Last week, while I was away marking the first anniversary of my mom’s passing, Gary Smith retired from active feature-writing for/with Sports Illustrated.
Journalists (who wish they could write like Gary while knowing they never can) and readers (who wish we could look forward to a life-long supply of sportswriting with the Gary seal of quality) mourned the news.
Why is the retirement of a sportswriter that big a deal? Here is an earliest post (November 9, 2009) that attempts to capture some small part of the man’s magic:
Sport comes to us in boxes – the perimeters of our TV screens or the boundary lines of fields and courts. As much as I enjoy what goes on inside those boxes, I’ve always had the urge to bust out of them. I’ve always had the feeling that the most compelling and significant story was the one occurring beyond the game – before it, after it, above it or under it, deep in the furnace of the psyche. Conventional journalism couldn’t always carry me up to those rafters or down to those boiler rooms, so I had to break out of a few of my own little boxes as well.
That clip is from one of my favorite sports writers of all time; specifically, it is taken from the preface to Gary Smith’s Beyond the Game.
For a flavor of how Smith writes, try these stories: The Chosen One, a December 1996 profile of Tiger Woods; Damned Yankee, the story of the man who was widely regarded as the heir to the Yogi Berra mantle until a photographer clicked a picture that changed his life forever; Coming Into Focus, his 2006 profile of Andre Agassi; Moment of Truth, a story written around a camera verite moment in a locker room; Blindsided by History, the tragic tale of unintended consequences arising out of segregationists’ attempts to keep black students out of an Arkansas school; and Remember his Name, the story of Pat Tillman, who turned his back on a multi-million NFL contract with the Arizona Cardinals and, in the aftermath of 9/11, enlisted in the United States army in 2002 and died in action in Afghanistan in April 2004. [One of my personal favorites, though it appears to be unavailable online, is Rapture in the Deep — the story of competitive free-diving ace Pipin Ferreras and of Audrey Mestre, the woman who fell in love with him, bought into his passion for the incredibly dangerous sport, and died in 2002 while attempting to break a world record.]
The prompt for this post comes from a Joel Achenbach article I just read in the Washington Post where, against the backdrop of the internet, blogs and social media, he celebrates the craft of the extended narrative in general, and Smith’s work with Sports Illustrated in particular. From his article:
There’s endless talk in the news media about the next killer app. Maybe Twitter really will change the world. Maybe the next big thing will be just an algorithm, like Google’s citation-ranking equation. But Smith is betting that there will still be a market, somehow, for what he does. Narrative isn’t merely a technique for communicating; it’s how we make sense of the world. The storytellers know this.
They know that the story is the original killer app.
When Smith won his third National Magazine Award, Slate celebrated with an article on the man and his craft. An extended clip:
As for complexity: It is always easier, and generally more profitable, to sketch the world in blacks and whites rather than grays. As much as this calculus reigns on newspapers’ Op-Ed pages and in thumbs-up/thumbs-down movie reviews, it is an iron law in sports sections. From reading them, you’d think that every athlete, coach, or executive is either a saint or a blackguard.
That’s not Smith’s way. The only profile of him I have been able to locate appeared in a
magazine called PhillySport in 1989. (Smith made his name as a young sportswriter for the Philadelphia Daily News.) In it he explained his approach to the writer, Bruce E. Beans: “I’m looking at it not so much as ‘this is good, this is bad,’ as much as ‘this is just life’ and trying to understand it.”
That’s of a piece with the totally self-effacing way Smith writes. Today, most journalism that anybody pays attention to gives pride of place to the writer: his or her attitude, opinions, and/or experiences. Smith, by contrast, subjugates himself to his subjects, winning their trust and spending hour after hour with them, until he has the understanding and facts needed to write long, richly psychological pieces in which the word “I” never appears.
The O’Leary article, “Lying in Wait,” is a typical production. (Along with most of Smith’s work, it can be read as part of a seven-day free trial at elibrary.com.) First of all, it’s more than 8,600 words long, a positively anachronistic bulk in today’s streamlined, dumbed-down magazine cosmos. (Smith is now an anomaly even at SI, a magazine with a noble lineage of long-form journalism. Flip the page after reading one of his engrossing sagas—it’s like you’ve wandered into People.) But room to ruminate is necessary, assuming you’re trying to do justice to the tragic story of a human being’s fall from grace. Second, the article starts from an assumption of moral ambiguity. It’s a given that O’Leary did something very wrong, but for Smith, exploring the roots of that action is much more interesting than condemning it or excusing it.
Finally, it reads like a rich short story: not a minimalist piece a là Ann Beattie or Raymond Carver, but a pull-out-all-the stops production, in the manner of Gabriel García Márquez. (In the light of recent scandals, it seems important to say that Smith has never been accused of fabrication or other journalistic sins.)
Journalism that goes inside people’s heads is a tricky proposition. In the heyday of the New Journalism, Gay Talese, Tom Wolfe, and Truman Capote wrote from the points of view of Joe DiMaggio, stock car driver Junior Johnson, and murderer Perry Smith, respectively, with the assurance of Virginia Woolf describing London streets through the eyes of Clarissa Dalloway. But pulling that off requires prodigious reportorial stamina, capacious insight, and darned good literary chops. It’s much easier to take your subject’s description of what he or she was thinking and just drop it in the piece, surrounded by quotation marks. In a Smith piece, you rarely see a quote until the backstretch, when he’s got his narrative hooks into you and can afford to plunk in some background info via direct testimony.
It’s a great act, if you can pull it off — but can you? Smith spends the best part of three months working on a single story — a luxury that is increasingly rare in today’s world, where journalists are lucky if they get three hours. In his piece, Achenbach underlines the conundrum:
The sages say that we’ve reached a situation where “content creation” no longer pays. Only “aggregation” is profitable. It’s a freak variant of Darwinism — the survival of the parasitic. But obviously there will be little of value to aggregate if only rich people and dilettantes can afford to type up their thoughts.
Even the TV industry faces a serious story deficit. Those prime-time police and hospital dramas cost a lot of money to make. Not so expensive, however, is Jay Leno walking out and doing a monologue. That’s one reason he’s moved to 10 p.m., five nights a week. (The most compelling stories on TV are now those crafted by reality-show producers who stitch together a narrative of who’s backstabbing whom in pursuit of a prize. It’s all in the editing.)
Good stories take time to craft. Good writers, editors, copy editors, photographers, etc., all expect a living wage. The real question in the months and years ahead is whether there’s a business model that can support good stories. Norman Sims, journalism professor at the University of Massachusetts Amherst: “The great stories will survive. But the question is who’s going to pay for them. . . . This is not fast food. This is slow food. And it’s expensive.”
Very expensive — but someone needs to have the vision to foot this bill, if narrative journalism of the highest class is not to die out altogether. Somewhere in the rush of ‘deadlines’ and ‘instant news’, we seem to have forgotten the journalist’s real job description — the best definition of which I once found in the preface to the DC Comics Guide to Writing Comics [at a Poynter seminar on journalism in 2003, Pulitzer winner Tom French recommended this to me as one of the best how-to books on journalism I’d ever find — and it turned out he was right]:
Here’s what I would like you to do for me: Make me laugh. Make me cry.
Show me my place in this world. Show me the world’s place in my life.
Lift me out of my skin and put me inside another’s, and show me how to live there.
Show me places I have never been to. Carry me to the ends of time and space.
Give my demons names, give my fears a face, and show me how to confront them.
Present before me heroes who will give me courage and hope.
Demonstrate for me possibilities I had never thought of.
Ease my sorrows, increase my joy.
Teach me compassion. Entertain me, enchant me, enlighten me.
Above all, tell me a story.
Update (May 6, 2014):
It’s no exaggeration to say that every sportswriter of a certain ambition and age — let’s say from 20 to 70 — has had a Gary Smith moment. This is not fun. What starts as excitement soon becomes a swirl of puzzlement, awe and surprise; the frantic fluttering of pages forward and back; the parsing of sentences like so much Kremlinalia; some involuntary, half-baked blurts like, “How did he…?” and “Why did no one else…?” — and all of it leads back to you, you sorry bastard, and how you’re never, ever going to write a story like that, so what were you thinking getting into this business in the first place?
Yeah, exactly. Journalists — including but not confined to those who scribble on sport — go through that cycle, that starts with wanting to be Gary Smith, to knowing you can inhabit the same planet as him and, from that point of self-awareness, contenting ourselves with reading each successive story of his with slack-jawed admiration.
Why is this piece so good? James Ross Gardner, whose byline has starred in Esquire and GQ among others, and who works for the Seattle Met magazine, attempted to answer this question on behalf of Neiman Storyboard — and inter alia, points at the secret sauce that makes Smith primus inter pares among non-fiction writers:
We may as well begin the way Gary Smith begins – with a question, and near the end. Why is it that when you finish reading “Lying in Wait,” Smith’s 2002 profile of coach George O’Leary, you feel the impact so strongly? And by feel I mean physically feel. It will be different for everyone, but it hits me somewhere in the throat.
I do know that sensation is why, when asked about my favorite nonfiction writers, I rarely mention Gary Smith. I suspect I’m not alone. Listing Gary Smith comes with the obligation of explaining why Gary Smith. And anyone who’s been affected by his stories in Sports Illustrated – about coaches flattened by cancer, say, or an integrated high school team during segregation – knows that the pieces are hard to describe, that by the time you reach the end you’re emotionally drained but unable to articulate why. So I’ll talk about Tom Wolfe’s explosive sentences or David Grann’s knack for plot twists or John Hersey’s masterful pacing. But I’ll hardly ever refer to the guy at the top of my list, and that, I suppose, is a lie of omission.
Yeah. We often omit Smith’s name when listing our favorite writers, because it is beyond our ability to articulate just what it is about his writing that is par excellence. So we are content to toss in a few links to a subjective selection of his best work, season those links with a few superlatives, and leave it at that. This is what Ben Yagoda did in 2003, when Smith won the National Magazine Award for non-fiction. (Correction: …when Smith won one of his many NMA awards, I should have said: He has won it four times, which is a record; he was finalist a further 10 times, which is another record.) Here is Yagoda (Emphasis mine):
Smith is not only the best sportswriter in America, he’s the best magazine writer in America. The only injustice is that, outside the small world of editors who vote for the National Magazine Awards and the even smaller subset ofSports Illustrated readers who pay attention to bylines, he is a nobody.
Part of Smith’s obscurity is explained by his subject matter, which some view as having negligible importance. Yet such sports scribes as John Feinstein and Smith’s SIcolleagues Frank Deford and Rick Reilly have spectacularly higher profiles. (Reilly’s new monograph Who’s Your Caddy? was No. 3 last week on the New York Times hardcover nonfiction best-seller list; Smith’s only book, a collection of articles called Beyond the Game, ranks 280,343 on Amazon’s list.) No, the real reason lies in his attributes as a writer, all of which go counter to powerful prevailing trends in journalistic writing: He favors obscurity over fame, complexity over simplicity, and humility over literary showmanship.
The New York Times headlined a 2008 piece on him The Sports Whisperer; Jon Friedman called him, simply, America’s Best Magazine Writer (and that is fair enough — after all, that simple declarative headline says all that needs saying).
Here is Gary Smith himself, on empathy and getting inside the skin of his subjects — and this should be mandatory reading for every person aspiring to be a journalist:
To become a longform writer and to kind of immerse yourself in different worlds, it’s almost like a double-railed track. Not only do you grow as a writer, but that other rail of the track is huge. Part of it is something you’re developing – some sense of self, getting a little more at ease in your own flesh and bones. So much of what happens in the interactions between you as the writer and the subject hinges on their trust in you, their confidence in you. And so much of that hinges on how comfortable you are. Any uneasiness you bring is going to cost you dearly.
As you’re walking as an outsider into these worlds all the time, how comfortable are you in doing that? If they feel your uneasiness, how easy are they going to feel about handing you their most intimate stuff to write about?
There’s almost an equivalence to that interaction, so the more they sense that you’re really there just to understand rather than judge is huge in how much they’re going to start giving … When you’re more relaxed, you listen, and you’re ready to flow with what’s being said and to hear something that’s sparking off three or four other questions in your mind. It’s because your mind is more relaxed; it’s not tense and tight and worried about getting that next question on your checklist.
Smith was once asked what he wanted his stories to do. This is what he said:
To make readers think about life and about themselves and why human beings do what they do.
PS: All these laudatory pieces I linked to above? Their real worth is in the embedded links to some of Gary Smith’s greatest work — discover, and enjoy. And while on that, editors and writers pick their favorites from the Smith oeuvre — and the result is writing gold.