On Boxing, Page 2

  A boxing trainer’s most difficult task is said to be to persuade a young boxer to get up and continue fighting after he has been knocked down. And if the boxer has been knocked down by a blow he hadn’t seen coming—which is usually the case—how can he hope to protect himself from being knocked down again? and again? The invisible blow is after all—invisible.

  “Normal” behavior in the ring would be unbearable to watch, deeply shameful: for “normal” beings share with all living creatures the instinct to persevere, as Spinoza said, in their own being. The boxer must somehow learn, by what effort of will non-boxers surely cannot guess, to inhibit his own instinct for survival; he must learn to exert his “will” over his merely human and animal impulses, not only to flee pain but to flee the unknown. In psychic terms this sounds like magic. Levitation. Sanity turned inside out, “madness” revealed as a higher and more pragmatic form of sanity.

  The fighters in the ring are time-bound—surely nothing is so excruciatingly long as a fiercely contested three-minute round—but the fight itself is timeless. In a sense it becomes all fights, as the boxers are all boxers. By way of films, tapes, and photographs it quickly becomes history for us, even, at times, art. Time, like the possibility of death, is the invisible adversary of which the boxers—and the referee, the seconds, the spectators—are keenly aware. When a boxer is “knocked out” it does not mean, as it’s commonly thought, that he has been knocked unconscious, or even incapacitated; it means rather more poetically that he has been knocked out of Time. (The referee’s dramatic count of ten constitutes a metaphysical parenthesis of a kind through which the fallen boxer must penetrate if he hopes to continue in Time.) There are in a sense two dimensions of Time abruptly operant: while the standing boxer is in time the fallen boxer is out of time. Counted out, he is counted “dead”—in symbolic mimicry of the sport’s ancient tradition in which he would very likely be dead. (Though, as we may recall, the canny Romans reserved for themselves as spectators the death blow itself: the triumphant gladiator was obliged to wait for a directive from outside the arena before he finished off his opponent.)

  If boxing is a sport it is the most tragic of all sports because more than any human activity it consumes the very excellence it displays—its drama is this very consumption. To expend oneself in fighting the greatest fight of one’s life is to begin by necessity the downward turn that next time may be a plunge, an abrupt fall into the abyss. I am the greatest says Muhammad Ali. I am the greatest says Marvelous Marvin Hagler. You always think you’re going to win, Jack Dempsey wryly observed in his old age, otherwise you couldn’t fight at all. The punishment—to the body, the brain, the spirit—a man must endure to become even a moderately good boxer is inconceivable to most of us whose idea of personal risk is largely ego-related or emotional. But the punishment as it begins to show in even a young and vigorous boxer is closely gauged by his rivals, who are waiting for him to slip. (After junior-welterweight champion Aaron Pryor won a lackluster fight last year a younger boxer in his weight division, interviewed at ringside, said with a smile: “My mouth is watering.” And there was twenty-nine-year-old Billy Costello’s bold statement—“If I can’t beat an old man [of thirty-three] then I should retire”—shortly before his bout with Alexis Arguello, in which he was knocked out in an early round.)

  In the ring, boxers inhabit a curious sort of “slow” time—amateurs never box beyond three rounds, and for most amateurs those nine minutes are exhausting—while outside the ring they inhabit an alarmingly accelerated time. A twenty-three-year-old boxer is no longer young in the sense in which a twenty-three-year-old man is young; a thirty-five-year-old is frankly old. (Which is why Muhammad Ali made a tragic mistake in continuing his career after he had lost his title for the second time—to come out of retirement, aged thirty-eight, to fight Larry Holmes; and why Holmes made a similar mistake, years later, in needlessly exposing himself to injury, as well as professional embarrassment, by meeting with the light-heavyweight champion Michael Spinks. The victory of the thirty-seven-year-old Jersey Joe Walcott over the thirty-year-old Ezzard Charles, for the heavyweight title in 1951, is sui generis. And Archie Moore is sui generis.) All athletes age rapidly but none so rapidly and so visibly as the boxer.

  So it is, the experience of watching great fighters of the past is radically different from having seen them perform when they were reigning champions. Jack Johnson, Jack Dempsey, Joe Louis, Sugar Ray Robinson, Rocky Marciano, Muhammad Ali, Joe Frazier—as spectators we know not only how a fight but how a career ends. The trajectory not merely of ten or fifteen rounds but that of an entire life…

  Everything that man esteems

  Endures a moment or a day.

  Love’s pleasure drives his love away,

  The painter’s brush consumes his dreams;

  The herald’s cry, the soldier’s tread

  Exhaust his glory and his might:

  Whatever flames upon the night

  Man’s own resinous heart has fed.

  —WILLIAM BUTLER YEATS, from “The Resurrection”

  When I see blood, I become a bull.

  —MARVIN HAGLER

  I have no difficulty justifying boxing as a sport because I have never thought of it as a sport.

  There is nothing fundamentally playful about it; nothing that seems to belong to daylight, to pleasure. At its moments of greatest intensity it seems to contain so complete and so powerful an image of life—life’s beauty, vulnerability, despair, incalculable and often self-destructive courage—that boxing is life, and hardly a mere game. During a superior boxing match (Ali-Frazier I, for instance) we are deeply moved by the body’s communion with itself by way of another’s intransigent flesh. The body’s dialogue with its shadow-self—or Death. Baseball, football, basketball—these quintessentially American pastimes are recognizably sports because they involve play: they are games. One plays football, one doesn’t play boxing.

  Observing team sports, teams of adult men, one sees how men are children in the most felicitous sense of the word. But boxing in its elemental ferocity cannot be assimilated into childhood. (Though very young men box, even professionally, and many world champions began boxing in their early or mid-teens. By the time he was sixteen Jack Dempsey, rootless and adrift in the West, was fighting for small sums of money in unrefereed saloon fights in which—in the natural course of things—he might have been killed.) Spectators at public games derive much of their pleasure from reliving the communal emotions of childhood but spectators at boxing matches relive the murderous infancy of the race. Hence the occasional savagery of boxing crowds—the crowd, largely Hispanic, that cheered as the Welshman Johnny Owen was pounded into insensibility by the Mexican bantamweight champion Lupe Pintor, for instance—and the excitement when a man begins to seriously bleed.

  Marvelous Marvin Hagler, speaking of blood, is speaking, of course, of his own.

  Considered in the abstract the boxing ring is an altar of sorts, one of those legendary spaces where the laws of a nation are suspended: inside the ropes, during an officially regulated three-minute round, a man may be killed at his opponent’s hands but he cannot be legally murdered. Boxing inhabits a sacred space predating civilization; or, to use D. H. Lawrence’s phrase, before God was love. If it suggests a savage ceremony or a rite of atonement it also suggests the futility of such gestures. For what possible atonement is the fight waged if it must shortly be waged again…and again? The boxing match is the very image, the more terrifying for being so stylized, of mankind’s collective aggression; its ongoing historical madness.

  I hate to say it, but it’s true—I only like it better when pain comes.

  —FRANK “THE ANIMAL” FLETCHER, former middleweight contender

  Years ago in the early 1950s when my father first took me to a Golden Gloves boxing tournament in Buffalo, New York, I asked him why the boys wanted to fight one another, why they were willing to get hurt. As if it were an explanation my father said, “Boxers don’t
feel pain quite the way we do.”

  Pain, in the proper context, is something other than pain.

  Consider: Gene Tunney’s single defeat in a thirteen-year career of great distinction was to a notorious fighter named Harry Greb who seems to have been, judging from boxing lore, the dirtiest fighter in history. Greb was infamous for his fouls—low blows, butting, “holding and hitting,” rubbing his laces against an opponent’s eyes, routine thumbing—as well as for a frenzied boxing style in which blows were thrown from all directions. (Hence, “The Human Windmill.”) Greb, who died young, was a world middleweight champion for three years but a flamboyant presence in boxing circles for a long time. After the first of his several fights with Greb the twenty-two-year-old Tunney was so badly hurt he had to spend a week in bed; he’d lost an astonishing two quarts of blood during the fifteen-round fight. Yet, as Tunney said some years later:

  Greb gave me a terrible whipping. He broke my nose, maybe with a butt. He cut my eyes and ears, perhaps with his laces…My jaw was swollen from the right temple down the cheek, along under the chin and partway up the other side. The referee, the ring itself, was full of blood…But it was in that first fight, in which I lost my American light-heavyweight title, that I knew I had found a way to beat Harry eventually. I was fortunate, really. If boxing in those days had been afflicted with the Commission doctors we have today—who are always poking their noses into the ring and examining superficial wounds—the first fight with Greb would have been stopped before I learned how to beat him. It’s possible, even probable, that if this had happened I would never have been heard of again.

  Tunney’s career, in other words, was built upon pain. Without it he would never have moved up into Dempsey’s class.

  Tommy Loughran, light-heavyweight champion in the years 1927-29, was a master boxer greatly admired by other boxers. He approached boxing literally as a science—as Tunney did—studying his opponents’ styles and mapping out ring strategy for each fight, as boxers and their trainers commonly do today. Loughran rigged up mirrors in his basement so that he could watch himself as he worked out, for, as he said, no boxer ever sees himself quite as he appears to his opponent. He sees the opponent but not himself as an opponent. The secret of Loughran’s career was that his right hand broke easily so that he was forced to use it only once each fight: for the knockout punch or nothing. “I’d get one shot then the agony of the thing would hurt me if the guy got up,” Loughran said. “Anybody I ever hit with a left hook I knocked flat on his face, but I would never take a chance for fear if my [left hand] goes, I’m done for.”

  Both Tunney and Loughran, it is instructive to note, retired from boxing well before they were forced to retire. Tunney became a highly successful businessman, and Loughran a highly successful sugar broker on the Wall Street commodities market. (Just to suggest that boxers are not invariably stupid, illiterate, or punch-drunk.)

  Then there was Carmen Basilio!—much loved for his audacious ring style, his hit-and-be-hit approach. Basilio was world middle- and welterweight champion 1953-57, stoic, determined, a slugger willing to get hit in order to deal powerful counter-punches of his own. Onlookers marveled at the punishment Basilio seemed to absorb though Basilio insisted that he didn’t get hit the way people believed. And when he was hit, and hit hard—

  People don’t realize how you’re affected by a knockout punch when you’re hit on the chin. It’s nerves is all it is. There’s no real concussion as far as the brain is concerned. I got hit on the point of the chin [in a match with Tony DeMarco in 1955]. It was a left hook that hit the right point of my chin. What happens is it pulls your jawbone out of your socket from the right side and jams it into the left side and the nerve there paralyzed the whole left side of my body, especially my legs. My left knee buckled and I almost went down, but when I got back to my corner the bottom of my foot felt like it had needles about six inches high and I just kept stamping my foot on the floor, trying to bring it back. And by the time the bell rang it was all right.

  Basilio belongs to the rough-and-tumble era of LaMotta, Graziano, Zale, Pep, Saddler; Gene Fullmer, Dick Tiger, Kid Gavilan. An era when, if two boxers wanted to fight dirty, the referee was likely to give them license, or at least not to interfere.

  Of Muhammad Ali in his prime Norman Mailer observed, “He worked apparently on the premise that there was something obscene about being hit.” But in fights in his later career, as with George Foreman in Zaire, even Muhammad Ali was willing to be hit, and to be hurt, in order to wear down an opponent. Brawling fighters—those with “heart” like Jake LaMotta, Rocky Graziano, Ray Mancini—have little choice but to absorb terrible punishment in exchange for some advantage (which does not in any case always come). And surely it is true that some boxers (see Jake LaMotta’s autobiographical Raging Bull) invite injury as a means of assuaging guilt, in a Dostoyevskian exchange of physical well-being for peace of mind. Boxing is about being hit rather more than it is about hitting, just as it is about feeling pain, if not devastating psychological paralysis, more than it is about winning. One sees clearly from the “tragic” careers of any number of boxers that the boxer prefers physical pain in the ring to the absence of pain that is ideally the condition of ordinary life. If one cannot hit, one can yet be hit, and know that one is still alive.

  It might be said that boxing is primarily about maintaining a body capable of entering combat against other well-conditioned bodies. Not the public spectacle, the fight itself, but the rigorous training period leading up to it demands the most discipline, and is believed to be the chief cause of the boxer’s physical and mental infirmities. (As a boxer ages his sparring partners get younger, the game itself gets more desperate.)

  The artist senses some kinship, however oblique and one-sided, with the professional boxer in this matter of training. This fanatic subordination of the self in terms of a wished-for destiny. One might compare the time-bound public spectacle of the boxing match (which could be as brief as an ignominious forty-five seconds—the record for a title fight!) with the publication of a writer’s book. That which is “public” is but the final stage in a protracted, arduous, grueling, and frequently despairing period of preparation. Indeed, one of the reasons for the habitual attraction of serious writers to boxing (from Swift, Pope, Johnson to Hazlitt, Lord Byron, Hemingway, and our own Norman Mailer, George Plimpton, Ted Hoagland, Wilfrid Sheed, Daniel Halpern, et al.) is the sport’s systematic cultivation of pain in the interests of a project, a life-goal: the willed transposing of the sensation we know as pain (physical, psychological, emotional) into its polar opposite. If this is masochism—and I doubt that it is, or that it is simply—it is also intelligence, cunning, strategy. It is an act of consummate self-determination—the constant reestablishment of the parameters of one’s being. To not only accept but to actively invite what most sane creatures avoid—pain, humiliation, loss, chaos—is to experience the present moment as already, in a sense, past. Here and now are but part of the design of there and then: pain now but control, and therefore triumph, later. And pain itself is miraculously transposed by dint of its context. Indeed, it might be said that “context” is all.

  The novelist George Garrett, an amateur boxer of some decades ago, reminisces about his training period:

  I learned something…about the brotherhood of boxers. People went into this brutal and often self-destructive activity for a rich variety of motivations, most of them bitterly antisocial and verging on the psychotic. Most of the fighters I knew of were wounded people who felt a deep, powerful urge to wound others at real risk to themselves. In the beginning. What happened was that in almost every case, there was so much self-discipline required and craft involved, so much else besides one’s original motivations to concentrate on, that these motivations became at least cloudy and vague and were often forgotten, lost completely. Many good and experienced fighters (as has often been noted) become gentle and kind people…They have the habit of leaving all their fight in the ring. And even
there, in the ring, it is dangerous to invoke too much anger. It can be a stimulant, but is very expensive of energy. It is impractical to get mad most of the time.

  Of all boxers it seems to have been Rocky Marciano (still our only undefeated heavyweight champion) who trained with the most monastic devotion; his training methods have become legendary. In contrast to reckless fighters like Harry “The Human Windmill” Greb, who kept in condition by boxing all the time, Marciano was willing to seclude himself from the world, including his wife and family, for as long as three months before a fight. Apart from the grueling physical ordeal of this period and the obsessive preoccupation with diet and weight and muscle tone, Marciano concentrated on one thing: the upcoming fight. Every minute of his life was defined in terms of the opening second of the fight. In his training camp the opponent’s name was never mentioned in Marciano’s hearing, nor was boxing as a subject discussed. In the final month Marciano would not write a letter since a letter related to the outside world. During the last ten days before a fight he would see no mail, take no telephone calls, meet no new acquaintances. During the week before the fight he would not shake hands. Or go for a ride in a car, however brief. No new foods! No dreaming of the morning after the fight! For all that was not the fight had to be excluded from consciousness. When Marciano worked out with a punching bag he saw his opponent before him, when he jogged he saw his opponent close beside him, no doubt when he slept he “saw” his opponent constantly—as the cloistered monk or nun chooses by an act of fanatical will to “see” only God.