Football Turf Quotes

What is a club in any case? Not the buildings or the directors or the people who are paid to represent it. It’s not the television contracts, get-out clauses, marketing departments or executive boxes. It’s the noise, the passion, the feeling of belonging, the pride in your city. It’s a small boy clambering up stadium steps for the very first time, gripping his father’s hand, gawping at that hallowed stretch of turf beneath him and, without being able to do a thing about it, falling in love.

Deaner ran down to the barrier separating the crowd from the pitch, and eventually persuaded the stewards that he had a part to play in the unfolding drama. (Anyone who has ever attempted to talk to a steward at a Premiership football ground will recognize that, whatever else during the afternoon required divine intervention, Deaner’s success in getting on to the White Hart Lane turf really was a miracle.)

began to walk home, very quickly. A car full of high-school girls screeched around the corner. They were the girls who ran all the clubs and won all the elections in Allison’s high-school class: little Lisa Leavitt; Pam McCormick, with her dark ponytail, and Ginger Herbert, who had won the Beauty Revue; Sissy Arnold, who wasn’t as pretty as the rest of them but just as popular. Their faces—like movie starlets’, universally worshiped in the lower grades—smiled from practically every page of the yearbook. There they were, triumphant, on the yellowed, floodlit turf of the football field—in cheerleader uniform, in majorette spangles, gloved and gowned for homecoming; convulsed with laughter on a carnival ride (Favorites) or tumbling elated in the back of a September haywagon (Sweethearts)—and despite the range of costume, athletic to casual to formal wear, they were like dolls whose smiles and hair-dos never changed.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

football, by its very nature, teaches everyone who plays it the greatest lesson of all: when you get knocked down—and in football, everyone eventually winds up on the turf—you must get up and give it another go. It may be a cliché, but if so it’s one for a reason: in life, all of us must learn to get up and play the next play.

If mutual decimation of the McLaughlins and the McLeans marked the end of Charlestown’s “gangster era,” a host of gangs endured in the Town. These were less criminal bands than expressions of territorial allegiance. Every street and alley, every park and pier had its own ragged troop which hung on the corner, played football, baseball, and street hockey, and defended its turf against all comers. The Wildcats hung at the corner of Frothingham and Lincoln streets, the Bearcats at Walker and Russell streets, the Falcons outside the Edwards School, the Cobras on Elm Street, the Jokers in Hayes Square, the Highlanders on High Street, the Crusaders at the Training Field. Each had its distinctive football jersey (on which members wore their street addresses), its own legends and traditions. The Highlanders, for example, took their identity from the Bunker Hill Monument, which towered over their hangout at the top of Monument Avenue. On weekends and summer afternoons, they gathered there to wait for out-of-town tourists visiting the revolutionary battleground. When one approached, an eager boy would step forward and launch his spiel, learned by rote from other Highlanders: “The Monument is 221 feet high, has 294 winding stairs and no elevators. They say the quickest way up is to walk, the quickest way down is to fall. The Monument is fifteen feet square. Its cornerstone was laid in 1825 by Daniel Webster. The statue you see in the foreground is that of Colonel William Prescott standing in the same position as when he gave that brave and famous command, ‘Don’t fire till you see the whites of their eyes.’ The British made three attempts to gain the hill …” And so forth. An engaging raconteur could parlay this patter into a fifty-cent tip.

What John Ayers was doing seemed routine. But to the few who knew, and watched, it was a thing of beauty. The ball is snapped and John Ayers sees Taylor coming, and slides quickly back one step and to his left. And as he slides, he steps to meet his future. He’s stepping into 1985, when the turf will be fast and he won’t be able to deal with Lawrence Taylor…. Another quick step, back and left, and it’s 1986, and he’s injured and on the sidelines when the Giants send Joe Montana to the hospital and the 49ers home on the way to their own Super Bowl victory…. A third quick step and he crouches like one power forward denying another access to the hoop. But now it’s 1987 and Coach Bill Walsh is advising John Ayers to retire. Ayers ignores the advice and then learns that Walsh won’t invite him back to training camp…. He takes his final quick step back and left and times his blow, to stop dead in his tracks the most terrifying force ever launched at an NFL quarterback. “I don’t think I’ve ever played against a football player who had more drive and intensity to get to the quarterback,” John Ayers will say, after it’s all over, and he’s been given the game ball by his teammates. “It was almost like he was possessed.”…But now it’s 1995, and John Ayers has just died of cancer, at forty-two, and left behind a wife and two children. Joe Montana charters a plane to fly a dozen teammates to Amarillo, Texas, to serve as pall-bearers. At the funeral of John Ayers the letter of tribute from Bill Walsh is read aloud.

We have pretzels and mustard. We have doughnuts. And if we really, really like you, we have chips and dip. This is fun food. It isn't stuffy. It isn't going to make anyone nervous. The days of the waiter as a snob, the days of the menu as an exam/ the guest has to pass are over. But at the same time, we're not talking about cellophane bags here, are we? These are hand-cut potato chips with crème fraîche and a dollop of beluga caviar. This is the gift we send out. It's better than Christmas." He offered the plate to Adrienne and she helped herself to a long, golden chip. She scooped up a tiny amount of the glistening black caviar. Just tasting it made her feel like a person of distinction. Adrienne hoped the menu meeting might continue in this vein- with the staff tasting each ambrosial dish. But there wasn't time; service started in thirty minutes. Thatcher wanted to get through the menu. "The corn chowder and the shrimp bisque are cream soups, but neither of these soups is heavy. The Caesar is served with pumpernickel croutons and white anchovies. The chèvre salad is your basic mixed baby greens with a round of breaded goat cheese, and the candy-striped beets are grown locally at Bartlett Farm. Ditto the rest of the vegetables, except for the portobello mushrooms that go into the ravioli- those are flown in from Kennett Square, Pennsylvania. So when you're talking about vegetables, you're talking about produce that's grown in Nantucket soil, okay? It's not sitting for thirty-six hours on the back of a truck. Fee selects them herself before any of you people are even awake in the morning. It's all very Alice Waters, what we do here with our vegetables." Thatcher clapped his hands. He was revving up, getting ready for the big game. In the article in Bon Appétit, Thatcher had mentioned that the only thing he loved more than his restaurant was college football. "Okay, okay!" he shouted. It wasn't a menu meeting; it was a pep rally! "The most popular item on the menu is the steak frites. It is twelve ounces of aged New York strip grilled to order- and please note you need a temperature on that- served with a mound of garlic fries. The duck, the sword, the lamb lollipops- see, we're having fun here- are all served at the chef's temperature. If you have a guest who wants the lamb killed- by which I mean well done- you're going to have to take it up with Fiona. The sushi plate is spelled out for you- it's bluefin tuna caught forty miles off the shore, and the sword is harpooned in case you get a guest who has just seen a Nova special about how the Canadian coast is being overfished.

What he tried to explain to his players was that being humbled—having some sort of setback—was inevitable in life, but that the real measure of a man was how he reacted to being knocked down. Would he wallow on the ground feeling sorry for himself? Accepting his ultimate defeat? Or would he climb off the turf and go back to work, infused with a renewed determination to transcend the setback?