He is now co-owner of BioSport Athletics, a baseball and softball facility in suburban Cleveland that opened two years ago and has trained between 900 and 1,000 athletes ranging in age from 7 up through the professional ranks. Miklos estimates that roughly half of the players who have trained at BioSport are position players. Out of those 450-500, he said about 10 have asked about switch hitting and only three or four have worked on it consistently.

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“There’s no such thing as being too early. The earlier the better,” Miklos said. “But there’s definitely too late. It’s something you have to commit to. By the time you’re 13 or 14 years old, you’ve established patterns. It’s really tough to develop that ability from the other side of the plate.”

Youth sports have become so competitive in the U.S. that kids feel like every at-bat matters, even on the club level or travel leagues, Miklos said. It can be difficult for kids — and coaches — to “give away” at-bats in games to work on player development, such as a right-handed hitter learning to bat left-handed.

Whether the number of major-league switch hitters begins to increase again, particularly in the United States, will depend on how it is handled in the youth leagues going forward. The data isn’t encouraging. 

Out of about 140 of baseball’s best prospects listed on FanGraphs’ preseason list, ranging from Class AAA down to Rookie ball, 34 were switch hitters who had yet to debut. 

Eight were Americans. 

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go-deeper

GO DEEPER

Missing Bats, Part 1: How an obsession with strikeouts upended the balance of baseball

(Photo of Francisco Lindor: Jamie Sabau / Getty Images)

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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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.

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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.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

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?

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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.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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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.

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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.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

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.

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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.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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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.”

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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.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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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

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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?

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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.

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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.”

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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.

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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.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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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.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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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,

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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.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

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.

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“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.

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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.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“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

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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.”

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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.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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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.

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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.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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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.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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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.

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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.

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Do You Know the Comics That Inspired These TV Adventures?

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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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