Just Reviewed “Ty Cobb: A Terrible Beauty” at SBR

Folks, I wanted to point your attention toward my latest book review of Charles Leerhsen’s TY COBB: A Terrible Beauty, which is up right now over at Shiny Book Review (SBR for short, as always).

Now, why am I so proud of this review?

I think it has to do with two things. One, Mr. Leerhsen’s baseball scholarship is superb. And two, I was pleased to realize, after reading Leerhsen’s  book, that Cobb was not at all the virulent racist he’d been portrayed to be.

See, all of the stuff I thought I knew about Cobb was wrong — well, except for the actual baseball facts. (I knew Cobb hit .367 as a lifetime batting average, for example, and was the all-time hits leader until Pete Rose moved past him in the mid-1980s.)

Basically, Ty Cobb, since his death in 1961, has been the victim of a shoddy narrative. Apparently his “biographer” Al Stump was no such thing; instead, Stump invented the wildest flights of fancy about Cobb, figuring that as there was almost no film or still pictures or even radio accounts of Cobb’s play, Stump could do as he liked and no one would be the wiser.

Besides, monsters sell. So Stump made Cobb a monster.

Leerhsen proved just how fallacious Stump’s account actually was by going back and reading all of the various newspaper reports, which were readily available in the archives. (Thank goodness for archives, eh?) Stump made so many erroneous assumptions that it’s hard to believe Stump didn’t know what he was writing was dead wrong; in fact, Cobb himself was in the midst of a lawsuit at the time of his death, because he’d gotten wind of what Stump was about to do to him in the guise of Cobb’s “autobiography” (which was ghost-written by Stump), and wanted no part of it.

The most egregious fallacy of Stump’s was to paint Cobb as a racist. Cobb was anything but — in fact, according to Leerhsen, Cobb used to sit in the dugout with players like Josh Gibson and Satchel Paige during Negro League games, and famously remarked that “The Negro (ballplayer) should be accepted, and not grudgingly but wholeheartedly.” And Cobb was a big fan of Roy Campanella’s, plus he enjoyed Willie Mays and Jackie Robinson.

And as far as being a mean, nasty, vicious old cuss — well, how mean, vicious and nasty could Ty Cobb have been if he was willing to help the young Joe DiMaggio out when Joe D. signed with the Yankees? (Cobb understood baseball contracts, and young Joe didn’t.) How mean was Cobb when he helped Campanella and his family out after “Campy” became paralyzed? And how vicious was Cobb when, after his playing days were over and he had nothing at all to gain by it, he and Babe Ruth became fast friends?

Leerhsen has dozens of stories about Cobb, and very few of them depict anything close to the man Stump portrayed (and Tommy Lee Jones later masterfully acted in the movie version, Cobb).

While Cobb was a difficult man to know — he was prickly, quick to anger, and settled things with his fists more than once — he was not a monster.

Instead, Cobb appears to be the victim of one of the worst narrative frames in the history of all narrative-framing.

So do, please, read my review of Charles Leerhsen’s book TY COBB: A Terrible Beauty. Then please, if you have any interest whatsoever in early 1900s to the “Roaring Twenties” Americana, baseball history, or just want to find out what’s actually the truth about Ty Cobb, go read his masterful book for yourself.

Friday Fun! Cover Reveal for CHANGING FACES, Coming in the Fall of 2015

Folks, with all the turmoil going on in the world these days, I wanted to share some good news.

The cover for my contemporary fantasy/romance novel CHANGING FACES is already here! (In other words: Time for a cover reveal.)

Take a look at this cover, courtesy of cover artist Tamian Wood. (Isn’t it great?)

The two faces being depicted are those of Allen Bridgeway, Master’s student in clarinet performance at (fictional) Willa Cather University in Lincoln, Nebraska, and Elaine Foster, Allen’s fiancée and fellow clarinetist at Willa Cather U. (Elaine starts off as an English Master’s student.)

Now, why do I call this book CHANGING FACES? It’s because Allen and Elaine are about to change places with one another…and it comes about because of two aliens who may as well be angels.

Why do these aliens/angels decide that Allen needs to be in Elaine’s body, and Elaine in Allen’s? Well, these two musicians have had a very tough time of it. Elaine, years ago, was brutally raped while still a child in the foster system. (She had another name, then; she chose the name “Elaine Foster” afterward.) She’s been with Allen for years, wants to marry him…but cannot accept her own body or her body’s responses.

Deep inside, she thinks she’d rather be a man. But she loves Allen. If only her body didn’t keep giving her fits…and then she tells Allen something devastating: Even though she loves him, she has to leave. She can’t go on living like this.

So they get in the car. It’s mid-December, and the roads are icy. And they get into a car accident. A bad one.

When Allen wakes up in the hospital, he’s in Elaine’s body (as the aliens/angels performed a body-switch). He’s still male, but now he looks female. And he’s dealing with a multitude of injuries, including a concussion, so he doesn’t really know what to do. But he’s still Allen inside, even though he can’t seem to tell anyone.

And when Elaine “wakes,” she’s actually inside Allen’s body but doesn’t know it. She’s not awake at all, you see; she needs to talk with one of the aliens/angels, but as this particular entity is an Amorphous Mass, it has trouble representing in the physical world. (BTW, Elaine quickly decides to call the Mass “Moe” — for “Mass of Ectoplasm,” out of the Ghostbusters movie).

What will these two lovers do, now that they are in this predicament? Will it actually help Elaine to know she’s now outwardly male — that is, if she can ever wake up from the coma? And how will Allen react, now that the world thinks he’s female?

One thing’s clear, however: When you have found your soulmate, the universe will do almost anything to keep you together. Even change your faces.

———-

Before anyone asks, I still do not have cover art for A LITTLE ELFY IN BIG TROUBLE. The best guesstimate for when the second half of the Elfy duology will come out is early October, whereas the best guesstimate for CHANGING FACES is probably early November.

Happy Friday!