When I told my wife I was reviewng
a book titled The Dimaggios, she
asked me, “There was more than one?”
There were, in fact three –
the brothers Joe, Dom and Vince, all big-league ballplayers of varying
skill-levels and fame.
But it’s the subtitle that’s the problem, identifying
the book as a document in the long literary history of this country’s animating
vision, of which baseball, of course, played a part. The DiMaggio parents,
Italian immigrants who worked hard to give their children a better life in San
Francisco than they could have in Sicily, had a version of the American Dream
in their minds that corresponded to the classic narrative that has shaped the
fiction of Horatio Alger, Nathanael West, John Updike, F. Scott
Fitzgerald, and Arthur
Miller. The problem is that none
of these three brothers was Jay
Gatsby (though perhaps Vince, who ended up selling Fuller brushes door to door,
was a kind of Willy Loman.) Dom, the
one with the brains, always underrated and in Joe’s shadow as a ballplayer though
he was voted American League MVP in 1947, at least found a successful career in
business. And Joe, after Marilyn
Monroe’s death, became even more reclusive, bitter and paranoid than he had
always been. None of them
was a hero, least of all Joe, who “just wanted “an excuse to get out of the house.”
The fact that Joe was lionized by
the press and the fans was the product of America’s conflation of athletic
skills and character. Undoubtedly,
the cult that surrounded him was enormous: Paul Simon’s lyric “Where have you
gone, Joe DiMggio? / A nation turns its lonely eyes to you” testifies both to
the size of the myth and to the absence of the man, and Joe reveled in his
fame, using it as a screen to keep everyone else out. He was from the start vain, not very
bright, suspicious to the point of paranoia – a loner who seldom spoke to his
teammates, and ended up estranged from both brothers. Here’s what he told Gay Talese in 1966: “There are . . . personal things that I
refuse to talk about. And even if
you asked my brothers, they would be unable to tell you about them because they
do not know.” Clavin quotes
Charlie Silvera, a Yankee teammate, as saying that Dom and Joe, “each is his
own way was a great guy and a great ballplayer.” But Clavin makes it abundantly clear that Joe was anything
but a great guy. Vince was the affable
one; Joe was, as Gay Talese put it, “a kind of male Garbo,”
Telling the story of these three
lives involved, for Clavin, a prodigious amount of research; he seem to have read every book, every
article, every news story written by, for and about the brothers, their family,
and about baseball itself in the 30’s and 40’s – he stops just short of
including box scores. And this is
a problem: he doesn’t really tell a story. The DiMaggios is something
of a cut-and-paste job, an immense amount of data arranged in chronological
order, but with no overarching idea to serve (not those in the subtitle, at any
rate). Too much space is taken up by meaningless factoids (a friend of Joe’s,
serving in Korea, was promoted to sergeant; Ted Williams had fun learning how
to fly; Lefty O’Doul, died on “the anniversary of the American attack on Pearl
Harbor.”) And it isn’t only facts
that Clavin’s research turns up, but opinions as well: whenever things get pulled together in
a meaningful way, it’s Roger Kahn or David Halberstam who’s doing the pulling. Clavin seems to have interviewed several
members of the DiMaggio family and scene, but the only one he quotes
extensively is Vince’s daughter, Joanne DiMaggio Weber. And she’s good for an anecdote every
few pages. But as a family member, she’s not necessarily a reliable witness
(though I believe her when she says that her favorite baby sitter was Phil
Rizzuto.) The “as told to”
autobiographies produced by each of the brothers are, as Clavin rightly calls
them, formulaic, self-serving and unreliable.
But there have been many
biographies of Joe, one of the best being Richard Ben Cramer’s Joe Dimaggio: The Hero’s Life, an excellent and juicy book that probes
into all the sordid, interesting crannies of “the hero’s” stunted personality. Where Clavin tells us that after his
divorce, Joe “wasn’t looking for another wife, just companionship,” Cramer
reveals that between and after his marriages, virtually the only women he met
were prostitutes, one of whom still marvels at Joltin’ Joe’s physical attributes: he was “bigger than Milton Berle,” she
said, Uncle Miltie representing the phallic paradigm of the 40’s and 50’s. This
is juicy stuff, and it’s what’s missing from Clavin’s version. It’s not that The DiMaggios is sanitized, just that it’s plodding and literal,
lacking narrative style and telling details. The brothers’ personality quirks are mentioned regularly but
Vince’s affability, Dom’s shyness and Joe’s sullen grudge-holding get lost
among endless reiterations of what happened in Cleveland, in New York, in
Boston on summer afternoons 70 years ago, when Joe went 3 for 4 and won a game
that won a pennant that led to yet another World Series. In 1950, “The gutty
Red Sox did not fold. On July 18, their 12-9 win over the Tigers at Fenway Park
brought them to .500 at 39-39. In
the next 59 games they went 47-12.” There must be baseball fanatics who
will lap up all these stats and replays, but for most of us, a little more than
a little of that is much too much.
When
the book gets interesting, predictably, is when Joe meets Marilyn. Clavin observes that they slept
together on their first date, though I think it would be bigger news if they
hadn’t; “dating” doesn’t seem like what these two were up to. Yet Clavin, in defiance of all evidence
that their marriage was a liasion between two damaged, narcissistic,
sex-addicted celebrities, tells us that their wedding was “a fairy-tale event
for gossip lovers,” attended by none of Joe’s family. The marriage lasted less than a year. “He had loved her deeply. He always would,” writes Clavin. But
Joe really was incapable of love, and didn’t want a homemaker and child-rearer
for a wife; he’d tried that once before and gotten burned. Neither had any idea
who the other really was. Returning
from a promotional tour of Japan, Marilyn told her husband, by now retired, “You
never heard such cheering.” He
replied, “Yes, I have.” The people
closest to him probably shared Toots Shor’s opinion of her: “Joe, what can you
expect when you marry a whore?”
The last few chapters of The DiMaggios are painful, as the
brothers’ relationship deteriorates and one after another, they sicken and
die. Joe seems in his later years
to have fallen under the spell of a sleazy lawyer named Morris Engelberg who
made him money on the memorabilia circuit impersonating, as it were, Joe
Dimaggio, and who, as Joe lay on his deathbed, may have pulled his World Series
ring off his finger and then tried to pull the plug on his ventilator. The kid who just wanted to get out of
the house ended up hoarding money and, except for a moocher, alone. If this is the American Dream, it’s a
sad one.
