Postscript

By John Schulian

I look in the mirror and see the faces I have worn. I see the kid with a baseball cap snugged on his head, and the newspaper reporter who grew a beard to look older, and the TV writer who shaved his beard to look younger. The only face I don’t see – the only face I refuse to see – is the one on my driver’s license. I look like someone Winslow Homer might have painted. Though I insist it is nothing more than the product of a bad day at the DMV, I know I will see that face in the mirror, too. But not just yet. Not as long as writing can arm me with a crucifix to ward off the vampire that is old age.

I won’t be so bold as to say writing keeps me young. If it did, I wouldn’t curse technology or struggle to remember the names of new bands or look away in embarrassment when I’m caught staring at women one-third my age. But writing gives me purpose and fills my head with the notion that there are still things to be accomplished: essays and short stories, one novel completed, another taking shape in my imagination alongside a screenplay. Somewhere around here I’ve even got a verse and a chorus written for a country song. Maybe I’ll take my guitar down from the wall and finish it someday. It will be just three chords, but what was good enough for Hank Williams is good enough for me.

This is how I always imagined life on the other side of the rainbow. Writers don’t throw retirement parties. They write, and hope their words find their way before the public. Some will, some won’t. I understand the vagaries of the process. I just need to score often enough to let whoever is out there counting know that I’m still kicking. Otherwise, I might have to answer in the affirmative the next time someone asks if I’m retired. For the moment, however, I’m proud to say hell no.

I may have lost a step or two, but that’s far different than being ready for a sedate game of shuffleboard before I sit down to the early bird special. It’s those codgers I see at the doctor’s office who are retired. I’m just a lad of 66. When Red Smith was this age, he was reviving his career at the New York Times and five years away from winning a Pulitzer Prize. Red wanted to die at his typewriter, the way his hero Grantland Rice did, and damned if he didn’t come within three days of doing it.

I wouldn’t consider changing my position on retirement unless I knew I could go out with the high style that Sheik Caputo did at the railroad. The Sheik has been part of my life since I was 13, as a neighbor, a baseball coach, a proponent of pepperoni and cold beer, and, most of all, a cherished friend. He worked as a Union Pacific machinist for 30 years, crawling inside filthy steam engines and never making as much as two bucks an hour. The day he turned 60, he showed up at the Salt Lake City yards at 7 a.m., just like always, and the foreman said, “Hey, Caputo, you’re eligible to retire.”

“Right now?”

“Yeah, if you want to.”

“Goodbye,” Sheik Caputo said, and headed for the golf course.

But there is only one Sheik, and he is 96 and still getting mileage out of that story. I’m happy just to pass it along, which probably underscores the difference between the way he and I look at retirement. He was ready for it, maybe beyond ready, because he had a job he hated. I, on the other hand, am one of the lucky ones. I love my life as a writer, so why would I want to put it behind me? Writing is the one thing I could do with any success. I couldn’t pound a nail straight or sell you a pair of shoes, and I never wanted to revisit a job I had sweeping out a ballpark after the crowd was gone, wading through peanut shells and hotdog wrappers and breathing the smell of spilled beer. I was spared the heartbreak of trying to teach kids who didn’t love reading as much as I do for the deceptively simple reason that I could write a story, be it fact or fiction. Because people would pay me for those stories, I never was a high school coach beset by parents who make more of their kids than they are. I knew the life I wanted, and I got to live it.

Now I am in the process of seeing out what else is out there. I began my search in earnest when I wrote the first two sentences of a hard-boiled novel that had been in my mind for years: “Too bad Barry was from Santa Barbara. Suki would have told him her real name if he’d been local.” Barry is a wandering husband who’s too slick for his own good and Suki is working her way through college in L.A.’s sex trade. In time they will cross paths with a boxer whose career went sideways when he killed a man in the ring. He cares about nothing, least of all his life, until he meets the girl, and then he cares too much, in the way only a noir hero can. Someone out there might be aware of all that if my novel, “A Better Goodbye,” had been published. But the manuscript languishes beside a tall stack of rejection letters.

Still, I reveled in everything about the process from the three-page-a-day discipline to the constant rewriting, and I cling to the hope that my novel will yet be published. A small press has made noises about it, but whether that happens or not, I have another novel in mind and I don’t think I can stop myself from writing it. It’s as if I’m trying to live the life of a starving writer without the risk of going hungry.

I write my fiction in bursts in a time when most literary agents will tell you fiction isn’t selling. But I am fueled by blind faith and the confidence I’ve gained from having two short stories published, one in the Prague Revue (yes, that Prague), the other on a now-defunct website called Thuglit.com. Neither paid anything, but I did receive a Thuglit T-shirt that I treasure too highly to wear. More important I gained just enough swagger to wonder why the hell my best short story has yet to be published. Nothing to do but keep sending it out, I guess.

I beat my head against a different kind of wall when I taught for a semester at my alma mater, the University of Utah, in fall 2004. The wall was constructed in part of the innocence and naivete that reminded me of myself at that age, but there was something more than that at work. There was an unsettling preoccupation with getting a degree instead of an education and, even worse, a lack of basic writing skill. One class in particular – Literary Journalism, of all things – was a wasteland that symbolized for me the parlous state of the language in this age of email happy faces and LOLs. If it weren’t for the hungry minds who made my Art of Storytelling class a joy, I might have staggered off the academic battlefield jabbering like a chimp. Of course my young scholars might tell you I was too demanding. They thought my “Always honest, seldom kind” policy was hilarious only when it didn’t apply to them. Since then, I’ve apologized to the Humanities Department’s guiding lights for being too tough only to be told I should have been tougher. I assume they would have established a bail fund for me.

If I have done anything right as I adapt to geezerhood, it is put books together. Two are collections of my sportswriting, “Sometimes They Even Shook Your Hand” and “Twilight of the Long-ball Gods,” and I will leave it to someone else to speak good or ill of them. But you will find pieces of my heart in the other three books that bear my name. When I edited “The John Lardner Reader,” I was doing more than reviving the work of a brilliant and acerbically funny sportswriter out of print for half a century. I was thanking him and all the other press box legends whose work I’d studied – Red Smith, W.C. Heinz, and Jimmy Cannon in particular – for lighting the way for me.

Editing “At the Fights,” a collection of classic boxing writing, proved even more personal because I was working with George Kimball, who stared death in the eye every step of the way. He was as heroic as any prizefighter memorialized in either that book or “The Fighter Still Remains,” the slender volume of boxing poetry and song lyrics that we spun out of it. There were many things that helped keep George alive so he could feel the love and admiration wash over him at the publication party in New York, but I’ll never stop believing it was “At the Fights” itself that gave him the will to battle cancer for the full 12 rounds. Not once did I hear him complain or wallow in self-pity. The book was always foremost in his mind, just the way George is now in mine, four months after his death at 67.

I wish he’d been here the other day when the cable guy walked into my office and saw a blow-up of the cover for “At the Fights.” “I read that book,” he said, and proceeded to tell me what is in it. It was one of those moments that prove both the breadth of the book’s appeal and the populist nature of sportswriting in general. It was, in other words, what George and I hoped for all along. I even know the song that should have been playing in the background. It’s “Too Many Memories,” by the late Stephen Bruton, and there’s a line in it that says: “What makes you grow old is replacing hope with regret.” I think about those lyrics a lot, their wisdom and humanity and how right they are for me at this time of life. I think about them especially now, as I tell you this: Goodbye but don’t call me gone.

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