The Art of Fielding: A Novel

by Chad Harbach

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Nineteen seventy-three. In the public imagination it was as fraught a year as you could name: Watergate, Roe v. Wade, withdrawal from Vietnam. Gravity’s Rainbow. Was it also the year that Prufrockian paralysis went mainstream—the year it entered baseball? It made sense that a psychic condition sensed by the artists of one generation—the Modernists of the First World War—would take a while to reveal itself throughout the population. And if that psychic condition happened to be a profound failure of confidence in the significance of individual human action, then the condition became an epidemic when it entered the realm of utmost confidence in same: the realm of professional sport. In fact, that might make for a workable definition of the postmodernist era: an era when even the athletes were anguished Modernists. In which case the American postmodern period began in spring 1973, when a pitcher named Steve Blass lost his aim. Do I dare, and do I dare? Affenlight found this hypothesis exciting, if dubiously constructed. Then he glanced at Aparicio, hands folded mournfully in his lap, and his excitement curdled to embarrassment. Literature could turn you into an asshole; he’d learned that teaching grad-school seminars. It could teach you to treat real people the way you did characters, as instruments of your own intellectual pleasure, cadavers on which to practice your critical faculties. “Doubt has always existed,” Aparicio said. “Even for athletes.”