A profile of a previously unknown rookie pitcher for the Mets who dropped out of Harvard, made a spiritual quest to Tibet, and somewhere along the line figured out how to throw a baseball much, much faster than anyone else on Earth.

"I’m not familiar with books on style. My role in the revival of Strunk’s book was a fluke—just something I took on because I was not doing anything else at the time. It cost me a year out of my life, so little did I know about grammar."

“I tell them it’s like driving a car at night: you never see further than your headlights, but you can make the whole trip that way.”

“But to grow up costs the earth, the earth. It means you take responsibility for the time you take up, for the space you occupy. It’s serious business. And you find out what it costs us to love and to lose, to dare and to fail. And maybe even more, to succeed. What it costs, in truth. Not superficial costs—anybody can have that—I mean in truth. That’s what I write. What it really is like. I’m just telling a very simple story.”

How Norman Mailer and other writers wanted to go out.

A father and his 9-year-old daughter watch Harvard play Yale in football.

An interview on craft.

This interview with Kurt Vonnegut was originally a composite of four interviews done with the author over the past decade. The composite has gone through an extensive working over by the subject himself, who looks upon his own spoken words on the page with considerable misgivings . . . indeed, what follows can be considered an interview conducted with himself, by himself.

Live from Kingston for Frazier vs. Foreman.

HEMINGWAY: You go to the races? PLIMPTON: Yes, occasionally. HEMINGWAY: Then you read the Racing Form . . . . There you have the true art of fiction.

In January 1966–the same month In Cold Blood was first published–Truman Capote sat down with George Plimpton to discuss the new art form he liked to call “creative journalism.”