I want a yellow-green tennis ball, the kind I had when I was a kid. Its scraggly fuzz should be worn to reveal a cracked, rubbery core. And somewhere there, between the mock stitches, it should have once said Wilson or Penn or Dunlop, but probably Wilson, except that it maybe wasn't even yellow or green anymore because the dirty old street gutter water and the chalky white sunscorched paint of the garage door transformed the nature of its appearance one screaming fastball at a time. Over and over and over until my 12-year old arms grew weary, and faster and faster and harder I charged to unload a short-armed quick toss across the diamond, across my body, to hear the pop against the inpenetrable wooden door.
PAHK!
PAHK!
PAHK!
PAHK!
PAHK!
And then PAHK and PAHK and PAHK and PAHK and PAHKPAHK PAHKPAHKPAHK until I was sweating and swearing and crying beneath the Eucalyptus trees, my arm throbbing, and my calves stinging from the charge. I would pop the goddamned phlegm-colored ball or pass out trying. Then thirteen years later, in the courtyard of a Baghdad prison and surrounded by port-a-john's and concertina wire, there was a giant metal sign with words in English and Arabic. Huge metal sign, as big as a strike zone, and beneath my feet--all around me in the Murafa Yard--rocks. Several tons of rocks. Rocks that fit perfectly between the thumb and the first crease between your pointer and middle fingers. Some rocks jagged as a lava stone, and others smooth and rounded, or oblong and flat, but none never too far from fitting between the fingers like seams of a baseball. It was a yard of rocks so deep, so plentiful, my combat boots sank with each noisy step. And each overnight, 12-hour shift beside the airstrip at Baghdad International Airport, that giant, metal sign with the warnings in English and Arabic clanked and panged and sparked from the blazing fastballs I unleashed upon it. Hundreds of fastballs each night, that sign would PING and TANG until the goddamned sign fell from the fence or I would pass out trying.
But I don't have a yellow-green or phlegm-colored tennis ball. I don't have a wooden garage door, or a giant sign to hang on my fence. There are a few rocks, but by this point, or after I've had another drink, there won't be enough. I won't have the ammo I need to throw my arm out, to charge and to quick step and to unload from a high, three-quarter arm slot until my legs collapse or constrict, or until I'm simply out of breath.
This is how I deal with anger.
Or depression.
The kind of anger or depression that by tomorrow morning, it's still there. As are the charred, skin-pulled eye sockets of the corpses along the side of the road, or the rise and fall of the man's chest as he lay silently in the back of my humvee, me racing over center medians and through traffic to get him to the hospital, or that time when Dex and Boom stumbled out of their bombed-out room with blood running down their foreheads and necks. You could practically see the stars circling over them like it was a fucking Tom and Jerry cartoon, except that brothers aren't cartoons. Instead of word association, it's emotional association, the kind of feeling that doesn't stop feeling, and each new feeling is not just a recollection of the old, but an addition, another carcass tossed atop the burnpit. And so I drink and think about the feel of the worn rubbery seems between my fingers, the chalky-dirt layer on the tip of my middle finger, the tingling and then the numbness in my arm, and the pain the next day. That pain, that muscle soreness worn again the next night overcome by fever and anger and satisfaction that with each throw, a tiny little globe-world of anger hurtles toward destruction--its own, or mine.







