Podcast Summary: The New Yorker Radio Hour Episode: Louisa Thomas on a Ballplayer’s Epic Final Game; Plus, Remembering the Composer of “Annie”
Release Date: May 27, 2025
Host: David Remnick
Produced by WNYC Studios and The New Yorker

1. Louisa Thomas Discusses John Updike’s Tribute to Ted Williams

Overview:
In the first segment, sports correspondent Louisa Thomas delves into John Updike's evocative piece, "Hub Fans, Big Kid Adieu," which chronicles the legendary baseball player Ted Williams' final game with the Boston Red Sox in 1960. Residing just miles from Fenway Park, Thomas brings a local’s perspective to the discussion, illustrating the deep emotional connection between Williams and his fans, as well as Updike’s literary prowess in capturing this iconic moment.

Key Points & Notable Quotes:

• Introduction to Updike's Piece:
  Thomas introduces Updike's article, highlighting its significance and the unique title that resonates strongly with baseball aficionados. She notes, "Updike really kind of set the bar for great writing about sports. It's not really sports writing, right? It's great writing that happens to be about sports" ([00:09]).

• Teaching the Piece:
  As a Harvard nonfiction creative writing instructor, Thomas emphasizes the piece's exceptional mood and narrative technique. She remarks, "This piece is so good at Mood, so good at beginnings" ([01:15]).

• Analyzing Updike’s Descriptive Narrative:
  Updike's vivid descriptions bring Fenway Park to life, such as, "Fenway park in Boston is a lyric little bandbox of a ballpark" ([01:50]). Thomas appreciates the meticulous detail, noting how Updike captures the granular moments of Williams' gameplay and the collective emotion of the crowd.

• The Genesis of the Story:
  Thomas shares that Updike was inspired to write the piece while dealing with personal turmoil, aiming to visit a paramour but instead finding solace in the game. This serendipitous experience fueled the depth of his writing ([02:17]).

• Emotional Resonance of Williams’ Final Game:
  Updike masterfully conveys the gravity of Williams' last appearance. He writes, "Whenever Williams appeared at the plate... it was like having a familiar Leonardo appear in a shuffle of Saturday Evening Post covers" ([03:18]). Thomas underscores the shared dedication between Updike and Williams, both meticulous in their crafts.

• Refining the Narrative:
  Thomas reveals insights into Updike's writing process, showing how he painstakingly revised his descriptions to capture the essence of Williams' final hit: "And rose meticulously along a straight line and it was still rising when it cleared the fence" ([05:44]).

• Climactic Conclusion of the Game:
  Updike describes the final moments with poetic intensity: "The ball seemed less an object in flight than the tip of a towering, motionless construct like the Eiffel Tower or the Tappan Zee Bridge" ([06:10]). The crowd's unified applause without boos illustrates the profound respect and emotion surrounding Williams' farewell ([07:00]).

• Legacy of Updike’s Sports Writing:
  Thomas highlights the rarity and excellence of Updike's approach to sports journalism, noting the high praise from editor William Shawn: "He said [it was] the best thing that they'd ever published in the magazine about baseball" ([10:37]).

Conclusion:
Thomas effectively bridges literary analysis with sports history, showcasing how Updike's narrative transcends traditional sports writing to immortalize Ted Williams' legacy through eloquent storytelling.

2. Tribute to Charles Strauss, Composer of "Annie"

Overview:
The second segment serves as a heartfelt tribute to Charles Strauss, a celebrated composer renowned for creating the unforgettable song "Tomorrow" from the musical Annie. The discussion covers Strauss’s illustrious career, his creative process, and his lasting impact on Broadway and popular culture.

Key Points & Notable Quotes:

• Introduction to Charles Strauss:
  David Remnick introduces Strauss, highlighting his achievements and his pivotal role in the creation of "Annie." He remarks, "He'll be best remembered for the musical Annie, the gateway drug to Broadway for generations of kids" ([14:11]).

• Personal Anecdotes from Strauss:
  In an intimate interview conducted in 2023, Strauss shares candid moments from his life, including his interactions with iconic figures like Jay Z and Beyoncé. He humorously recounts, "I guess the Library of Congress, which collects life itself... They asked me" ([15:27]).

• Creation of "Tomorrow":
  Strauss discusses the genesis of "Tomorrow," initially viewing it as a "disposable item" necessary for the musical's progression. Reflecting on its unexpected success, he states, "I didn't know that it was going to be so big. And so I'm very proud if it made its mark" ([20:50]).

• Musical Philosophy:
  Emphasizing the essence of a great song, Strauss explains, "A popular song should sound as though it was always there, but it never was until you thought of it" ([21:22]). This philosophy is exemplified in the enduring simplicity and appeal of "Tomorrow."

• Legacy and Reflection:
  Despite acknowledging that "Tomorrow" has overshadowed his other works, Strauss remains humble and appreciative of its impact. He reflects, "It's a funny thing about composing. It comes from your heart in a way, but it really comes from nowhere. It's God given" ([22:08]).

• Final Words and Tribute:
  Closing the segment, Remnick honors Strauss's contributions to music and theater, encapsulating his legacy with Strauss's own lyrics from "Tomorrow": "So you got to hang on till tomorrow come what may" ([24:34]).

Conclusion:
The tribute to Charles Strauss not only celebrates his monumental contribution to Broadway but also offers a glimpse into the creative mind behind one of the most beloved songs in musical history. Strauss's humility and passion for his craft resonate deeply, ensuring his legacy endures.

Closing Remarks

David Remnick wraps up the episode by acknowledging Strauss's passing at the age of 96 and reflecting on his significant achievements. The episode masterfully intertwines literary excellence with musical genius, offering listeners a profound appreciation for both John Updike's literary tribute to Ted Williams and Charles Strauss's iconic contributions to musical theater.

Notable Quotes with Timestamps

• Louisa Thomas: "This piece is so good at Mood, so good at beginnings." ([01:15])

• John Updike: "Fenway park in Boston is a lyric little bandbox of a ballpark." ([01:50])

• John Updike: "Whenever Williams appeared at the plate... it was like having a familiar Leonardo appear in a shuffle of Saturday Evening Post covers." ([03:18])

• Louisa Thomas: "Gods do not answer letters." ([10:37])

• Charles Strauss: "Tomorrow falls into that category... I needed some time." ([20:50])

• Charles Strauss: "A popular song should sound as though it was always there, but it never was until you thought of it." ([21:22])

• Charles Strauss: "It's a funny thing about composing. It comes from your heart in a way, but it really comes from nowhere. It's God given." ([22:08])

This episode of The New Yorker Radio Hour offers a compelling exploration of storytelling across different mediums, celebrating both literary and musical artistry. Whether you're a sports enthusiast, a literature lover, or a fan of Broadway, this episode provides rich insights and heartfelt tributes that resonate beyond their immediate subjects.