"You have seen bigger horses than his thirteen and a half, perhaps fourteen hands, his nine hundred pounds. You have seen handsomer profiles than this Roman nose, slightly convex. Burrs cling to his long sweeping tail. His coat is dark and unglossed. Yet look again, while he is still, for he will not be still long. Sense the vitality in those muscles, trembling beneath the skin; see the pride in that high head, hear the haughty command to his voice. For this is a wild horse, my friend. Once he claimed the western range. Then they took his range away from him. But nothing, no one claims him. He feels the wind and the air with his nose, with his ears, with his very soul, and what he feels is good. He tosses his head, once, quickly, and behind him his harem of six mares trot up to join him, and behind them, a yearling colt, a filly and two stork-legged foals. Coats dusty and chewed, tails spiked with bits of the desert, sage and nettle and leftover pine needles from winter climbs down from timberland. The Barb-nosed stallion led his family down to the waterhole. Not Barb from barbed wire, though perhaps the chewed skin was from barbed wire, but Barb from the Spanish horses from which he descended, brought to the New World over four hundred years ago, from the Barbary states of North Africa, Tunisia, Morocco, Algeria, Fez, Tripoli. Indians stole them from the Spaniards; the Barbs stole themselves free from the Indians. Running wild, a few still run free."

“Click. The spare camera was now focussed and working. The lead mare—Barb Nose's—saw the drop. She cut her stride and wheeled and ran along the dangerous edge. Barb Nose ran in the vanguard, protecting the rear, driving the foals ahead of him. Blaze Face had long since cut and run, taking his beaten stallion flesh off to be nursed, to wait for another day, another elder to challenge. The other mares expertly and instinctively followed the leader as she rimmed the mesa, heading for the foothills of the El Gatos. One foal, too, made the cut, on stick-like legs, frightened but blindly following. The second foal had truly been blinded by panic. He strode to the drop-off and never stopped. He was a wild horse, and he had to run, and now he would run free forever. Plunging headlong over the drop, body whirling, his legs still flailing, as he fell through the desert air and past the serrated rock walls of the mesa, he knew nothing of time. He knew nothing of the eons that had gone before him, building this mesa of bluff and sandstone and archean rock. He fell through layers of time, to timelessness, a living thing for so little time. Once a living work of art, now a broken artifact. One foal. Dead. Murdered by man. Murdered by time. The drumbeat of the earth was lessened by one horse's tiny hooves. And all of us were lessened by this new silence. Click.”

“In that one moment, during an era in which sluggers threatened to take over the sport, Carl Hubbell had restored to pitching its true eminence. The man with skill in his arm, courage in his heart, and craft in his brain, could still set down the brute man with the club. It meant more than a man striking out great hitters; it stood for baseball's interpretation of man's growth. We have come away from men with clubs and dim brains. Hubbell's performance those five outs was baseball's way of representing all this, of representing the contest between brains and brawn. Never was brawn so thoroughly routed.”

“On the last Sunday in September in smoggy Los Angeles, announcer Vin Scully riffed through some notes as Willie McCovey came to bat for the last time that season before the Chavez Ravine folks. "Let's see," said Scully, "no home runs since September 11. . . .Well, it's been a long season. McCovey's got to be tired. Big as he is, he's probably worn out." So Scully was looking down at his papers when he heard the familiar crack. Worn-out Willie had just driven the ball over the right field fence, over the bullpen, and into Glendale. Scully did not see the pitch McCovey hit. It had been a palm ball lobbed up by Pete Mikkelson, the kind of pitch that floats up like a dead flounder, and usually goes about as far as dead flounders fly when you hit one. If you hit one. This one traveled a couple of miles or more, and Willie McCovey had home run number 45, to break his tie with Hank Aaron and win for McCovey his second consecutive National League home-run title.”

“Now it was Liddle, jerking into motion as Wertz poised at the plate, and then the motion smoothed out and the ball came sweeping in to Wertz, a shoulder-high pitch, a fast ball that probably would have been a fast curve, except that Wertz was coming around and hitting it, hitting it about as hard as I have ever seen ball hit, on a high line to dead center field. For whatever it is worth, I have seen such hitters as Babe Ruth, Lou Gehrig, Ted Williams, Jimmy Foxx, Ralph Kiner, Hack Wilson, Johnny Mize, and lesser-known but equally long hitters as Wally Berger and Bob Seeds send the batted ball tremendous distances. None, that I recall, ever hit a ball any harder than this one by Wertz in my presence.”

“Jim Dilley, the father of the Laguna Greenbelt, used to take roses to the secretaries of the county Board of Supervisors when he'd go to do battle over open space with the secretaries' bosses. Jim Dilley was a nice man, kind and gentle. He smoked a pipe. His eyes twinkled as though he knew a joke the rest of us didn't. But he's dead, and the Board is still alive, and that is a joke on us of monstrous proportions. I'm not nice, kind or gentle. The Board keeps rubber-stamping building permits, and this is my goodbye to these shores. After 36 years, my wife and I will soon leave Orange County for Costa Rica, to join the Peace Corps, and that, too, is a joke. We traipse off to bring peace to Costa Rica, which hasn't had an army since 1948.”

“McGraw was an improviser, a teacher. He brought much to the game that keeps baseball fresh and suspenseful today—the hit-and-run play, the steal, the squeeze play, the uses of the bunt and the defenses against it. He helped turn the game into a thing of fluid beauty, infielders charging the plate or roaming far from their bases, outfielders moving with each pitch, racing in for base hits before them, backing each other in the outfield, entering the infield itself on rundown plays. Yet when the game changed radically, with the introduction of the livelier baseball, McGraw naturally shifted to a power emphasis, founding his team about such men as George Kelly, Bill Terry, Mel Ott. He knew, too, that the old pitching style of permitting a man to hit a deadened ball because it would then be caught in the big fields had to be changed, and his staffs led the league year after year in strikeouts, in earned-runs.”