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Posts Tagged ‘Joe Louis’

Since Fighters & Writers was published, I’ve continued to come across items reaffirming ideas I explore in the book: that boxing’s implicit philosophy rests on qualities, like discipline and tenacity, which writers require and that this results in an ongoing productive relationship between the sport and literature. The January 16, 2012, issue of The New Yorker, for example, includes a profile of Alaa Al Aswany in which the Egyptian novelist likens himself to a boxer:

“I have to feel myself a fighter,” he said, hunching his shoulders, lowering his head, and bringing his fists up to his face…. “I am fighting for my career, for my writing, and for my success,” he went on. “Every day, I wake up early. And often I am tired, and my wife says ‘No, no.’ And I think, ‘I must get up and work.’” It is this determination that keeps him moving: “I tell my wife, ‘I am a boxer.’”

One can imagine Norman Mailer or Ernest Hemingway, some of the authors I discuss in Fighters & Writers, having similar conversations with their spouses.

Although the magazine might not carry as much boxing coverage as it did when A.J. Liebling was on the staff, the same edition of The New Yorker does include several more references to the sport. In a review of Jodi Kantor’s The Obamas, editor (and Muhammad Ali biographer) David Remnick writes that “in many black communities the celebrations surrounding the Obama election victory and the Inauguration were on a par with Joe Louis’s one-round knockout of Max Schmeling, in 1938.” Remnick also invokes “the Italian-American philosopher Rocky Balboa.” An article about efforts to build a football stadium in Los Angeles notes that the planned structure could also stage boxing matches and other events. Demonstrating that scribblers aren’t alone in their pugilistic interests, the magazine’s “Goings on about Town” section decorates its list of art gallery shows with an image created by Jeff Wall showing two gloved boys sparring in a living room. It’s titled “Boxing.”

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In the early 1990s, before we were married, my wife and I took a two-month road trip, driving through twenty-two U.S. states and making a brief dip into Mexico. Since then, we’ve traveled together in many other areas of the United States (and elsewhere), but as of this writing there remain several states I’ve not yet visited. I’d like to see them all, and this spring I’ll move closer to that goal.

In April, I’ll read from Fighters & Writers at the Arkansas Literary Festival in Little Rock. The schedule for the event is slated for release in mid-March. The website – http://www.arkansasliteraryfestival.org/ – lists other 2011 participants, such as Kevin Brockmeier, Eliza Griswold, Charlaine Harris, David Sedaris and Isabel Wilkerson.

As if going somewhere I’ve never been and being a part of such an august assembly of authors weren’t enough, I also look forward to the festival because Arkansas’s literary and boxing heritage make it an exceptionally suitable setting for a Fighter & Writers reading. Though Maya Angelou was born elsewhere, she spent a good part of her childhood in the state, and in I Know Why the Caged Bird Sings she recalls neighbors crowding into her uncle’s store in Stamps to listen to Joe Louis fights on the radio. Former middleweight champion Jermain Taylor was born in Little Rock and, I believe, still lives in the area. Perhaps I’ll meet fighters as well as writers when I’m in town.

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The Bookery Nook will be hosting a Fighters & Writers reading and signing on Tuesday March 1st at 6pm. Since 2011 marks the 75th anniversary of the first Joe Louis-Max Schmeling bout, I’m considering reading a related essay.

Louis’s success and, in the case of the 1936 fight, failure meant a great deal to millions of people, who’d invested much of their hopes in the fighter, took pride in his accomplishments and were shaken by his first loss. Philip Roth weaves this history, including the 1938 Louis-Schmeling rematch, into The Human Stain, which I write about in conjunction with several other novels, and just might talk about at my second Colorado reading.

The Bookery Nook

4280 Tennyson Street

Denver, CO 80212

303-433-3439

http://thebookerynook.com/

Tuesday, March 1, 6pm

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Boxing history affords many fascinating ways to consider twentieth-century American history, including the evolution of attitudes about race, numerous boxers’ indirect and direct challenges to racist structures, and, of course, many remarkable achievements against the odds.

In acknowledgement of Black History Month, here are several recommendations of books about boxers and much, much more.

Jack Johnson, the first black heavyweight champion and a defiant disregarder of racial stereotypes, is the subject of at least two exceptional biographies, Papa Jack by Randy Roberts and Unforgivable Blackness by Geoffrey C. Ward. (I relied on both of these, among other sources, when readying my presentation at the 100th anniversary commemoration of Johnson’s 1910 fight with Jim Jeffries, which appears in the fall 2010 edition of The Nevada Review.) By the way, this month would be a great time to renew the call for a posthumous pardon for Johnson, who suffered a patently unjust 1913 conviction for violating the so-called White Slave Traffic Act (a.k.a. the Mann Act). Senator John McCain unsuccessfully pushed multiple times for such a pardon, which should be granted before the centennial of this miscarriage of justice arrives.

Thirty years after his death, it’s hard to imagine a boxer having the social impact that Joe Louis did. During his climb up the heavyweight ranks and his long, record-breaking (and still record-holding) reign as champion (1937-1949), he inspired pride in millions of people. His defeat of Max Schmeling, a boxer popularly associated with the Nazis, soon before World War II (in which Louis served as a soldier) became an event of profound national and international importance. David Margolick offers an exhaustive account of Louis’s two fights with Schmeling in Beyond Glory. Chris Mead and Roberts, among others, penned solid biographies of Louis. (I write at length about these and other books about Louis in an essay disseminated by Americana: The Institute for the Study of American Popular Culture.)

Sugar Ray Robinson, who like Louis grew up in Detroit, garnered much admiration for his style both in and out of the ring during the 1940s and 1950s, when he won titles as both a welterweight and a middleweight. In Sweet Thunder, Wil Haygood looks at Robinson’s life, along with the lives of peers such as trumpeter Miles Davis, poet Langston Hughes and singer Lena Horne. Looking back on the 1940s, Davis notes in his autobiography that “Joe Louis had been heavyweight champion of the world for a long time by then, and he was every black person’s hero – and a lot of white people’s, too. Sugar Ray Robinson wasn’t far behind him in popularity.” The jazz giant takes these boxers’ eminence as indication that “things were beginning to happen for black people in this country.”

Though usually regarded as an anti-hero rather than a hero, Charles “Sonny” Liston, the mob-backed devastating puncher who preceded then-Cassius Clay on the heavyweight throne, has a story worth telling, and Nick Tosches tells it in colorful fashion in The Devil and Sonny Liston. (Looks like this one is out of print, but it’s worth seeking out.)

I’ve heard it said that more has been written about Abraham Lincoln than any other president, and I would not be surprised if Muhammad Ali generated more ink than any other boxer. This makes it difficult to name just a few worthy books, but The Muhammad Ali Reader, edited by Gerald Early, gives a good sampling of numerous authors’ take on the man and his significance, and Thomas Hauser’s Muhammad Ali: His Life and Times remains the unbeaten biography.

Of course, many more boxers and many more books deserve attention, this month and year round. In the list of sources in the back of Fighters & Writers, I name more essential works of literature and history.

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In order to write about them for The Oregonian, The American Interest and other publications, I read a fair number of brand new books in 2010. Nevertheless, I can’t make an honest top-ten list. Here are six that truly stood as exceptional:

  1. Martin Amis’s The Pregnant Widow (Alfred A. Knopf)
  2. Kevin Canty’s Everything (Nan A. Talese/Doubleday)
  3. Don DeLillo’s Point Omega (Scribner)
  4. Charles Goodrich’s Going to Seed: Dispatches from the Garden (Silverfish Review Press)
  5. Randy Robert’s Joe Louis: Hard Times Man (Yale University Press)
  6. Richard Williams’s The Blue Moment: Miles Davis’s Kind of Blue and the Remaking of Modern Music (W.W. Norton & Company)

The short list reflects my tendency to read roughly proportional amounts of fiction and nonfiction. I probably read more poetry in 2010 than in most years, and Goodrich’s small volume was my favorite of several contenders.

The year 2010 saw new books by authors I once thought of as reliably remarkable – Christopher Hitchens, Ian McEwan, Milan Kundera – that I found disappointingly inferior to their earlier efforts. I could name several very good but not quite excellent books. Here’s one: George Kimball and John Schulian assembled a fine collection of boxing-related poems in The Fighter Still Remains. A few years earlier, however, Robert Hedin and Michael Waters edited Perfect in Their Art, an anthology containing much of the same material – and a great deal more.

This leads to the Achilles heel of year-end lists: the absence of the great older stuff. While I read many books published during 2010, I also read many from other years, which are automatically disqualified from “best of” contention but deserve mention all the same. I reread some classics, like Arthur Koestler’s Darkness at Noon and Norman Mailer’s The Naked and the Dead. (I also read several books about Mailer, but these weren’t so good.) I also finally got around to some wonderful books I should have read much sooner, such as Carson McCullers’s The Heart Is a Lonely Hunter and Robert Louis Stevenson’s Treasure Island. If I were to list the ten books I most enjoyed during 2010 regardless of publication date, the four named in this paragraph could be added to the six above.

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A tribute to Joe Louis in Detroit, Michigan

When I was in Detroit for a Fighters & Writers reading, someone asked me how I became interested in boxing. I’d just read portions of an essay about the often-overlooked positive aspects of the sport, but the person wanted a more personal explanation. I talked a bit about Joe Louis, who learned to box in the city where I grew up and who is commemorated with sculptures and a sporting arena there. I knew Louis’s name since childhood, and in some mysterious way that influenced writing I would do as an adult, I explained.

I made use of that unplanned reflection in “So Long, Joe,” an essay about the fighter that Americana: The Institute for the Study of American Popular Culture published in its Magazine Americana.

In the piece, I don’t just express my own thoughts about Louis. I also survey some of the many books about him, such as biographies by Chris Mead, Barney Nagler and Randy Roberts, among others. (Roberts also authored a book about Jack Johnson that came in handy when I was preparing my talk about Johnson’s fight with Jim Jeffries in Reno.)

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When people inclined to share my enthusiasm for soul-sustaining arts like literature and music learn that I’ve written a book partially about boxing, they often ask how I became interested in the sport. (To date, no one has wondered aloud in my presence why I care about the post-ampersand part of the title Fighters & Writers. I don’t know if this means reasons for an interest in books are self-apparent or if reading is simply safe and uncontroversial.) The implied question seems to be: What’s a cultivated, educated individual doing mucking around with something like that? Certainly there are plenty of literary types who share my enthusiasm. I write about many of them in my essays. Yet a lot of people seem to require an explanation.

To some extent, this might have to do with a snobbish attitude toward sports in general. Sports invite dismissal by serious types. Plenty of reasons for righteous condemnation present themselves: they’re dangerous, they bring out the worst aspects of human nature in both participants and spectators, they’ve morphed from wholesome exercise into perverse industry, games waste time, and they ain’t what they used to be.

Boxing especially excites its critics. Amplify the common objections to sports and boxing haters will want to turn up the volume louder still.

Danger? In boxing, fit individuals aim to render opponents unconscious. Injury and death obviously ensue. How can punching at people’s vital organs and making their brains bounce about in their skulls be a good idea? With dispiriting regularity, boxers die after bouts. News of their deaths sparks fleeting outrage among the civilized set, who cannot fathom how society can condone such atavism, and rote calls for reform from those who either don’t wish to see the sport go away or know it never will.

As if the physical damage were not enough, what about the ugliness boxing brings out in people? George Orwell, in a 1945 Tribune column titled “The Sporting Spirit,” objected to sports generally and to boxing in particular for precisely this reason. When games cease to be about fun and fitness and start to shoulder symbolism, things go straight to hell: “as soon as the question of prestige arises, as soon as you feel that you and some larger unit will be disgraced if you lose, the most savage combative instincts are aroused.” Orwell worries especially about athletes becoming national representatives.

At the international level sport is frankly mimic warfare. But the significant thing is not the behaviour of the players but the attitude of the spectators: and, behind the spectators, of the nations who work themselves into furies over these absurd contests, and seriously believe – at any rate for short periods – that running, jumping and kicking a ball are tests of national virtue.

While Orwell frets about football (i.e. soccer) and cricket as well as the Olympics enflaming vicious patriotic passions, he dislikes boxing because race hatred rears up among those seated around the ring. “One of the most horrible sights in the world is a fight between white and coloured boxers before a mixed audience.” He said that in the mid-1940s, and while I’d like to think racism has dissipated somewhat in subsequent decades, fight fans continue to assign some sort of meaning to the color of the skin boxers expose while fighting. When boxers from different countries fight, nationalist fervor invariably intrudes. It even factors into the promotion of events, with bouts pitched explicitly pitched as battles between boxers’ homelands. When Bernard Hopkins threw the Puerto Rican flag on the ground before fighting Felix Trinidad in 2001, he might not have been expressing his feelings about the place so much as trying to get its loyal fight fans to buy tickets. While Don King may have had custom made a characteristically understated jacket featuring a sequined American flag on the back, on fight night he would not be without flags of other nations ready to wave if a boxer from elsewhere were fighting, especially if he won and King wanted to sign him to a promotional contract. I’ve been at fights where it was immediately evident that the loudest shouters (1) didn’t know what they were talking about when it came to boxing itself and (2) based their preferences entirely on criteria not related to athletic ability. Put another way, countless idiots root for who they root for mainly or exclusively for racial or nationalistic reasons.

It’s easy enough to argue that the costs of sports are unjustifiably high. I’ve sat in ringside seats as a correspondent that I never would have been anywhere near if I’d had to pay for a ticket. The prices for fights at major venues can be outrageous. While I don’t think other sports routinely have four-figure prices for the best views, I certainly have heard people complain about how much money it takes to attend an event. Even viewing at home can be ridiculously expensive, whether it means paying fifty dollars or more for a pay-per-view bout or just paying the monthly bill for the multitude of television stations that broadcast sports. And all that time people spend watching TV is time not doing … something.

Besides, boxing, like all sports, was better in the past. Sure, there are good boxers nowadays – always have been, always will be – but they can’t compare to the real greats. Wladimir and Vitali Klitschko? Sure, they’ve got some skills and, between them, won the major sanctioning bodies’ heavyweight champion belts. But they can’t compare with [insert preferred boxing great from earlier era here].

I wouldn’t dispute a single one of these charges. Of course boxing is dangerous. I’ve questioned what I was doing by deliberately witnessing an activity that ended with participants carried out on stretchers. Yes, boxing can bring out ugliness and stupidity in those who base their allegiances on blood and land. I’m fully aware of and utterly disgusted by exploitative practices rife in the business of boxing and despair that the worst predators enrich themselves at the expense of both fighters and paying fans. As far as talk of a Golden Age, or at least a better time, goes, I’ll admit that while I’ve interviewed heavyweight title-holders like Chris Byrd and John Ruiz, I don’t delude myself that this can compare with interviewing, say, Muhammad Ali in the 1960s or 1970s or Joe Louis in the 1930s or 1940s. I’ve viewed the Rumble in the Jungle and the Thrilla in Manila multiple times, but can’t say I’ve ever seen a bout featuring either Klitschko brother that I’d want to sit through again.

So, why boxing? The answer should already be apparent. Put crudely, as something to write about, boxing can’t be beat. As a dangerous, disreputable and dirty endeavor, but also as a demanding, difficult and inherently dramatic activity, it couldn’t be more intriguing to anyone interesting in examining what it means to be human. That fighters risk their lives is no reason to turn away from it. Indeed, their willingness to do so warrants close attention. There’s much about boxing to which sensible, sensitive folks can object. As Orwell knew, this can be done in writing. The characteristics associated with successful promoters – unscrupulousness, double-dealing, disloyalty, “trickeration” – are the stuff that schemes are made of, and they reward scrutiny. Action occurs in the ring, but what happens behind the scenes is another story, or, rather, a never-dry well of stories.

There’s also much to respect – about boxing and especially about boxers. The qualities that define accomplished boxers – determination, dedication, tenacity, “heart” – should never be discounted and cannot be discredited. Boxing, as fight fans habitually have to explain, is not about brutes brawling (though some of the partisans mentioned above might wish it were). It entails technique honed through training. Despite what looks like the elemental simplicity of nearly naked people hitting each other, boxing involves much strategy and thought as well as character and skill. This is no small stuff.

Saddling athletes with more symbolism than anybody can reasonably be expected to bear is a boxing tradition. It may be absurd to take any single person’s punching power or defensive abilities as indicative of the virtue of a race or a nation, but this happens, and when it does it reveals something, perhaps about the boxer, but definitely about the attitudes of those who take him (or her) to be a representative figure.

While boxing has produced countless remarkable individuals of indisputable talent, frequently in combination with great charisma, it has also had moments when the top man in the heaviest weight division fails to inspire. After Jack Johnson comes Jess Willard. After Mike Tyson, Buster Douglas. But even the boxers who never transcend the sport or who never make best-of-all-times lists, do something few people have the guts to do: they test themselves, in public, at the risk of humiliation and physical damage. I can’t help but admire that sort of courage, and all that makes boxing smell disreputable to many people only makes the fighters themselves that much more noble.

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Boxing is a boon to scribblers. It provides useful metaphors for all sorts of struggles, whether they end in victory or defeat. It supplies resonant historical reference points and context. It offers ways to write about (usually male) human bodies. During the first part of 2010, as I selected photographs, reviewed proofs and performed other tasks related to the publication of Fighters & Writers, I read several books not ostensibly about boxing in which the sport is mentioned or discussed. These coincidences reconfirmed my premise: fighting and writing are closely connected.

Early in the year, I read Homer & Langley, in which E.L. Doctorow makes use of the sport’s vocabulary of defeat. He describes Langley Collyer, an extreme collector of newspaper and much else, reassembling a Model T automobile inside the house he shares with his blind brother, Homer, and trying to use its engine as an electricity generator. The fumes drive Homer and the siblings’ cook, Mrs. Robileaux (a.k.a. Grandmamma), outdoors. Homer recalls: “We sat across the street on a bench at the park wall and Grandmamma announced, as if describing a boxing match, the struggle between Langley and the prevailing darkness, the lights in our windows flickering, sputtering, flaring, and then finally going down for the count.”  

A couple of months later, I read Solar, in which Ian McEwan uses the sport’s recognized gesture of victory. His Nobel Prize-winning physicist Michael Beard, after a ceremonial speech about an alternative energy project, acknowledges the role of his partner by raising his arm “boxing-ring style.” McEwan also makes one of Beard’s colleagues and rivals a former boxer, and the young solar-energy enthusiast’s physical fitness contrasts markedly with Beard’s “dysmorphia.”

Other writers invoke particular boxers to lend an air of authenticity or symbolic poignancy to their fiction. In Grand River and Joy, a novel set in the lead up to and aftermath of the 1967 Detroit riot (and named for an intersection of two streets in the city), Susan Messer has a teenage character who sees the military draft as a conspiracy to rid the United States of black youth. When a friend asks him if he’ll go fight in Vietnam, he replies: “What choice do I have? Don’t have the muscle of Ali.” Although Ali issued his famous declaration “I ain’t got no quarrel with them Vietcong” more than a year earlier, he did not officially refuse induction to the Army until April 28, 1967. He was sentenced on June 20, 1967 – about one month before the riot in Detroit. Even if Messer’s allusion could be considered anachronistic, since it wouldn’t have been clear in July 1967 that Ali would not go to prison and would have his sentence overturned in 1970, the reason for wanting to bring the famous fighter who refused to fight and emblem of black pride into her story is not to comprehend.

Using the novel’s 70th anniversary as an excuse for writing about it, I picked up Carson McCullers’s The Heart Is a Lonely Hunter, which contains a reference that might look even more anachronistic than Messer’s: “Karl Marx talked about Joe Louis.” I can’t say whether that would have struck readers as more or less odd in 1940, but since the Karl Marx in question is actually Dr. Copeland’s son and not his famous namesake, it does make a kind of sense. References to Louis (and there are more than one) certainly fit, since McCullers set the novel in 1938, the year of the boxer’s emphatic win over the German Max Schmeling. Copeland judges an essay contest for black high-school students, one of whom – no doubt taking inspiration from Louis – wishes to become a prizefighter.

Several recent books about jazz, read for projects both completed and in-progress, turn to the sport. In The Blue Moment, Richard Williams describes John Coltrane, after leaving Miles Davis’s group, extending his saxophone solos to thirty minutes and claims the drummer Elvin Jones “needed a boxer’s physique to keep pace with his leader.” Boxing figures both literally and metaphorically (if also only in passing) in Terry Teachout’s biography of Louis Armstrong. The trumpeter’s manager, Joe Glaser, was “a hot-tempered boxing promoter.” (Glaser also worked with boxer Sugar Ray Robinson, as I note in an essay on both Teachout’s Pops and Wil Haygood’s biography of Robinson, Sweet Thunder.) Teachout quotes Robert Goffin, a Belgian jazz critic and author of an early Armstrong biography, describing the musician’s first performance in England. In a less flattering fashion than when Williams likened Jones to a fit fighter, Goffin compared Armstrong to a hard-working athlete: “His face drips like a heavyweight’s, steam rises from his lips….” In Miles, Ornette, Cecil, Howard Mandel refers to Davis’s admiration for the “self-possessed, accomplished Robinson (something Haygood examines closely). He says that drummer Max Roach, by choosing to work with the relentless pianist Cecil Taylor, faced a challenge equivalent to “being in the ring with Joe Louis, Jack Johnson or Mike Tyson.

It comes as no surprise at all to find Ernest Hemingway mentioning boxing. In A Movable Feast, he uses boxing weight classes when discussing his own body. “When you are twenty-five and are a natural heavyweight, missing a meal makes you very hungry.” I could have put that in “Weight Loss: A Love Story” (an essay included in Fighters & Writers), where I quote New Yorker scribe A.J. Liebling using the divisions similarly. In his memoir, Hemingway also recounts trying to teach Ezra Pound how to box and enlist him in the ranks of fighting writers.

Cyril Connolly, who says T.S. Eliot also took boxing lessons, nearly used one of the poet’s lines – “time and the bell” – as title for an essay collection, but rejected it in favor of The Evening Colonnade when a friend said the other one unpleasantly reminded him of boxing.

Not all writerly uses of boxing are of championship caliber, of course. In his thriller Death of a Writer, Michael Collins concludes a conversation between a detective and a suspect with this: “A bell rang as if at the end of a round in a prizefight.” This feels unearned. It suggests a battle of wits between closely matched combatants, but Collins’s dialogue lacks such tension. In Autobiography of a Recovering Skinhead, Frank Meeink recounts physical abuse at the hand of a vicious stepfather, an ex-boxer. (I reviewed the book for The Oregonian.)

Even after all work on Fighters & Writers was completed, I continued to come across unanticipated pairing of literary types and pugilists. A Daily Beast article likened feuding writers to boxers. Christopher Hitchens repeatedly states in Hitch-22 that he never developed any interest in sports, but recalls a compulsory school boxing tournament in which, perhaps needless to say, he didn’t excel. He seems to have learned something from it, however, something that relates directly to his work as a writer. Painful moments at school left him “slightly better equipped” to confront greater one later in life. 

There’s no need to attached great significance to any of these coincidences, but all of them together left me pretty certain I was on to something.

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As I write this post, Fighters & Writers is at the printer. Here’s a bit of background on my forthcoming book.   

Fighters & Writers is neither a traditional sports book nor a conventional collection of literary essays. It blends literary criticism, journalism and memoir and considers both the lively body of literature directly related to boxing and the ways the sport relates to writers not usually identified with it.

Essays in Fighters & Writers discuss works about boxing by authors such as Albert Camus, W.C. Heinz, A.J. Liebling, Norman Mailer, Joyce Carol Oates, George Plimpton, Philip Roth, New Yorker editor David Remnick, Darin Strauss and José Torres – a boxing champion who became a writer – as well as the cultural impact made by boxers like Muhammad Ali, Max Baer, James Braddock, George Foreman, Joe Frazier, Larry Holmes, Joe Louis and Mike Tyson. Rodwan also considers the sport in connection with figures such as Martin Amis, Christopher Hitchens, John McCain, Ian McEwan, George Orwell, Henry Rollins and Oscar Wilde.

The title essay surveys a selection of the mammoth body of literature involving boxing in addition to writing on closely related topics such as confidence games. “The Ali Act” considers writers’ undiminished interest in one extraordinary boxer. “The Fighting Life” looks at two prominent writers’ use of boxing in their fiction. “A First-Class Sport” assesses boxing’s frequently overlooked positive aspects by examining the memoirs and autobiographies of several boxing enthusiasts, including a former heavyweight champion, a well-known trainer and television analyst, and prominent public figures including a former president and a U.S. senator. Other pieces in the collection explore how boxing inserts itself in writers’ imaginations even when they write about other subjects. Essays on diverse topics such as book dedications, Orwell’s Spanish Civil War memories, digressions, tattoos and weight loss reveal the close, if not always recognized, connections between fighters and writers.

Carlo Rotella, author of Cut Time: An Education at the Fights, called Fighters & Writers “a spirited and far-ranging meditation on boxing that’s also a thoughtful inquiry into the relationship between the writer’s craft and the fighter’s.”

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