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A Pulitzer Prize-winning author captures baseball’s strategic and emotional essences through a point-blank account of one three-game series viewed through the keen eyes of legendary manager Tony La Russa. Drawing on unprecedented access to a manager and his team, Bissinger brings the same revelatory intimacy to major-league baseball that he did to high school football in his classic besteller, Friday Night Lights.
Three Nights in August shows thrillingly that human nature not statistics can often dictate the outcome of a ballgame. We watch from the dugout as the St. Louis Cardinals battle their archrival Chicago Cubs for first place, and we uncover delicious surprises about the psychology of the clutch, the eccentricities of pitchers, the rise of video, and the complex art of retaliation when a batter is hit by a pitch. Through the lens of these games, Bissinger examines the dramatic changes that have overtaken baseball: from the decline of base stealing to the difficulty of motivating players to the rise of steroid use. More tellingly, he distills from these twenty-seven innings baseball's constants its tactical nuances, its emotional pull.
During his twenty-six years of managing, La Russa won more games than any other current manager and ranks sixth all-time. He has been named Manager of the Year a record five times and is considered by many to be the shrewdest mind in the game today. For all his intellectual attainments, he’s also an antidote to the number-crunching mentality that has become so modish in baseball. As this book proves, he's built his success on the conviction that ballgames are won not only by the numbers but also bythe hearts and minds of those who play.
Three Nights in August will be devoured by hard-core strategists who enjoy nothing more than arguing for hours over why a hit-and-run was not called. Yet it is immediately accessible to any fan curious about the more complicated elements of the game. This is because Bissinger does much more than simply dissect 27 innings of baseball. He has the wonderful ability to stop the action in midpitch to talk about the people involved … Many of the book's compelling off-the-field digressions are about La Russa: his long and colorful career -- his teams have won four pennants and one World Series -- his love of the game and its history and traditions, his brilliance and self-doubt, his daily challenges in handling the fragile egos of his rich young players. At times, the frustrations with the modern game -- free agency, spoiled players, steroids, multiyear contracts, agents -- seem overwhelming.
More Reviews and RecommendationsIn nonfiction bestsellers like Friday Night Lights, A Prayer for the City, and Three Nights in August, author/journalist Buzz Bissinger has demonstrated an undeniable knack for capturing the rhythms of life in big cities and small towns alike.
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September 21, 2009: I'm a big baseball and sports fan and this book really gave me some insight into the thought processes of a manager. I never really thought about the game of baseball like this before. It has great insight. A must read for sports fans!
I Also Recommend: Friday Night Lights, Moneyball, Shooting Stars.
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March 16, 2009: I gave this to my husband as a gift, and later, I also read it. It gave me a lot of insight into the manager's thought processes within a game and series - a must-read for Cardinals fans!
Name:
Buzz Bissinger
Also Known As:
H. G. Bissinger
Date of Birth:
November 01, 1954
Place of Birth:
New York, New York
Education:
B.A., University of Pennsylvania, 1976; Nieman Fellow, Harvard University, 1985-1986
Awards:
Pulitzer Prize for investigative reporting, Philadelphia Inquirer, 1987; Friday Night Lights named Best Sports Book of the Past 25 Years by ESPN
Award-winning journalist and bestselling author H. G. ("Buzz") Bissinger has an undeniable knack for capturing the rhythms of life in big cities and small towns alike. While working as a reporter for The Philadelphia Inquirer, he and two colleagues shared a 1987 Pulitzer Prize for their six-part investigative series on corruption in the city's court system. A year later, reports of "the winningest high school football team in Texas history" led Bissinger to the economically depressed and racially divided town of Odessa, where he followed the team in question, the mighty Permian Panthers, on their quest for the state championship. Upon its publication in 1990, Friday Night Lights became an instant classic -- a cautionary tale about the dangers of sports obsession that remains required reading in many American high schools. It was filmed in 2004 and inspired a critically acclaimed television show.
Bissinger shines at "immersion journalism." Granted unlimited access in the mid-'90s to then-mayor of Philadelphia Ed Rendell, he crafted a superb behind-the-scenes account of Rendell's uphill struggle to rescue the decaying city from economic decline. Published in 1998, A Prayer for the City became a New York Times Notable Book of the year. Then, in 2005, he parlayed his relationship with Cards manager Tony La Russa into the bestseller Three Nights in August, an intriguing view of major-league baseball filtered through the lens of a three-game series between the rival Cubs and Cardinals.
In addition to his bestselling nonfiction, Bissinger has produced in-depth articles for a variety of publications -- most notably Vanity Fair, where he works as a contributing editor. Among his best-known pieces are an exposé of Stephen Glass, the disgraced New Republic reporter fired for journalistic fraud; a probing profile of the merciless, mercurial radio shock jock Don Imus; and a poignant story about the life and death of the great thoroughbred racehorse Barbaro.
Some fascinating outtakes and fun facts from our interview with Bissinger:
"One of the inspirations for my becoming a writer was the baseball board game Strat-O-Matic. I started playing it as a kid when I was ten or eleven. The game featured individual cards for every player in the major leagues. The results were incredibly realistic and after each game I would sit down at my typewriter and type up a game story as if I was writing for the New York Times."
"My grandmother got her law degree from Syracuse University in roughly 1911 and later co-founded with her husband an investment banking firm on Wall Street known as Lebenthal & Co. My parents worked at the firm and so did my uncle. As for my grandmother, she worked at Lebenthal until her early nineties."
"I am the father of twin sons that were born in Philadelphia at Pennsylvania Hospital in 1983. They were 13 weeks premature. Gerry weighed 1 pound 14 ounces, and Zachary 1 pound 11 ounces. They were the first male twins to ever survive at Pennsylvania Hospital. They are thriving today. Talk about miracles."
"I am 5'6" and desperately wish I was taller."
In 1998, Vanity Fair published Bissinger's article "Shattered Glass," an exposé of the career of disgraced New Republic writer Stephen Glass, who was fired for journalistic fraud. The article was later adapted for the 2003 film of the same name.
Bissinger admits to having an "abiding hatred" for the blog-o-sphere. In April, 2008, he appeared on Bob Costas's television series Costas Now and launched an angry tirade against Will Leitch, creator of the sports blog "Deadspin."
What was the book that most influenced your life or your career as a writer?
Common Ground by J. Anthony Lukas. The first 15 years of my career were spent as a print journalist. I hungered for books of nonfiction and Lukas's book is an immaculate blend of reporting and narrative writing as he traced the roots and effects of the Boston busing crisis in the 1970s. The book serves as a model for everything that nonfiction book can be: insightful, dramatic, human, revealing. I read it 19 years ago, and nothing I have read since has ever topped it.
What are your ten favorite books, and what makes them special to you?
What are some of your favorite films, and what makes them unforgettable to you?
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
When I was researching Friday Night Lights, about high school football in a town in Texas, a lot of kids on the team listened to Bon Jovi before games to psych themselves up. When I sat down to write the book I did the same. I put on a pair of headphones and cranked up Bon Jovi as loud as I could to help stimulate the sounds and feelings of what the kids on the team were going through.
If you had a book club, what would it be reading?
Saturday by Ian McEwan. Beautifully written. But beyond the writing a provocative book about desire versus conformity, materialism versus creativity, expectation versus the disappointment of reality. What does it mean to really live and free yourself of the shackles of responsibility, making a living, and conforming to the standards that are expected of you? Is it still possible to feel something, anything, when you are in the thick of mid-life?
What are your favorite kinds of books to give -- and get -- as gifts?
Any book that I get is a great and special gift. I of course love to give as gifts books that have had a special significance for me.
Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
I try to establish a daily routine and just stick with it. I am a morning writer and my best hours by far are between 7 a.m. and noon. After five hours or so, I feel tapped out and very anxious, the writer's fear that I have really accomplished nothing. About five years ago, I started taking a nap every afternoon. It is a delicious luxury and one of the great perks of a life that is often isolated and lonely. I nap every day for an hour or so. I turn off the phone and pull down the shades so no one can get to me. It helps to alleviate the anxiety and also helps to make the late afternoons somewhat productive. I absolutely hate the hours between 2 and 4 p.m. I find them depressing and trying to do anything during that time is a worthless exercise for me.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
Before I wrote Friday Night Lights I was a print journalist for 15 years at the Ledger-Star in Norfolk, Virginia, the St. Paul Pioneer Press, and the Philadelphia Inquirer. When I left the paper and moved with my family to Odessa, Texas to write the book, I had confidence as a reporter, but I really did not know anything about writing a book. I did not use a written outline and it showed terribly. When I turned in the first 30,000 words to my editor Jane Isay at Addison-Wesley, she flipped. The partial draft had no narrative engine, no pace, absolutely no reason for the reader to turn the page. Jane not so politely told me that at the rate I was going, the book was going to be longer than The Rise and Fall of the Third Reich. We had an emergency meeting in New York where she forced me to finally focus on what I planned to say and where the book needed to go. From then on, I used a written outline. As for the 30,000 words I turned in, about 4,000 of them managed to actually make it into the book. The rest got thrown out.
What tips or advice do you have for writers still looking to be discovered?
In Three Nights in August, Tony LaRussa talks about trying to teach his players to react to pressure. One of the points that LaRussa stresses is focusing on the process and not the result: if a player comes up in the bottom of the ninth with his team down by a run and thinks he has to hit a home run to tie the game, the odds are he is going to fail. But if he comes to the plate fully prepared with the knowledge of what the pitcher is most likely to throw him, and simply tries to put his very best swing on the ball, the odds are much better of success in LaRussa's estimation. I think that what LaRussa says about ballplayers is also true about writers: If you write with one eye on the bestseller list, all that is going to do is add to the pressure of what you are already doing. So focus on the one thing you can control -- the process of making what you are working on the very best it can be. Success will come, and success of course comes in all sorts of different ways.
A Pulitzer Prize-winning author captures baseball’s strategic and emotional essences through a point-blank account of one three-game series viewed through the keen eyes of legendary manager Tony La Russa. Drawing on unprecedented access to a manager and his team, Bissinger brings the same revelatory intimacy to major-league baseball that he did to high school football in his classic besteller, Friday Night Lights.
Three Nights in August shows thrillingly that human nature not statistics can often dictate the outcome of a ballgame. We watch from the dugout as the St. Louis Cardinals battle their archrival Chicago Cubs for first place, and we uncover delicious surprises about the psychology of the clutch, the eccentricities of pitchers, the rise of video, and the complex art of retaliation when a batter is hit by a pitch. Through the lens of these games, Bissinger examines the dramatic changes that have overtaken baseball: from the decline of base stealing to the difficulty of motivating players to the rise of steroid use. More tellingly, he distills from these twenty-seven innings baseball's constants its tactical nuances, its emotional pull.
During his twenty-six years of managing, La Russa won more games than any other current manager and ranks sixth all-time. He has been named Manager of the Year a record five times and is considered by many to be the shrewdest mind in the game today. For all his intellectual attainments, he’s also an antidote to the number-crunching mentality that has become so modish in baseball. As this book proves, he's built his success on the conviction that ballgames are won not only by the numbers but also bythe hearts and minds of those who play.
Three Nights in August will be devoured by hard-core strategists who enjoy nothing more than arguing for hours over why a hit-and-run was not called. Yet it is immediately accessible to any fan curious about the more complicated elements of the game. This is because Bissinger does much more than simply dissect 27 innings of baseball. He has the wonderful ability to stop the action in midpitch to talk about the people involved … Many of the book's compelling off-the-field digressions are about La Russa: his long and colorful career -- his teams have won four pennants and one World Series -- his love of the game and its history and traditions, his brilliance and self-doubt, his daily challenges in handling the fragile egos of his rich young players. At times, the frustrations with the modern game -- free agency, spoiled players, steroids, multiyear contracts, agents -- seem overwhelming.
Bissinger eschews the usual method of writing about baseball in the context of a season or a career, choosing instead to dissect the game by carefully watching one three-game series between the Cardinals and Cubs in late 2003. The Pulitzer-winning journalist and author of Friday Night Lights had unprecedented access to Cardinals manager Tony La Russa, as well as his staff and team, and he used that entr e to pick La Russa's formidable baseball brain about everything from how he assembles a lineup to why he uses certain relievers. As the series unfolds, Bissinger reveals La Russa's history and personality, conveying the manager's intensity and his compulsive need to be prepared for any situation that might arise during " `the war' of each at-bat." Typical characters-the gamer, the natural, the headcase, the crafty old timer-are present, but Bissinger gives new life to their familiar stories with his insider's view and cheeky descriptions (e.g., "Martinez's response to pressure has been like a 45-rpm record, a timeless hit on one side, and the flip side maybe best forgotten"). Bissinger analyzes each team's pitch-by-pitch strategy and gets the dirt on numerous enduring baseball questions: What does it feel like to have to close your first game in Yankee Stadium? Who knew about players using steroids before the current scandal hit? Do managers tell their pitchers to throw at hitters? Mixing classic baseball stories with little-known details and an exclusive perspective, this work should appeal to any baseball fan. Agent, David Gernert. (Apr. 5) Forecast: La Russa will make appearances tied in to the book's promo, and there will be a press conference for the book at spring training. Both should help this book rise to the top of this season's baseball book flood. Copyright 2005 Reed Business Information.
Baseball writing at its best should not be merely about championship games and record-setting feats. Bissinger (Friday Night Lights) takes in a three-game series between the rival Cubs and Cardinals, with enviable access to the baseball mind of St. Louis manager Tony LaRussa, once a wonder boy among the generation of old-style "gut" managers and now an elder statesman to whiz-kid sabermatricians. For all fans of Bissinger's work and of pure baseball. [See Prepub Alert, LJ 12/04.] Copyright 2005 Reed Business Information.
Is baseball a game? Not by this first-rate account of a battle of titans, in which a pampered star player insists that he's a "performer" and the manager-hero employs the strategic skills of a warlord. St. Louis Cardinals manager Tony La Russa, writes Vanity Fair contributing editor Bissinger, is "a baseball man" who proudly owns the appellation even though it "has become increasingly pejorative today because of the very stodginess it suggests." There's nothing stodgy about La Russa, even though he has revealed some very old-fashioned leanings against the use of performance-enhancing steroids and for winning performances by free agents who play their own stats-racking games against the better interests of the team. Bissinger's account ranges widely over La Russa's four decades in baseball: He started off as a player but, realizing he wasn't star material, began to badger his managers to tell him their secrets and took up the trade while still in his 20s. The bulk of his story, though, is devoted to a three-game series between the Cards and their nemesis, the Chicago Cubs, in August 2003, as the Cubs were racing their way to a long-awaited bid for the national championship. Bissinger takes care to analyze La Russa's decisions as they're being made on the field, drawing on La Russa's storied command of baseball statistics and history and his uncanny ability to match batters to pitchers, figure out opposing managers' signals, and such. Throughout, La Russa takes on the lonely countenance of a knight errant battling forces beyond his control, especially the unwillingness of players to exert themselves; as Bissinger writes, "La Russa calculates that, for today's players, winning is 'third orfourth on their list behind making money and having security and all that other BS.' "Even so, La Russa turns up results, as readers will discover-and, of course, he took the Cards to the World Series in 2004. A real treat for scholarly baseball fans, and a better management book than most on the business shelves.
Loading...CONTENTS Preface xi Foreword by Tony La Russa xvii Prologue 1 GAME ONE 1 Fear Factor 17 2 Locked In 26 3 “I’m Gonna Kill You!” 41 4 The Peeker 53 5 The Pitcher’s Tale 67 6 Praying for Change 85 GAME TWO 7 Gonzalez Must Pay 105 8 Light My Fire 121 9 Whodunit 138 10 Being There 156 11 Under Pressure 175 GAME THREE 12 D.K. 199 13 Thing of Beauty 216 14 Kiss My Ass 224 15 Three Nights in August 240 Epilogue 254 Postscript 264 A Note on Sources 269 Acknowledgments 271 Index 273
PREFACE
The face made me do it. It left an indelible image with its eternal glower from the dark corner that it occupied. I had always admired intensity in others, but the face of Tony La Russa entered a new dimension, nothing quite like it in all of sports.
I first saw the face in the early 1980s, when La Russa came out of nowhere at the age of thirty-four to manage the Chicago White Sox and took them to a division championship in his third full year of managing. The face simply smoldered; it could have been used as a welding tool or rented out to a tanning salon. A few years later, when he managed the Oakland A’s to the World Series three times in a row, the face was a regular fixture on network television and raised even more questions in my mind. Did it ever crack a smile? Did it ever relax? Did it ever loosen up and let down the guard a little bit, even in the orgy of victory? As far I could tell, the answer was no.
I was hooked on the face. I continued to observe it as he stayed with the Oakland A’s through 1995. I followed it when he became the manager of the St. Louis Cardinals the following season. Along the way, I became aware of his reputation as a manager, with a polarity of opinion over him such that when Sports Illustrated polled players on the game’s best five managers and its worst five managers, La Russa appeared on both lists. But I liked seeing that because it meant to me that this was a manager who didn’t hold back, who ran his club with a distinct style regardless of the critics’ chorus. Had he been any different, surely the face would have broken into a smile at least once.
After La Russa came to the Cardinals, Idid see moments when the face changed. I saw fatherly pride and self-effacement spread over it when Mark McGwire hit his record-breaking sixty-second home run in 1998. I also saw the face overcome with grief when he and his coaches and his players mourned the passing of the soul of the St. Louis Cardinals, broadcast announcer Jack Buck, followed four days later by the death of beloved pitcher Darryl Kile in his hotel room during a road trip in Chicago. Later that season of 2002, I saw the intensity return, all the features on a collision course to the same hard line across the lips during the National League Championship series that the Cardinals painfully lost to the Giants four games to one.
As a lifelong baseball fan, I found myself more curious about La Russa than about anybody else in the game. Which is why, when out of nowhere, I received a call from La Russa’s agent at the end of November 2002 asking whether I might be interested in collaborating on a book with La Russa, my answer was an immediate yes. I jumped at the opportunity, although I also knew that collaborations can be a tricky business. I had been offered them before by the likes of Rudy Giuliani and legendary television producer Roone Arledge, and I had turned them down. But this was different, or at least I told myself it was different, because—at the risk of sounding like some field-of-dreams idiot—my love of baseball has been perhaps the greatest single constant of my life. I knew the game as a fan, which is a wonderful way to know it. But the opportunity to know it through the mind of La Russa—to excavate deep into the game and try to capture the odd and lonely corner of the dugout that he and all managers occupy by virtue of the natural isolation of their craft—was simply too good to pass up.
In the beginning, this was a typical collaboration. I brought along my little mini–cassette recorder to where La Russa lived in northern California. I turned it on and interviewed him at length, thinking that I would listen to the tapes and transcribe them and try to fashion what he said into his own voice. As is common in collaborations, we also have a business arrangement, a split of the proceeds, although the entirety of La Russa’s share is going to the Animal Rescue Foundation, known as Tony La Russa’s ARF, that he cofounded with his wife, Elaine, in northern California.
The more we talked about the book, the more agreement there was about trying to do something different from the typical as-told-to. La Russa’s interest in me as a writer had been on the basis of Friday Night Lights, a book I had written about high school football in Texas. He was struck by the voice and observational qualities of the book, and we wondered whether there was a way to fashion that here. We also wondered whether there was a way to write the book with a narrative structure different from tthe usual season-in-the-life trajectory, a book that would have lasting and universal application no matter what season it took place in.
It was during those conversations that we came up with the idea of crafting the book around the timeless unit ooooof baseball, the three-game series. The one we settled on, against the eternal rival Chicago Cubs, took place in the 2003 season. Had the goal of the book been different—to write about a particular season—it would have made sense to switch gears and write about the Cardinals’ magnificent ride of 2004. But that wasn’t the goal.
It was also during those conversations that La Russa agreed to give me virtually unlimited access to the Cardinals’ clubhouse and the coaches and players and personnel who populate it—not simply for the three- game series that forms the spine of the book but also for the virtual entirety of the 2003 season—to soak up the subculture as much as possible. La Russa understood that in granting such access, he was ceding much of the control of the book to me as its writer. In doing so, he was untying the usual constraints of a collaboration, allowing me wide latitude to report and observe and draw my own conclusions. He also knew that approaching the book in this manner required him to be revealing of not only the strategies he has come to use but also the wrenching personal compromises he has made in order to be the kind of manager he has chosen to be.
La Russa did not waver from the latitude that he promised. I was made privy to dozens of private meetings between the Cardinals coaches and their players. I was able to roam the clubhouse freely. Because of my access, I was also able to probe not only La Russa’s mind but also the minds of so many others who populate a clubhouse. La Russa has read what I have written—the place where collaborations can get odious. He has clarified, but in no place has he asked that anything be removed, no matter how candid.
I came into this book as an admirer of La Russa. I leave with even more admiration not simply because of the intellectual complexity with which he reaches his decisions but also because of the place that I believe he occupies in the changing world of baseball.
He seems like a vanishing breed to me, in the same way that Joe Torre of the New York Yankees and Bobby Cox of Atlanta and Lou Piniella of Tampa Bay also seem like the last of their kind. They so clearly love the game. They revel in the history of it.
They have values as fine as they are old- fashioned, and they have combined them with the belief that a manager’s role is to be shrewd and aggressive and intuitive, that the job is more about unlocking the hearts of players than the mere deciphering of their statistics.
In the fallout of Michael Lewis’s provocative book Moneyball, baseball front offices are increasingly being populated by thirtysomethings whose most salient qualifications are MBA degrees and who come equipped with a clinical ruthlessness: The skills of players don’t even have to be observed but instead can be diagnosed by adept statistical analysis through a computer. These thi
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