“There were no words for that, no ceremony that would garantee your future. Every day was just that: a day, a blank, a nothing, in which you had to invent yourself and your friendship from scratch. The weight of everything you'd ever donewas nothing. It could all vanish just like that. Just like this.”

“All he'd ever wanted was for nothing to change. Or for things to change only in the right ways, improving little by little, day by day, forever. It sounded crazy when you said it like that, but that was what baseball had promised him, what Westish College had promised him, what Schwartzy had promised him. The dream of every day the same. Every day was like the day before but a little bit better. You ran the stadium a little faster. You bench-pressed a little more. You hit the ball a little harder in the cage; you watched the tape with Schwartzy afterward and gained a little insight into your swing. Your swing grew a little simpler. Everything grew simpler, little by little. You ate the same food, work up at the same time, wore the same clothes. Hitches, bad habits, useless thoughts--whatever you didn't need slowly fell away. Whatever was simple and useful remained. You improved little by little til the day it all became perfect and stayed that way. Forever.”

“Baseball was an art, but to excel at it you had to become a machine. It didn't matter how beautifully you performed _sometimes_, what you did on your best day, how many spectacular plays you made. You weren't a painter or a writer--you didn't work in private and discard your mistakes, and it wasn't just your masterpieces that counted. What mattered, as for any machine, was repeatability. Moments of inspiration were nothing compared to elimination of error. The scouts cared little for Henry's superhuman grace; insofar as they cared they were suckered-in aesthetes and shitty scouts. Can you perform on demand, like a car, a furnace, a gun? Can you make that throw one hundred times out of a hundred? If it can't be a hundred, it had better be ninety-nine.”

“What would he say to her, if he was going to speak truly? He didn't know. Talking was like throwing a baseball. You couldn't plan it out beforehand. You just had to let go and see what happened. You had to throw out words without knowing whether anyone woud catch them -- you had to throw out words you knew no one would catch. You had to send your words out where they weren't yours anymore. It felt better to talk with a ball in your hand, it felt better to let the ball do the talking. But the world, the nonbaseball world, the world of love and sex and jobs and friends, was made of words.”

“Locker rooms, in Schwartz's experience, were always underground, like bunkers and bomb shelters. This was less a structural necessity than a symbolic one. The locker room protected you when you were most vulnerable: just before a game, and just after (And halfway through, if the game was football) Before the game, you took off the uniform you wore to face the world and you put on the one you wore to face your opponent. In between you were naked in every way. After the game ended, you couldn't carry your game-time emotions out into the world - you'd be put in an asylum if you did - so you went underground and purged them. You yelled and threw things and pounded on your locker, in anguish or joy. You hugged your teammate, or bitched him out, or punched him in the face. Whatever happened, the locker room remained a haven.”

“People thought becoming an adult meant that all your acts had consequences; in fact it was just the opposite.”

“Neither had said so, but she could tell. Unless she was just paranoid, living in her head again, but you always lived in your head and you had to go with what you felt.”