Mets 2026: A retrospective

[Cowtipper]

Chapter 20:

What Remains After They Leave

Summary: The piece reflects on the departures of Edwin Díaz, Pete Alonso, and Gregory Soto, using their very different places in Mets history to explore how players become intertwined with a team and, more importantly, with the private memories of the people who watched them. Ultimately, it argues that while contracts, statistics, uniforms, and rosters are temporary, the meaning fans attach to players can survive long after they are gone: the game keeps the records, but people keep the meaning.

There is a moment in every baseball career when a player stops belonging entirely to the team.

It is not necessarily when he is traded.

It may not even be when he signs somewhere else.

Sometimes it happens quietly, in the mind of a fan.

A player becomes attached to something that has nothing to do with his statistics. A summer. A postseason. A particular night in September. A radio call heard while driving home. A child watching television. A difficult year that became slightly less difficult because the man on the mound kept getting the last three outs.

Then the player leaves.

The uniform changes.

The number belongs to somebody else.

And yet the player does not entirely leave.

Edwin Díaz had become that kind of Met.

There had been years when he was merely Edwin Díaz, the hard-throwing closer the Mets had acquired in a trade that almost everybody seemed to hate.

He had made a terrible first impression.

That is putting it kindly.

The trade had brought Robinson Canó and Díaz to New York, and for a while the deal seemed like an exhibit in how badly a baseball organization could misread the future. Díaz struggled. Canó struggled. The Mets struggled.

Díaz, especially, became a symbol of something larger than himself.

The Mets had paid a high price and received a pitcher who could not reliably protect a lead.

Then came the years in which he became extraordinary.

There were seasons when the fastball seemed to arrive before the hitter had finished deciding to swing. There was the entrance music. There was Timmy Trumpet. There was the spectacle of the whole thing, which became part of New York baseball's theater.

And there were the other seasons.

That was the trouble with remembering Díaz. He was not one pitcher.

He was several.

There was the pitcher who had been awful.

The pitcher who had been magnificent.

The pitcher who had been injured.

The pitcher who had returned.

The pitcher who could look untouchable for months and then suddenly make a game feel unsafe.

One person remembered Díaz as inconsistent. Another remembered the entrance. Another remembered the years when he had been lights-out.

This is how memory works.

It does not average.

It chooses.

A statistic might say that Díaz had been very good over a particular period. A fan remembers one night.

Or one pitch.

Or one sound.

Timmy Trumpet.

A stadium rising.

The ball disappearing into a glove.

The inning ending.

The Mets winning.

That is enough.

But there was another Díaz memory that had nothing to do with baseball statistics.

A runner had been out in the woods on September 19, 2024.

There had been a sudden fall.

A foot struck something. There was a pop. The ground came up.

The injury was frightening.

And then, lying there, the runner thought about Edwin Díaz.

Díaz had suffered a devastating patellar tendon injury and returned to a major-league mound less than a year later.

He had done it in front of millions of people.

He had done it while still learning to trust the repaired knee.

He had done it imperfectly, because human beings do almost everything imperfectly when they are trying to return from something that has changed their lives.

And for the injured runner, Díaz became something different.

Not a closer.

Not a contract.

Not a trade.

A model.

Every save mattered differently.

Every big out mattered differently.

When Díaz came back into a game after something went wrong, it meant something to a person who was trying to come back, too.

There is no statistic for that.

There cannot be.

Baseball has never been very good at measuring what it means to another person.

That may be because the game is played in public but remembered privately.

A player can have fifty thousand people watching him and still become part of one person's life in a way nobody else can understand.

Díaz did that.

The Mets let him leave.

The reaction was sadness, but not merely sadness about losing a closer.

It was the sadness of losing somebody who had become part of the story.

That is different.

The Mets had also lost Pete Alonso.

That loss produced a different kind of argument.

Alonso was not an obscure reliever or a player whose career had to be explained.

Everybody knew what Pete Alonso was.

He was home runs.

He was durability.

He was the polar bear.

He was the middle of the lineup.

He was the man who had been there long enough that people could imagine him as something permanent.

Then permanence became a contract negotiation.

And contracts are cold things.

They reduce affection to years and dollars.

Three years.

Five years.

Eight years.

An option.

A player opt-out.

A no-trade clause.

A market.

An owner who can afford almost anything.

And beneath all of it, something that cannot be put in a contract:

You stayed with us.

The Mets had established certain expectations during the Steve Cohen years. Brandon Nimmo received eight years. Díaz had received a long commitment. Soto received a spectacular one. Alonso had once been offered seven years.

Then suddenly the Mets seemed less willing to go long.

To the player, this could feel personal even if it was not intended to be.

A man can understand the logic of baseball.

He can understand aging curves.

He can understand risk.

He can understand that the owner is trying to win.

But human beings are not spreadsheets.

If the organization will give fifteen years to somebody else, why not five to me?

The question does not have to be fair to be powerful.

That is one of the oldest facts about baseball.

Players are human beings.

Fans are human beings.

Owners are human beings.

And human beings keep score in ways that do not appear on the scoreboard.

The Mets now had to replace Alonso.

But how?

You could find a first baseman.

That was the easy part.

You could find someone who could stand at first and catch a ball and take his turn in the batting order.

What you could not simply purchase was Pete Alonso's place.

He had been a middle-of-the-order hitter.

A right-handed presence.

A source of power.

A familiar face.

A player whose mistakes were familiar, whose home runs were familiar, whose very presence in the lineup had become something people stopped noticing because it had been there for so long.

This is another way a player becomes part of a team.

You stop noticing him.

You expect him to be there.

Then one day you look at the lineup and he isn't.

And the absence is larger than the name.

There were jokes about James Loney and Michael Cuddyer, the sort of jokes Mets fans make when they begin to suspect that the present is becoming uncomfortable.

Maybe 2026 would be a transitional season.

Maybe it would be better than that.

Maybe a young player would emerge.

Maybe some veteran would surprise everybody.

Maybe 84 wins would be enough.

Baseball is full of maybes.

The entire offseason is built upon them.

Then there was Gregory Soto.

Soto left, too.

His departure did not inspire the same melancholy.

Perhaps because he had not been in New York long enough to become anything other than a memory still under construction.

One person remembered complaining about him when the Mets acquired him.

Then remembered being proven right.

Another person looked at Soto and saw the strange tattoo around his neck, which seemed on television to resemble a necklace of nails.

There was something almost perfect about this as a baseball memory.

Not his ERA.

Not his WAR.

Not his contract.

Nails.

A pitcher appears on television for a few minutes, and what remains years later is the irrational fear that the tattoo around his neck might somehow twist itself into his throat.

That is baseball memory.

It is completely unreasonable.

It is also real.

And then came the most revealing sentence of all:

A place reserved for memories that may occur later.

That was the joke about Soto.

But it was also the truth about every baseball player.

Every player is a future memory.

We simply do not know yet what the memory will be.

Pete Alonso may become the man who left and returned.

Or the man who left and was replaced.

Edwin Díaz may become the great Mets closer who spent his final seasons somewhere else.

Or the player whose return to Citi Field produced the kind of ovation usually reserved for men who have been gone twenty years.

Gregory Soto may become almost nothing in Mets history.

A few appearances.

A few complaints.

A tattoo.

A transaction.

Gone.

And that is fine.

Not everybody gets to become Edwin Díaz.

Not everybody gets to become Pete Alonso.

Baseball does not have enough room for everybody to become a legend.

Most players become something smaller.

A memory.

A joke.

A face.

A number.

A particular night.

A player whose name appears in an old box score and makes you stop for half a second.

Oh, right.

Him.

That may be the most common form of baseball immortality.

Not the plaque.

Recognition.

The little spark that occurs when an old name returns.

There is something else about this particular Mets winter that makes the whole thing feel larger.

The Mets had money.

That was part of the argument.

Steve Cohen could afford more.

He was the richest owner in baseball.

There was no salary cap.

The Mets could spend.

And so the question became not simply what the Mets could afford, but what their players believed the Mets should be willing to afford.

This is the strange consequence of wealth.

Once people know you can afford anything, they begin to wonder why you will not afford their thing.

Money changes expectations.

It changes the meaning of refusal.

It can turn three years into an insult.

It can turn four years into a statement.

It can make a player wonder whether the team that says it loves him actually loves him enough.

That is not necessarily rational.

But baseball is not played by rational creatures.

It is played by people.

And people remember.

They remember who got the contract.

They remember who didn't.

They remember who was welcomed.

They remember who was allowed to leave.

And fans remember, too.

They remember Alonso's home runs.

They remember Díaz's entrance.

They remember the strange seasons.

They remember the players who were supposed to be great.

They remember the players who weren't.

They remember the nights when the Mets seemed to be becoming something.

And they remember when it all came apart.

That is the strange bargain of being a Mets fan.

The players move through the organization.

The front office changes.

The contracts expire.

The owner spends.

The owner stops spending.

The closer arrives.

The closer leaves.

The first baseman becomes an ex-Met.

A new man takes his place.

And through all of it, the fan remains.

That is why Díaz could mean so much to someone who was lying injured in the woods.

The player did not know him.

The player could not know him.

But that is irrelevant.

Baseball is full of one-sided relationships.

A fan can spend twenty years following a man who has never heard his name.

A player can become a part of someone's life without ever meeting him.

That is not irrational.

It is exactly what sports are for.

We borrow other people's courage.

We borrow their triumphs.

We borrow their defeats.

We see a man return from an injury and imagine ourselves returning from ours.

We see a man hit a home run and remember being young.

We see a player leave and discover that we had quietly come to depend upon his presence.

And then, one day, the roster changes.

The number changes.

The music changes.

The player is gone.

What remains is the part that never belonged to the Mets in the first place.

The memory.

Pete Alonso will be remembered somewhere as a Baltimore Oriole.

Edwin Díaz will pitch somewhere else.

Gregory Soto will wear another uniform.

There will be new Mets.

Some will be good.

Some will be terrible.

Some will be forgotten before the season is over.

And one of them, perhaps a player nobody is talking about now, will someday matter enormously to somebody.

He will hit a home run at the right moment.

He will return from an injury.

He will smile at a child.

He will pitch the ninth inning while a trumpet plays.

He will simply be there on a night when somebody needs him to be.

Years later, the statistics may say one thing.

The person will remember another.

That is baseball's secret.

The game keeps the records.

People keep the meaning.

And sometimes, long after the player has gone, that is all that remains.

It is also enough.

[Cowtipper]

Chapter 21:

The Consolation and the Curse

Summary: The 2025 Mets season is remembered as a frustrating contradiction: a team loaded with individual talent and statistical achievements that nevertheless won only 83 games, missed the postseason, and left its fans exhausted by a long, dispiriting collapse. Yet the piece argues that baseball’s enduring power lies in the way disappointment gives way almost immediately to hope, as fans preserve the memories of the season that was while beginning to believe, against their better judgment, that next year will be different.

There are baseball seasons that end with a bang.

There are seasons that end with a champagne bottle broken against a clubhouse wall, with men shouting, cameras flashing, somebody holding a trophy above his head.

And then there are Mets seasons.

Those can end rather quietly.

The Mets finished 2025 with 83 victories and no postseason.

This, by itself, was not remarkable. Eighty-three wins is not a catastrophe. It is not even particularly interesting. It is simply the number that remains after the arithmetic has been completed.

But there was something strange about these 83 wins.

Four Mets hit at least 25 home runs.

Two scored more than 115 runs.

Two drove in more than 100.

Two stole at least 30 bases.

The Mets had the league leader in walks, the league leader in doubles, the league leader in stolen bases and the league leader in on-base percentage. They had four All-Stars.

And they had 83 wins.

No playoffs.

The numbers seemed almost to be mocking one another.

Baseball occasionally does this. It puts a splendid collection of individual accomplishments inside a season that, taken as a whole, feels strangely empty.

The 2025 Mets were not bad enough to be understood.

That was the problem.

Had they lost 95 games, the explanation would have been easy. Had they won 95, the explanation would have been easier still.

Instead they became something more difficult: a team that appeared to contain nearly everything necessary for success and somehow could not make the parts operate as a whole.

One observer put it in the simplest possible terms:

They were loaded, yet underwhelming.

That was the season.

Loaded and underwhelming.

The Mets had been something else before that.

From May 30, 2024 through June 12, 2025, they had gone 112-64, a .636 winning percentage, the pace of a 103-win team. Then came June 13.

From that day until the end of the season they went 38-55, a .408 percentage, the pace of a 66-96 team.

There were different players during those stretches. Baseball rosters are never quite as fixed as memory makes them. But the core remained recognizable.

That made the collapse more unsettling.

It was not as though an entirely different team had wandered into the clubhouse.

It was still the Mets.

They simply stopped being the Mets people had come to expect.

This is one of the crueler things about baseball. A team does not usually announce the precise moment when it changes.

There is no bell.

There is no meeting in which somebody says:

We are now a .408 team.

Instead, there is a game in June.

Then another.

Then a bullpen decision that doesn't work.

Then a game in which the hitters leave runners on.

Then another.

Then somebody notices that it has been three weeks since the team looked like itself.

By then, it has become a season.

The Mets' final game was played in Miami, but geography seemed almost incidental.

The real game was taking place elsewhere.

The Reds and Brewers were playing too.

The Mets needed help.

They needed themselves to win, and they needed events in another ballpark to break correctly.

This is one of the peculiarities of late-season baseball. A fan can become intimately acquainted with the score of a game he cannot see while simultaneously losing faith in the game he can.

The scoreboard becomes another member of the roster.

The Brewers were up.

The Reds were down.

The Mets were still alive.

Then the Brewers were still up.

Then they weren't.

Every few minutes there was another piece of information.

Somebody would type it.

The Reds had taken the lead.

The Brewers had answered.

The Mets had runners on.

The Mets had wasted them.

The season was alive.

The season was dying.

Nobody could quite tell which.

At one point the Mets had the bases loaded.

It felt like the season was on the line.

It wasn't, technically.

But it felt like it.

That distinction matters in baseball.

There are hundreds of moments in a season that are not officially the season on the line but feel exactly like it. Fans understand this instinctively. A meaningless game in April can feel like October if you have waited all winter to see the team again. A September game can feel meaningless when the season has already slipped away, even if the mathematics insist otherwise.

On this afternoon, everything felt like the season on the line.

And then came the pitching.

The Mets used pitcher after pitcher.

There were five pitchers.

Then another.

Then another.

A pitcher who was getting people out was removed.

Another pitcher came in.

The strategy began to resemble a search for the one man who would fail.

Someone eventually put the thought into words:

Keep pulling guys who are getting it done, and it becomes like you're searching for the guy who isn't going to.

Someone else supplied the answer.

Found him.

That was Mets baseball by late September.

The jokes became darker as the season became shorter.

There is a particular kind of humor that belongs to fans who have watched the same thing happen too many times. It is not really laughter. It is recognition wearing a funny hat.

The bullpen became a procession of names.

Manaea.

Brazoban.

Raley.

Stanek.

Rogers.

Díaz.

Helsley.

Peterson.

Tong.

Soto.

Ross.

A list like that looks different depending on whether you are reading it in March or September.

In March it is a bullpen.

In September it is a confession.

Someone asked the most obvious question in baseball:

What do you do after Díaz?

Nobody had a good answer.

That question had been sitting there all season, perhaps without anyone wanting to look directly at it.

Edwin Díaz was still Edwin Díaz. But he was also becoming a question about the future.

Baseball is cruel to closers because their failures are so visible. A starter can give up a run in the second inning and spend the afternoon recovering. A closer can be perfect for eight innings and have one bad pitch become the only thing anyone remembers.

And then there was Pete Alonso.

Pete was still there.

That mattered.

At the end, the Mets could say, in effect, that if there was going to be one last great moment, Alonso was somewhere nearby.

Soto could be the tying run.

Alonso could be the go-ahead run.

Three outs to save the season.

Then there was a walk.

People held their breath.

They crossed their fingers.

Somewhere, an adult Mets fan undoubtedly clenched every muscle available to him.

The game continued.

And then it didn't.

The Mets did not score.

Not even a run against Miami.

That was the end.

There was no dramatic final swing.

No ball disappearing into the night.

No runner sliding beneath a tag.

Just the slow disappearance of possibility.

One observer called it a long descent of a season.

That seemed right.

A season can descend without ever becoming a disaster.

It can descend through small things.

A pitching change.

A missed opportunity.

A ball hit well but not far enough.

A runner stranded.

A lead surrendered.

A decision that makes sense until it doesn't.

A manager standing in front of a microphone afterward, looking less like a man who has answers than a man who has questions.

And then the season ends.

The strangest thing was what happened next.

Relief.

Not happiness.

Relief.

One person admitted he was not sure whether he was sad, relieved, disgusted or simply exhausted.

Another said he was feeling a surprising amount of relief. He had wanted the season over so he could begin looking forward to the next one.

This is something people who do not follow baseball closely may never understand.

The end of a disappointing season can feel good.

Not because you are glad your team lost.

Because you are tired of hoping.

Hope is work.

Every day you calculate.

Every night you watch.

You check the standings.

You look at the other scores.

You calculate magic numbers and elimination numbers and games behind.

You tell yourself that tomorrow could be different.

Then tomorrow arrives.

And it is not.

After a while, the human mind begins to crave an ending.

Not a victory.

An ending.

The Mets finally gave them one.

And almost immediately, something else appeared.

Hope.

That is the great trick of baseball.

The moment one season dies, another begins to form in the imagination.

2026.  

There it is.

A blank page.

A new rotation.

A healthier player.

A better bullpen.

A more patient approach.

A prospect who might become what everybody thinks he can become.

A free agent who might sign.

A trade that might work.

A mistake that might be corrected.

The future has one enormous advantage over the past:

It has not disappointed you yet.

That is why it is so easy to love.

By the next morning, Pete Alonso's decision to opt out was already part of the new season.

He had scarcely finished playing the old one.

Someone was annoyed by the speed of it.

Did he really have to announce it within an hour of the season ending?

But perhaps that was fitting.

Baseball does not wait for grief.

The season ends.

The agents call.

The executives meet.

The players go home.

The contracts become questions.

The Mets become a different team without having played another game.

And the fans begin doing what they have always done.

They begin putting the team back together.

Perhaps this is what being a baseball fan really means.

Not believing that your team will win.

That would be too easy.

It means believing that the next team might.

The 2025 Mets had four 25-home-run hitters.

They had four All-Stars.

They had stolen bases and walks and doubles and runs and RBIs.

They had enough individual achievement to fill a very good season.

They had 83 victories.

They had no postseason.

And they had something else, too.

They had people who cared enough to be furious.

That matters.

Anger is a form of attachment.

So is exhaustion.

So is the little laugh after another bullpen disaster.

So is typing here we go while privately knowing exactly what is about to happen.

So is thinking a ball is going to the wall.

So is believing, for one second, that Pete Alonso has found the gap.

So is holding your breath.

So is watching another team on another television because its result might determine whether your own season survives.

These are not statistics.

They will not appear in the official record.

Nobody will write them into the standings.

But they are part of what a baseball season is.

The official record will say that the 2025 Mets won 83 games and missed the playoffs.

It will say that they had four players with 25 or more home runs.

It will say that certain men led the league in certain categories.

It will say who played and who didn't.

It will say who was traded, who opted out, who was retained and who was dismissed.

It will remember the numbers.

It will not remember the exhaustion.

It will not remember the sighs.

It will not remember the moment when someone finally typed:

Well, the season is over.

It will not remember the answer:

Which allows for hope to spring anew for 2026.

But baseball people will.

Because that is what baseball people do.

They remember.

They remember the team that was supposed to be.

They remember the team that briefly was.

They remember the team that disappeared.

And then, because they cannot help themselves, they begin imagining the next one.

There is always another season.

That is the consolation and the curse.

The Mets are already becoming history.

The strange thing is that they are also becoming the future.

Pete Alonso is part of both.

Edwin Díaz is part of both.

Lindor is part of both.

The young pitchers are part of the future.

The failures are part of the history.

The statistics are permanent.

The feelings are not.

And yet the feelings are what we remember.

Perhaps that is why the final number, 83, seems inadequate.

A number can tell you what happened.

It cannot tell you what it felt like.

For that, you need the people who watched.

You need somebody to say:

It was disappointing.

It was underachieving.

It was loaded.

It was exhausting.

It was over.

And then, almost before the sentence was finished:

Now we can look forward to next year.

That is baseball.

The season ends.

The hope begins.

And somewhere, before the first pitch of the next spring, someone will say:

Here we go.

This time, maybe, it will be different.

They will know better.

They will believe anyway.

[Cowtipper]

Chapter 21:

The Place No Front Office Can Renovate

Summary: The Mets’ winter of departures, especially Pete Alonso’s, exposes the tension between baseball’s business decisions and the emotional attachments that make a team feel like family, even as Steve Cohen’s $8.1 billion Metropolitan Park project promises to transform the world around Citi Field. Ultimately, the piece argues that while players, stadiums, neighborhoods, and rosters can all be replaced, the years fans spend with a player cannot be rebuilt or bought back; the deepest home of a Met is the place in memory where, for a time, he was one of yours.

There are two ways to change a baseball team.

You can change the players.

Or you can change the place.

The first is easy to see. A player is here on Monday and gone on Wednesday. His locker is cleaned out. His name disappears from the lineup. Someone else stands at first base.

The second takes longer.

You notice it in the neighborhood.

A building goes up where there used to be parking.

A restaurant appears.

A hotel.

A casino.

A concert hall.

The traffic gets worse.

The subway gets more important.

And one day you look around and realize that the ballpark you knew has become part of something much larger than a ballpark.

This is what is happening around the Mets now.

Steve Cohen and Hard Rock have received approval for a gigantic project beside Citi Field, an $8.1 billion development called Metropolitan Park. There will be a hotel, casino, sportsbook, restaurants, bars, a 5,650-seat music venue, a food hall and public green space. It is supposed to be finished in 2030.

Five years is a long time in baseball.

But five years is also a short time.

Five years ago, Pete Alonso was still young enough that the idea of him becoming an old Met seemed ridiculous.

In five years, Metropolitan Park may be finished.

There will be people walking through it who have no memory of the Citi Field parking lots before the construction. They will know the place as it is.

That is how cities work.

That is how baseball works, too.

The strange thing is that while Cohen is building outward, making the physical world around the Mets larger, the baseball team has suddenly become smaller in one important sense.

Pete Alonso is gone.

Edwin Díaz is gone.

Brandon Nimmo is gone.

Three men who had become part of the modern Mets vocabulary disappeared in one winter.

One fan, looking at the names of Mets who had left over the years, wrote them almost as a family tree:

Seaver.

Strawberry.

deGrom.

Wheeler.

Reyes.

Díaz.

Alonso.

And then came the comparison to 1977.

This was not a comparison of baseball teams.

It was a comparison of feeling.

The Mets have always been unusually good at creating attachments to players who do not necessarily spend their entire careers in New York. Sometimes the attachment lasts because the player was great. Sometimes because he was there during a particular period of your life. Sometimes because he simply seemed to belong.

Pete belonged.

That is different from saying that Pete Alonso was worth every dollar of every possible contract.

Baseball people can make a perfectly reasonable argument that five years and $155 million is too much for a 31-year-old first baseman/DH. One can look at aging curves and defensive value and positional scarcity and future production and conclude that the Orioles made the better financial decision.

All of this may be true.

It does not make the departure less sad.

This is the part of baseball that statistics cannot solve.

A man can be worth $20 million a year on one spreadsheet and worth more than that to the people who watched him hit home runs on another.

One fan said he could not get angry about the Mets failing to sign Alonso because the contract was more than he would have wanted to give him.

Then came the other sentence.

Stearns had better have a plan.

That may be the essential sentence of the winter.

Not Was Pete worth it?

Not Will Pete decline?

Not Will Baltimore regret the fifth year?

The question is:

What comes next?

Because letting somebody go is easy to explain when there is somebody coming.

It is harder when there is only space.

A first baseman's position can be filled.

A lineup spot can be filled.

Twenty-five home runs can perhaps be replaced.

But a familiar face cannot simply be replaced by arithmetic.

This is why the loss of three players in the same winter has seemed different from three ordinary transactions.

One departure can be business.

Three departures can begin to feel like an era.

And baseball fans are sentimental about eras in ways they are not sentimental about contracts.

The rational fan knows that teams must change.

The irrational fan knows that the rational fan is correct.

The irrational fan is still angry.

Someone put it bluntly:

Fandom is not rational.

Of course it isn't.

If fandom were rational, nobody would care whether a player retired with a particular team.

Nobody would care where he signed next.

Nobody would remember his first home run.

Nobody would remember the walk-up music.

Nobody would have a favorite player who was not necessarily the best player.

Nobody would look at a uniform number and see a particular summer.

Baseball is filled with such memories.

That is why the Mets' winter has felt, to some people, less like roster construction than demolition.

The front office sees contracts.

The fans see departures.

Both are looking at the same transaction.

They are simply measuring different things.

There was something almost perfect about the timing of the Pete Alonso news.

A year earlier, the Mets had gone to the Winter Meetings and signed Juan Soto.

The news came suddenly, while a fan was watching Sunday Night Football.

He was sitting in the same place again this year, checking his phone, half-joking that perhaps it might happen again.

Maybe the Mets would sign another Soto.

Maybe there would be two Juan Sotos.

Baseball fans make jokes like that because jokes are what we use to occupy the spaces between events.

Then the winter came.

And instead of adding another familiar name, the Mets lost one.

This is how quickly baseball changes.

One year you are sitting in the same chair waiting for good news.

The next year you are sitting in the same chair wondering what happened to the team you thought you knew.

There is a cruelty to this that has nothing to do with money.

It is memory.

Last year belongs to us.

This year belongs to the front office.

That is the bargain.

The fans remember.

The baseball people decide.

And occasionally those two things agree.

When they do, everyone is happy.

When they don't, someone asks to see the plan.

Show me the plan.

It is a reasonable demand.

But it is also an impossible one, because the plan is always hidden inside the future.

The front office knows things the fan does not.

The fan knows things the front office cannot.

The front office knows the aging curves.

The fan knows what Pete Alonso sounded like when he hit a home run.

The front office knows the financial implications of a fifth year.

The fan remembers where he was when the Mets finally beat the Braves.

Neither kind of knowledge is fake.

That is why baseball arguments never end.

The casino, meanwhile, will eventually rise beside the ballpark.

There will be lights.

There will be people coming to gamble.

There will be people coming to concerts.

There will be people coming to restaurants.

There will be people who have no particular interest in baseball at all.

Someone wondered about the parking.

Someone else had already developed a strategy: park under the Northern Boulevard overpass, get out quickly, take the subway or an Uber, avoid the garage.

This, too, is baseball.

Not the statistics.

Not the contracts.

Parking.

Traffic.

The subway.

The walk to the stadium.

The place where you ate afterward.

The place where you stood before the game.

The people you went with.

The Mets have always been attached to these things because baseball teams are not really confined to their stadiums.

They live in the city.

They live in the memories of the people who go there.

They live in the route you take to get there.

They live in the seat you sit in.

They live in the person who sits beside you.

They live in the player you expect to see when you look toward first base.

That is why the casino matters, even to someone who has no interest in gambling.

It changes the world around the Mets.

Perhaps that is not bad.

Perhaps it will be magnificent.

Perhaps the transportation will work.

Perhaps the new park will become one of those places New Yorkers eventually insist has always been there.

That is how cities absorb change.

There was even a joke about McFadden's, the old sports bar, and the imagined tourist who had come all the way from Seoul or Glasgow or Topeka only to discover that the great New York pilgrimage ended at a chain sports bar.

The joke was funny because it contained a truth.

Every new place wants to become an old place.

Every corporation wants to create tradition.

But tradition cannot be manufactured.

It has to accumulate.

You cannot build nostalgia.

You can only build the place where nostalgia might eventually happen.

Perhaps that is what Cohen is really doing.

Building the place.

The rest will take time.

The Mets will have different players.

Pete Alonso will wear another uniform.

Edwin Díaz will close games somewhere else.

Brandon Nimmo will become a former Met in the way that former Mets always become: first painfully, then ordinarily, and finally nostalgically.

New players will arrive.

Some will become beloved.

Some will become hated.

Some will become beloved only after they leave.

There will be prospects whose names are now spoken with the confidence reserved for future stars: MacLean, Sproat, Tong, Jett, Benge.

There will be arguments about whether the Mets are rebuilding.

There will be arguments about whether they are really rebuilding.

Someone will say that every year is a rebuilding year to a baseball executive.

Someone else will say that a team that spent extravagantly on Juan Soto cannot possibly be rebuilding.

Both will be right, for a little while.

That is the peculiar nature of baseball.

You can be rebuilding and trying to win at the same time.

You can be getting younger while paying an older player.

You can lose a franchise icon and believe you are improving the team.

You can be correct and still hurt someone.

The Mets are entering that territory now.

The territory between memory and mathematics.

The territory where the old Mets are still alive in people's minds while the new Mets are being assembled on spreadsheets.

It will take years before we know whether the baseball decisions were right.

We will know sooner whether the feelings were real.

They already are.

Pete Alonso was not simply a first baseman.

He was one of the faces of the Mets.

For some people, that alone was worth something.

Maybe it was worth $155 million.

Maybe it was worth less.

Maybe it was worth more.

There is no formula for it.

And that is probably why the departure hurts more than the contract number suggests it should.

Baseball has always been a business.

But it has never been only a business.

The Mets can build a casino.

They can build a hotel.

They can build a concert hall.

They can build a new parking garage.

They can spend billions changing the neighborhood around Citi Field.

But they cannot build a Pete Alonso.

They cannot build the years a fan spent watching him.

They cannot build the feeling of knowing, when he walked to the plate, that he was one of yours.

That part has already been built.

It took years.

It took games.

It took home runs.

It took losses.

It took October.

It took spring training.

It took ordinary nights that seemed unimportant at the time.

That is how a player becomes part of a franchise.

Not by contract.

By accumulation.

And perhaps that is the final irony of the Cohen era.

The physical Mets are becoming larger.

The business is becoming larger.

The neighborhood is becoming larger.

The ambitions are larger.

But the fans are discovering that bigger does not necessarily mean more familiar.

Sometimes you can build an $8 billion world around a ballpark and still look toward first base and feel that something is missing.

Maybe that is inevitable.

Maybe it is necessary.

Maybe the next generation of Mets will make us forget the last one.

But I doubt we will forget completely.

We never do.

That is the trouble with baseball.

You can replace the player.

You can replace the manager.

You can replace the general manager.

You can replace the stadium.

You can even replace the neighborhood.

But you cannot replace the years.

They remain where they were.

And for a while, at least, Pete Alonso will remain there too.

Not in Baltimore.

Not in the new lineup.

Not in the new plan.

But in that older, more stubborn place where the Mets are kept.

The place no front office can renovate.

The place where a player is still yours because, for a few years, he was.

[Cowtipper]

Chapter 22: 

The Season That Belongs to You

Summary: With the Mets eliminated and familiar stars like Pete Alonso, Brandon Nimmo, and Edwin Díaz gone, the piece explores how baseball fandom persists through October rivalries, empathy for other teams’ players, and memories of the moments that made certain Mets feel irreplaceable. Ultimately, it argues that a player’s value cannot be measured by contracts or statistics alone, because the memories accumulated over years of watching him belong to the fans—and those attachments endure even after the season, and the player’s time in New York, have ended.

There is a strange period in baseball when your own team is gone but baseball is not.

The calendar says the season has ended. The players have gone home. The clubhouse has been emptied of its ordinary noises—the bats knocking together, the music, the trainers, the conversations that seemed so insignificant until they were no longer there. The uniforms have been packed away. Somewhere, somebody is already thinking about spring training.

But you are not finished.

You become a partisan for reasons that would seem ridiculous if baseball were only a game. You root for Toronto because Toronto beat New York. You root against Los Angeles because Los Angeles is still alive. You discover that you have strong feelings about Philadelphia pitchers, Milwaukee hitters, Seattle fans, the peculiarities of a Canadian national anthem.

This is one of baseball's small gifts. It allows you to keep being sixteen years old long after you have stopped being sixteen.

The Mets were gone, and yet the Mets were everywhere.

They were there in the pleasure of watching the Yankees lose to Toronto. There was a particular satisfaction in watching the Yankees' season reach its final innings with the Blue Jays holding the lead, Judge coming to the plate, the tying run still somehow lingering in the distance. When the final out came, there was celebration in places where no Mets game was being played at all. One Mets fan admitted to staying up to watch the Yankees' season end and enjoying the tears afterward. Another said he would have an extra pep in his step the next morning.

This is not entirely rational.

It does not have to be.

Baseball has always been full of people who can explain their feelings with statistics until the moment a particular player walks to the plate. Then statistics become something else. They become evidence in a trial whose verdict was decided years earlier.

The Yankees lose and the Mets fan sleeps better.

There are worse reasons to stay awake.

But beneath the jokes and the old rivalry is something more serious. Watching other teams in October forces a fan to think about his own team. You watch Toronto and wonder what it would feel like to see the Mets there. You watch Philadelphia and Los Angeles and Milwaukee and think about the players who might have been wearing blue and orange. You watch a young pitcher make a mistake and understand, for a moment, that every postseason is built on somebody else's mistake.

The Mets fan is an interested observer now.

He is also a ghost at his own party.

The Phillies provided one of those October moments that baseball produces so efficiently: a young pitcher, Orion Kerkering, fielding a comebacker in a decisive situation, bobbling it, panicking, throwing home when first base was there, and watching the Dodgers advance. The immediate reaction was predictable—anger, jokes, the knowledge that the mistake would be remembered all winter. But then something more generous entered the conversation. A Mets fan, while acknowledging that he would root against the player the following year, admitted that he felt badly for him. A sharply hit comebacker is a reaction play, he observed. Once the ball is bobbled, the mind and body are no longer operating from the comfortable world of diagrams.

That is another thing baseball teaches us if we stay with it long enough.

The man who makes the error is not the error.

It is an easy distinction to make from a couch. It is much harder to make when your team has just been eliminated because of one. And yet the distinction matters. Players are young. Players are frightened. Players make decisions in half a second that will be discussed for twenty years by people who had considerably more time to think about them.

A baseball game can make a man famous.

It can also make him immortal for the wrong reason.

And then there is Pete Alonso.

Perhaps the reason Alonso's departure hurt as much as it did was that he had become more than his statistics, although his statistics were considerable. He arrived as a home-run hitter, and for a while that seemed to be the entire story. He was the large man who hit the ball a very long way. There was something almost comic about the enthusiasm: the shirts coming off, the rally pony, the strange hair, the celebrations that seemed occasionally to have wandered in from a different sport.

Then time did what time always does.

The joke became a person.

The person became a Met.

And the Met became part of the furniture of people's lives.

One of the most telling memories of Alonso is not a number. It is the 2024 postseason home run in Milwaukee, the ball disappearing into the night at the moment when the Mets' season seemed ready to disappear with it. For one fan, that homer stood above everything else—not merely because of what it did to a playoff series, but because it changed the emotional temperature of the entire season. Other memories followed: Alonso helping revive the black uniforms, embracing the strange rituals and personalities around the club, participating in the peculiar culture that makes a baseball clubhouse more than a workplace.

This is how a player becomes yours.

Not by contract.

Not by WAR.

Not even by the number of home runs.

He becomes yours by accumulating moments.

A rookie season. A bad haircut. A stupid celebration. A September afternoon. A home run in Milwaukee. A wife writing goodbye to New York. The knowledge that, for years, this particular man was going to appear on your television almost every night.

That last part is more important than we like to admit.

We speak about baseball players as though they enter our lives only to perform. But the regular season is too long for that. A player becomes a recurring character. He appears when you are twenty minutes late getting home from work. He appears while dinner is cooking. He appears during the summer when your children are growing, when your parents are aging, when your own life is changing in ways you do not notice until afterward.

The player does not know this.

He cannot.

But you do.

That is why losing a player can feel different from losing a contract.

The contract belongs to the organization.

The memories belong to the fan.

And so when Alonso left, there was a certain sadness that had little to do with whether five years was too many years, or whether an aging slugger would be worth the money in 2029. Those are reasonable questions. They are also questions asked from a considerable distance.

A fan lives much closer.

A fan remembers David Wright.

He remembers the Mets going to Washington in 2015. He remembers the home run in the World Series. He remembers the final years when Wright could no longer do what his younger body had done. And there is something wonderfully irrational in the idea that the contract can be judged a failure while the memory of it remains a triumph. One fan put it plainly: he would make that Wright contract again one hundred times out of one hundred. The bad years at the end did not erase the years that came before.

This is where baseball's accountants and baseball's historians part company.

The accountant asks what the player will be worth.

The historian asks what the player already was.

Neither is foolish.

They are simply keeping different books.

The Mets were entering another version of the argument. With Alonso, Brandon Nimmo and Edwin Díaz gone, some fans spoke about the disappearance of continuity, about the fear that the next Mets team might become a collection of short-term players rather than a team that people could grow attached to. Someone remembered the 2015 club precisely because it contained young players who seemed as if they might belong to the Mets for years: deGrom, Harvey, Syndergaard, Matz, Conforto, d'Arnaud, Familia, Flores.

That is what fans mean when they talk about identity.

They don't necessarily mean a style of play.

They mean recognition.

They mean looking at the television and knowing who these people are.

Baseball is the only sport in which a player can become part of your household without ever having been invited inside it.

And perhaps this is why Mets fans can spend October rooting for Toronto, against New York, then against Los Angeles, then suddenly feeling sorry for a Philadelphia pitcher. The season has ended, but attachment has not. The Mets have ceased to provide new memories, so the fan begins examining the old ones.

He becomes an archaeologist.

He digs through October.

He finds Alonso in Milwaukee.

He finds Wright in Washington.

He finds the Yankees losing.

He finds a Philadelphia pitcher standing alone after making a mistake.

He finds himself, too, sitting somewhere in New York—or Florida, or Tennessee, or wherever Mets fans happen to be when the games are played—watching baseball that no longer affects the standings of his own team.

And still caring.

This is the part that people who do not understand baseball sometimes miss. They think fandom is about wanting your team to win.

It is.

But it is also about wanting certain people to remain where you left them.

You want the old player to stay young.

You want the old ballpark to stay the same.

You want the great October home run to remain capable of producing the same sensation when you remember it ten years later.

You want the player who was yours to remain yours.

Baseball does not permit any of this.

The players leave. The uniforms change. The children become adults. The adults become old. The ballparks acquire new advertisements. The game itself changes its rules and rhythms. Even the people sitting beside you eventually stop being there.

Still, in October, you watch.

Perhaps your team is gone. Perhaps your favorite player has signed somewhere else. Perhaps a young pitcher on another team has just made the kind of mistake that will follow him into winter.

You watch anyway.

And for a few hours, the season is not over.

Neither, really, is the part of it that belonged to you.

[Cowtipper]

Chapter 23:

When the Game Becomes Ours

Summary: With the Mets eliminated, October baseball becomes an unexpected education in the difference between watching as a partisan and watching as a lover of the game, prompting reflections on postseason pitching, forgotten players like Cedric Mullins, the departure of longtime executive Tommy Tanous, and the tension between statistical value and emotional attachment in the Pete Alonso debate. Ultimately, the piece argues that winning may be why fans tell themselves they watch baseball, but memory is what keeps them watching—the home runs, mistakes, familiar faces, and fleeting moments that make the game their own even after their team’s season has ended.

There is a point in October when a baseball fan becomes an unwilling neutral.

It happens quietly.

One afternoon you are watching a game because you care desperately about who wins. Then, sometime later, you are watching because you care about baseball. The distinction is not announced. There is no ceremony. Your team is simply gone, and the games continue without asking permission.

This is when you begin to notice things.

You notice that extra-inning baseball feels different when there is no runner placed on second base to begin the inning. You notice the strange pleasure of a game that reaches the eleventh inning honestly, with the runners having earned their way there. You notice pitchers you had scarcely thought about in August. You notice the way a manager uses a bullpen, the way a shortstop moves two steps before the pitch, the way a team that has been waiting all week can somehow look less prepared than the team that played yesterday.

And, eventually, you notice your own team.

The Mets were gone, and the October games became a kind of examination.

Watching Detroit and Seattle play eleven innings, one Mets fan remarked on the absence of the automatic runner. Another agreed. Then came the more painful observation: watching these teams made it apparent that the Mets' pitching staff had not been close to good enough for October. Not close.

There are things you can believe during a regular season because you want to believe them.

October is less charitable.

October puts you in a room with the best teams and closes the door.

You see what real pitching looks like. You see what a lineup looks like when every at-bat has become expensive. You see a starter who has been resting for days and another club that has prepared for the moment since February. You see a game continue into the eleventh inning, and suddenly the Mets' pitching staff of the preceding summer seems not merely imperfect but several miles away.

This is one of baseball's cruelties: sometimes you need to lose before you understand why you lost.

The Mets fan, deprived of his own team, becomes an amateur scout.

He studies Milwaukee.

He studies Chicago.

He studies Detroit.

He studies Seattle.

The Brewers and Cubs, in particular, offered the sort of October baseball that can sneak up on you. At one point the Brewers had one hit through four innings. At another, the Cubs were three outs from survival. Then Milwaukee was finished, 3–1, and somebody announced, with appropriate Midwestern solemnity, that it was time for brats and beer.

It is possible to spend a lifetime watching baseball and still be surprised by how little it resembles a plan.

The Brewers had won their division decisively. They had time to arrange their pitching. They had the advantage of preparation. And yet, in one game, they found themselves using a bullpen strategy that left a perfectly reasonable observer wondering how a division winner had arrived at such a moment.

This is October.

The best-laid rotation can become a bullpen game.

The best pitcher can give up five runs.

The great favorite can go home.

The little mistake becomes the whole story.

And somewhere in all of this, a Mets fan begins thinking about the Mets again.

Not necessarily about the stars.

Sometimes it is the lesser players who return.

Cedric Mullins, for example.

There was nothing heroic about his Mets tenure. That may be precisely why he became memorable. He arrived with expectations already lowered, then managed to fall beneath them. He struggled offensively. His defense, which was supposed to provide some consolation, did not. There was even a moment when a fan realized that he was advocating for Mullins to pinch-hit and then immediately regretting the advocacy because it meant Mullins would actually be in the game.

That is a particular kind of baseball memory.

It is not the home run.

It is the sigh before the at-bat.

Every team has such players. Every fan does.

The great teams have them too, although history is kinder to them. We remember the stars. We remember the October heroes. We remember the photographs.

We rarely remember the man who hit .218 while occupying a place somebody else might have used.

Yet one observer offered a specific memory: a fly ball against Washington that Mullins turned into an inside-the-park home run in extra innings. Another called it the defining moment of the season.

There it was.

A bad player, a bad play, a bad season—and suddenly there was a memory.

That is how baseball works.

It does not ask whether an event deserves to be remembered. It simply places the event in your head and walks away.

Years later you may remember the man who hit .218 more clearly than the man who hit .318.

Because the man who hit .318 behaved according to expectations.

The other man did not.

The Mets' winter contained another kind of argument, one that baseball has been having since somebody first put a dollar value on a ballplayer.

Kyle Schwarber was available.

Pete Alonso was available.

The question seemed simple until you looked at the numbers, the ages, the positions, the money and, most dangerously, the memories.

Schwarber was older. He was essentially a designated hitter. He struck out a lot, walked a lot and hit the ball a very long way. Alonso was younger, could at least play first base, and had become something more complicated than a slugger.

On paper, it was a comparison.

In New York, it was something else.

One observer eventually put his finger on the difficulty: if you were going to take the risk of giving five years to a player in his early thirties, perhaps the place to take that risk was with a franchise icon.

This is the sentence the spreadsheet cannot write.

A franchise icon is not merely a player with good statistics.

He is a player who has accumulated your memories.

He has been there long enough for you to have disliked him, forgiven him, admired him, criticized him, defended him and finally, without quite noticing, loved him.

The problem with replacing such a man is that the replacement begins with a deficit.

He is not simply asked to play well.

He is asked to become familiar.

That takes years.

Perhaps this is why baseball fans are always more interested in continuity than executives are. Executives must think about what a player will become. Fans remember what he has already been.

The difference is not stupidity.

It is time.

The executive is looking forward.

The fan is looking backward and forward simultaneously.

He remembers the player as a rookie. He remembers the player after a bad month. He remembers the September game when the player carried them. He remembers the afternoon he bought the jersey. He remembers who was sitting beside him.

The player, meanwhile, has simply been doing his job.

Then there are the men behind the men.

In December, Tommy Tanous left the Mets organization after fifteen years and joined Colorado. He had been involved in scouting and player development for years, with fingerprints all over the organization. The departure was hardly as dramatic as losing a star player, but it carried its own meaning: another person who had been there for a long time was suddenly somewhere else.

That is how an organization changes.

Not always with trumpets.

Sometimes a man who has been around since 2010 simply gets on a plane.

The Mets fan notices.

He may not know exactly what Tanous did on a Tuesday afternoon in 2016. He may not know which meeting mattered or which scouting report changed somebody's mind. But he knows that a familiar name has disappeared.

And familiarity, in baseball, is its own form of history.

The season after your season ends is full of such discoveries.

You discover that Detroit and Seattle can play a wonderful baseball game without you.

You discover that Milwaukee can lose a series after winning its division.

You discover that the postseason can make you reconsider the quality of your own pitching.

You discover that Cedric Mullins can become a memory despite barely having deserved one.

You discover that a discussion about Kyle Schwarber is really a discussion about Pete Alonso.

You discover that a longtime baseball executive can leave an organization and take a small piece of its accumulated memory with him.

Most of all, you discover that being a baseball fan is not quite the same thing as being a fan of winning.

Winning is the reason we tell ourselves we are watching.

Memory is the reason we actually are.

The Mets will play another season. There will be another Opening Day, another first pitch, another player whose name will initially sound unfamiliar and eventually sound as though it has always belonged there.

Some of those players will succeed.

Some will fail.

Some will become stars.

Some will become Cedric Mullins.

And one of them, perhaps, will make a catch or hit a home run or stand on a mound in a game that has gone eleven innings, and somebody watching from somewhere will remember exactly where he was when it happened.

That is the strange bargain baseball makes with us.

It gives us six months of games and asks us to keep only a handful.

We do not choose them very well.

We remember the home run.

We remember the error.

We remember the player we thought would be good.

We remember the player we were certain would be good and wasn't.

We remember the one who stayed.

We remember the one who left.

And after our team is gone, when the television remains on and the postseason continues into the night, we discover that we are still watching.

Not because we have to.

Because somewhere between the first pitch and the last, the game became ours.

[Cowtipper]

Chapter 24:

The Sound of a Closer Leaving

Summary: Edwin Díaz’s departure for the Dodgers becomes a larger story about the Mets’ struggle to turn financial resources into a winning organization, and about the emotional bond between fans and the players who make baseball memorable. As supporters debate the front office’s decisions, the team’s new signings, the Dodgers’ dominance, and baseball’s financial inequalities, they confront a familiar Queens dilemma: how to keep believing in a club that has given them so many reasons to doubt.

There are many ways to lose a baseball player. You can trade him for prospects who will be ready sometime after your children have graduated from college. You can let him go because he has reached the age when his knees begin to negotiate separate contracts with the rest of his body. You can even lose him to a richer offer, which is the natural order of a game that has always been both a sport and a business.

But there is a special kind of loss when a team that has money, a wealthy owner, and a reasonable chance to keep a player nevertheless watches him walk away for another three-year contract.

That was the trouble with Edwin Díaz and the Mets.

The Dodgers had offered the great closer three years and $69 million. The Mets, according to the reports that followed, had offered three years and $66 million, with some money deferred and, apparently, a little room to maneuver. Three million dollars is a considerable sum to anyone who has ever had to replace an automobile transmission. In the economy of a major-league baseball club owned by a billionaire, it is less than the cost of a mistaken afternoon.

And yet Díaz was going west.

The first response in Queens was disbelief. Then came anger, the kind that makes a man reconsider not merely his team's management but the whole arrangement by which he has spent his life caring about the team. How could David Stearns, the Mets' baseball president, allow the best closer in the game to join the club the Mets most needed to beat? If the Dodgers had demanded five years and a hundred million dollars, the argument might have been different. But three years? Three years was not a mountain to climb. It was a hill, and the Mets had brought a checkbook.

The numbers did not explain the feeling. Baseball seldom does.

For three seasons, Díaz had been a magnificent source of theater. The lights, the music, the walk from the bullpen, the particular way a ball sounded when it met his fastball: these things had become part of the Mets' civic life. His entrance was not simply an introduction to a relief pitcher. It was a small public ceremony, an announcement that the Mets had reached the late innings with something precious to protect.

The song mattered. Of course it mattered. Baseball is played by men who wear numbers on their backs, but it is watched by people who attach memories to sounds, gestures, and places. A certain song can bring back an entire summer. A certain player can remind a man of where he sat, who was beside him, and how old his father was when the Mets last made him happy.

There were those who tried to reason the fans out of their distress. Díaz, they pointed out, was not Mariano Rivera. His career with the Mets had contained bad stretches as well as brilliance. His first few seasons had been uneven; his later seasons were much better. He had suffered the terrible injury during the 2023 World Baseball Classic, and in 2024 he had served a suspension for a foreign substance. His statistical profile, some argued, showed signs of decline. A reliever was a volatile investment, and Devin Williams, whom the Mets had acquired as another possible answer at the back of the bullpen, might prove the better pitcher over the next three years.

These were not foolish arguments. The trouble was that they answered a question many Mets fans were not asking.

The question was not whether Díaz would be worth $69 million. The question was whether the Mets should have done everything reasonably possible to keep a player who had proved he could dominate in New York, whose best performances had been electric, and whose presence had become a pleasure shared by thousands of people who otherwise had little in common.

A fan does not calculate affection by the dollar.

He may spend an afternoon explaining that the team ought to have offered a fourth year. He may argue that a three-million-dollar difference is an absurd reason to lose a closer. He may insist that an organization with enormous resources has no excuse for allowing a negotiation to turn into a defeat. But underneath all the arithmetic is something more difficult to quantify: the desire to win with the players you know.

One fan remembered Darryl Strawberry leaving. Another was still not over Jacob deGrom's departure. The names were different, the circumstances different, but the ache was familiar. It is possible to understand why a baseball player leaves and still wish he had stayed. It is possible to want a championship more than anything and nevertheless care about the particular men who might win it for you.

This is one of the paradoxes of fandom. The general manager is supposed to improve the team. The fan wants the team improved, too, but he also wants to recognize it when it takes the field.

And the Mets were asking their supporters to recognize a new team before they had finished explaining the old one.

There were other reasons Díaz might have preferred Los Angeles. The Dodgers had won, and continued to look like a club constructed to win again. They had the infrastructure, the pitching, the stars, and the recent October history that makes a player believe his next appearance in the postseason might be something more than a brief visit. Díaz had a family connection there, too: his brother Alexis had spent time with the Dodgers. There were reports of dissatisfaction over the Mets' dismissal of pitching coach Jeremy Hefner, though not every rumor deserved to be believed.

In the end, Díaz supplied the simplest explanation himself. He chose the Dodgers because they were a winning organization, because he wanted to win, and because he believed they had everything necessary to do so.

It was difficult to argue with that. The Mets' fans could argue about the contract, the fourth year, the deferred money, the negotiations, and whether Stearns had misread his leverage. They could blame ownership or the baseball department. But a player who says he wants to win has made an argument as old as the game, and the Dodgers had the recent evidence to support it.

There was something especially galling about the destination. The Dodgers were not some faraway club in a different league, a team the Mets might encounter only if the season went well. They were the Dodgers: rich, talented, confident, and standing directly in the way of the Mets' ambitions. Every October, they seemed to possess another starter, another slugger, another answer. Now they had Díaz, too.

The fans could hardly be blamed for looking at the transaction and seeing a larger problem. What was the point of having an owner willing to spend if the Mets could not persuade an elite player to remain? Money could buy talent, but it could not purchase the conviction that the team was headed somewhere worth going.

The Dodgers had made the Mets look not poor, but uncertain.

Then came the rest of the winter.

The Mets signed Jorge Polanco to a two-year, $40 million contract. Polanco was a switch-hitter with a useful bat, a veteran capable of playing around the infield, and a player whose versatility appealed to the sort of front office that likes to preserve options. He was also a man who had never played an inning at first base in his major-league career, though the Mets expected him to spend time there, along with the designated-hitter role.

The signing was met with the particular suspicion that follows a transaction whose purpose is not immediately obvious. If Polanco was a good hitter, that was welcome. If he was meant to help improve the defense, the plan required some explanation. If he was going to replace Brandon Nimmo's production, the comparison was uncomfortable. If he was insurance for other moves, the fans wanted to know what those moves might be.

This is the curse of the winter roster. A player arrives carrying his own statistics, but also the burden of all the players who have departed and all the players who have not yet arrived.

Polanco might hit 26 home runs. He might be a useful designated hitter. He might even become an ingenious solution to a problem that had not yet fully announced itself. But to the fan who had just watched Díaz leave, he was not Díaz. No signing could be judged entirely on its own merits because the winter had become a referendum on the people running the club.

There was a similar uneasiness around Cristian Pache, a veteran outfielder with a weak major-league batting record, signed to compete for a roster spot. Such a player might prove useful in the proper role. Teams need reserves. They need defensive replacements, injury insurance, men who can fill a hole when the season begins to take things away. The Mets' front office had often shown an ability to find these useful pieces.

But fans do not spend their winters dreaming about the twenty-fifth man on the roster.

They dream about the great player, the indispensable player, the man whose name they can imagine being announced in October. They want to know why the club that can afford the great player has not secured him, and why the replacements seem to arrive with instructions attached.

The answer, of course, may be that baseball is complicated. It may be that Stearns sees a longer arc than the fans do, that he believes the roster needs a different balance, that the club has to consider the cost of aging players and the uncertainty of pitchers. A front office cannot simply give every beloved player every dollar and every year he requests. That way lies a payroll full of regrets.

Yet a front office can be right about the arithmetic and wrong about the experience.

This is where the Mets' history becomes relevant. Their fans have lived through the lean years, the improbable years, the brief moments of grandeur and the long stretches in which a promising season collapsed beneath the weight of its own expectations. They know what it means to wait for a club to become serious. They know that a team can acquire expensive talent and still fail to become a winner. They also know that winning is not only the accumulation of good decisions. It is the ability to make the right decisions at the moments when the opportunity is available.

The Dodgers have understood this better than most clubs. Their roster has not been perfect, and their players have not all been successful. Their young pitchers have struggled; their veterans have been injured; even their expensive acquisitions have occasionally looked mortal. But they have repeatedly assembled a team capable of surviving the long season and then becoming something more dangerous in October.

The Mets have watched that process from the other side.

During the postseason, the Dodgers' pitching offered a cruel demonstration of what the Mets lacked. Yoshinobu Yamamoto could take a game into the ninth inning with the sort of command that makes the final outs feel like formalities. Blake Snell could make a lineup look helpless. Shohei Ohtani could pitch effectively and hit home runs as if the two tasks were merely different forms of recreation. The Dodgers were so deep that a disappointing season from one acquisition could be absorbed by the arrival of another.

Watching them, Mets fans could indulge in the familiar exercise of imagining the players who might have been theirs. The pitcher pursued but not signed. The star who chose another club. The player who might have made the difference in a close game. These are the shadows that follow every baseball winter, and no club has ever been able to banish them.

But the Dodgers' success also sharpened another argument, one that went beyond the Mets. The Milwaukee Brewers had won 97 games, more than any other major-league team, and then struggled to score against Los Angeles in the postseason. They had built a good team, won their division, and reached October with the sort of season that ought to have inspired confidence. Yet a small-market club has a different relationship with time. Its window can narrow while a rival's seems permanently open. Players become expensive, prospects become trade pieces, and the next season is never quite guaranteed to contain the same team.

The question of a salary cap arose, as it always does when the richest clubs appear to collect the best players. Some fans regarded the arrangement as unfair to the smaller markets. Others replied that a cap would protect owners more than supporters, limiting what teams could spend without guaranteeing that the savings would be invested in the roster.

Both sides had a point, though neither could resolve the essential uneasiness. Baseball's money is not distributed evenly, but money alone does not make a championship. The Mets had money. They had an owner who had promised a different kind of future. What they needed to demonstrate was that their resources could produce not merely a large payroll, but a club that players wanted to join and fans could believe in.

A salary cap would not have settled the Díaz dispute. The Mets had offered him a great deal of money. The Dodgers had offered a little more, and perhaps something beyond money: a more convincing picture of what winning might look like. If the Mets had lost him because they were unable to compete financially, the explanation would have been simple. Losing him while appearing to have the means to keep him made the question more painful.

Baseball has always had its own hierarchy of memory. There are good players, very good players, stars, legends, and icons. The Mets' supporters, considering their history, could agree that Tom Seaver belonged at the top of the list. Beyond Seaver, the arguments began. Darryl Strawberry, Dwight Gooden, David Wright, Mike Piazza, Keith Hernandez, Pete Alonso: each carried a different claim, and each was measured against a different kind of affection.

What makes a player an icon? Is it the number of years he spends with a team? The statistics he leaves behind? The championships he helps win? Or is it something less orderly, something that happens between the player and the people who watch him?

The debate matters because baseball is a game of numbers that refuses to be explained by numbers. A man can have a fine career and never become beloved. Another can have a short stay and leave behind a memory that lasts a lifetime. A homegrown player may become part of a city's identity; a free agent may arrive from elsewhere and, through the force of his personality or performance, become part of the family.

Díaz had not spent his entire career in New York. He was not a homegrown Met in the way Alonso was. But he had become one of those players whose presence made a game feel different. He had his entrance, his music, his particular power to make a ninth inning seem both urgent and safe. The fans did not need to believe he was Rivera to appreciate what he had given them.

The business of baseball has little patience for such distinctions. Players move. Contracts end. A new pitcher takes the mound, and the old one puts on a different uniform. The game continues because it must. The Mets would find another closer, another way to arrange the bullpen, another answer to the question of who would pitch the ninth.

But the fan's memory is less efficient than the front office. It does not erase a player when his contract expires. It keeps the old entrance music, the big strikeout, the familiar walk from the bullpen. It remembers the seasons when the team was good enough to make the game feel possible.

There was even a domestic comedy running alongside the winter's baseball drama. One fan, distracted by the news of Díaz's departure, found himself taking apart an oven in an attempt to repair an ignition problem. A five-minute online demonstration became a half-day of labor. Screws vanished, a hinge jammed, and a household repair threatened to become a small catastrophe. The oven door remained out of commission while the Mets' roster seemed to be losing pieces of its own.

The man had wanted to keep watch over the team's assets. Instead, he was wrestling with gas tubes and a recalcitrant hinge, explaining to his wife that he might have prevented a major baseball transaction if only he had not been occupied with the kitchen.

It was an absurd story, and therefore a perfect baseball story. Fans live with the knowledge that the game is not the most important thing in the world, even as they arrange their days around it. The oven must work. The bills must be paid. The family must be fed. But when the Mets lose a player, a part of the mind remains at the ballpark, wondering whether anyone could have done something differently.

Eventually the oven was repaired. The Mets' roster was another matter.

The lesson of that winter was not that the Mets had to keep every player they loved. No team can do that. Nor was it that Díaz would certainly thrive in Los Angeles, or that Devin Williams would fail in New York. Baseball is too unpredictable to permit such certainty. Three years from now, the contract may look wise, foolish, or merely ordinary. The closer who leaves may age badly; the replacement may become indispensable. The front office may yet assemble a championship team.

But on the day Díaz chose the Dodgers, the Mets lost something that could not be measured in saves or salary. They lost a player who had become part of the way their fans experienced the game. They lost him to a direct rival that seemed to understand better than they did how to turn money, talent, and ambition into a winning organization.

And the fans were left with the familiar winter task of trying to believe.

They would study the new signings. They would debate the infield, the bullpen, the batting order, and the wisdom of paying a middle infielder to learn first base. They would argue about the general manager's methods and the owner's priorities. They would insist that they were angry because they wanted to win, then discover that their anger had as much to do with affection as with the standings.

In spring, the players would report. The grass would return. The ball would come off the bat with its old, clean sound. The Mets would play nine innings, and the ninth would arrive with its usual collection of possibilities.

Someone would take the ball.

The music would be different. The fans would listen anyway.

[Cowtipper]

Chapter 25:

The Boy from Wyoming

Summary: After nine seasons in New York, Brandon Nimmo’s departure for Texas leaves Mets fans reflecting on the enthusiasm, resilience, and memorable moments that made him a beloved presence despite his imperfections. As the team turns toward a new generation of players and another uncertain future, his story reminds us that a player’s lasting value is measured not only in statistics or victories, but in the memories and affection he leaves behind.

The trouble with saying goodbye to a baseball player is that the goodbye rarely arrives alone. It brings along a parade of old afternoons, forgotten box scores, radio calls, and the peculiar conviction that a man who has played for your team long enough has become, in some small but permanent way, your man.

Brandon Nimmo was such a man.

He came to the Mets from Wyoming, a state better known for its wide spaces than for producing major-league ballplayers. He was a first-round draft choice, but he was not burdened with the sort of expectations that can turn a young player into a public disappointment before he has learned to shave. Nobody announced him as the savior of the franchise. Nobody expected him to become the next Tom Seaver, the next Darryl Strawberry, or the next David Wright.

He was simply a kid who could run, smile, draw a walk, and occasionally make a baseball do something unexpected.

For a while, injuries seemed to be the principal story of his career. He spent his early years arriving, departing, returning, and trying to establish himself as a major-league regular. He played in fits and starts. He had a little power, a little speed, a little patience at the plate. He was a player whose talents seemed to come in modest installments, like a savings account to which somebody had forgotten to make the occasional deposit.

Then came 2022, and Nimmo became a different sort of ballplayer.

He began playing regularly. He stayed healthy. The power developed, the production grew, and the kid from Wyoming became a dependable presence in the Mets' lineup. Over the next four seasons, he played more than 150 games each year, a quiet accomplishment in a sport in which a pulled muscle can become a monthlong absence and a sore shoulder can make a man's career feel like a historical document.

He was never the most graceful outfielder, and his throwing arm was not going to frighten many runners. His strikeouts could be exasperating. Those who played fantasy baseball learned to regard him with the wary affection one reserves for a relative who means well but has a habit of arriving late. In leagues where strikeouts carried a penalty, Nimmo could turn a promising fantasy afternoon into a private comedy of errors.

But fantasy baseball is a poor instrument for measuring affection. It counts what a player does for your roster. It cannot count what he does for your experience of the game.

Nimmo ran to first base on walks. He ran when his foot hurt. He smiled as though he had been given a remarkable gift, which, in a sense, he had. Here was a man earning millions of dollars to play a child's game, and he seemed aware of the absurd good fortune of it. He was a Christian who did not feel compelled to turn every interview into a sermon. His enthusiasm was visible without being theatrical. When he looked happy, he appeared to be happy.

This may sound like a modest set of virtues. In professional sports, where a player can spend a career perfecting the art of saying nothing while looking annoyed, they were worth something.

There are moments in a ballplayer's career that become fixed in the minds of those who watched. They are not always the moments the player would choose. The great home run, the impossible catch, the postseason hit with the season balanced on the bat: these become the public property of a fan base. They are played again on television and summoned whenever somebody asks what a man meant to the team.

Nimmo had his share.

In 2016, he hit his first major-league home run against the Chicago Cubs and received a curtain call from the crowd. It was a small ceremony, but baseball is a game of small ceremonies. A rookie hits a home run, the crowd asks him to come back, and for a few seconds the distance between the major leagues and the boyhood dream disappears.

In 2018, he hit a three-run homer at Dodger Stadium that helped the Mets win a game they had been trailing. The Dodgers were the Dodgers, the setting was Los Angeles, and the home run carried the particular pleasure of taking something from an opponent in its own house.

There were other big hits, clutch moments, and rallies in which Nimmo found himself at the center of events that no one had predicted. His career did not proceed as a straight line from prospect to star. It wandered. It stalled. It revived. It became better than its beginnings suggested.

Perhaps his most memorable defensive play came in 2022, against the Dodgers, on a night when Jacob deGrom was back on the mound and Timmy Trumpet's music had become part of the Citi Field atmosphere. Nimmo made a remarkable catch, then celebrated with the sort of fist pump and flex that suggested he had just rescued something larger than a baseball.

He had. He had rescued a moment.

Baseball is generous in this respect. A season contains 162 games, each filled with pitches that are thrown, taken, fouled, missed, or hit into ordinary places. Most disappear almost as soon as they occur. But every so often, a ball is struck or thrown into the precise arrangement of circumstances that allows an ordinary afternoon to become permanent. A catch becomes a memory. A home run becomes a story. A player becomes part of the emotional geography of a city.

Nimmo's great moments were not always accompanied by victories. In the 2024 game in Atlanta that mattered enormously to the Mets' postseason chances, his eighth-inning home run gave the team a three-run lead. The Mets did not hold it, and the final result was not the one the fans wanted. But the homer remained, a bright piece of work inside a game that refused to cooperate.

That is another thing baseball teaches. A player can do his job and still lose. A man can make the right play and watch the wrong outcome follow. The box score records what happened, but it cannot always tell us what ought to be remembered.

The same season offered another Nimmo moment, this one less about his bat than his standing with the fans.

Before a late-season series against Philadelphia, he urged Mets supporters to fill Citi Field. He wanted the place rocking Thursday, Friday, Saturday, and Sunday. He wanted everybody there. He reminded them that this was playoff baseball, the kind of baseball they had been waiting for.

The appeal carried authority because it came from a man who had been around long enough to understand what the crowd wanted. It was not a public-relations employee asking people to buy tickets. It was one of their players asking them to show up for the team.

The Mets won the finale of that home stretch in dramatic fashion, Nimmo contributing a home run against Zack Wheeler. The ball went into the New York night with a certain stubbornness, as though it had taken offense at the wind and decided to keep going anyway. The game became one of those occasions when a team and its supporters seem to understand one another without the need for explanation.

Nimmo had earned the right to ask for that noise. He had played through the lean years, the disappointments, the managerial changes, and the winters when the Mets appeared to be rebuilding the same house with different materials. He knew what it meant to have a good team, and he knew what it meant to ask the fans to believe that a good team might be coming.

Now he was leaving.

The Mets had decided that it was time to move on. His contract was substantial, his defensive limitations were becoming harder to overlook, and the club had reasons to believe that the later years of the deal might become more burdensome than the earlier ones. The decision could be defended on baseball grounds. A team cannot preserve every familiar face indefinitely. The business of assembling a roster requires the removal of some pieces so that others may fit.

The front office saw the contract, the aging curve, the defensive metrics, and the opportunity to reshape the roster. The fans saw those things, too. They were not ignorant of the game simply because they were sentimental about a player.

But there is a difference between understanding a transaction and being pleased by it.

Nimmo was not Pete Alonso, the homegrown slugger whose departure carried the particular sting of a family member moving away. He was not a franchise icon in the traditional sense. His career had not been marked by one unbroken succession of triumphs. He had endured too many injuries early on, struck out too often, and sometimes appeared to be a player whose many good qualities had not yet found a way to become one great one.

And yet he had stayed.

That is important. In baseball, continuity is often treated as a sentimental luxury. The club is forever looking for a better player, a cheaper player, a younger player, a player whose skills fit the latest theory of how games should be won. But the fans live through the transitions. They remember the players who remain while the cast around them changes. A longtime veteran becomes a bridge between one version of the team and the next, even when nobody has given him the official title.

Nimmo had been that kind of bridge. If Jeff McNeil were also to leave, the Mets would lose another familiar presence, a player whose faults were well known and whose good days had become part of the team's texture. The roster might improve. The club might become younger, faster, more defensively sound. But the faces would change, and the fans would have to begin the process of getting acquainted again.

There is nothing wrong with that process. It is one of the ways baseball stays alive. Every spring brings new names, new prospects, and new reasons to hope. The boy in the minor leagues becomes a major leaguer. The reserve becomes a regular. The player whose name was once unfamiliar becomes the one whose absence is noticed.

The Mets had a young pitcher named Jonah Tong, who appeared at a holiday party dressed as an elf, alongside other young pitchers helping to entertain children. Tong was 22, and he said that being a Met was one of the coolest things he had ever done in his life.

It was a simple statement, but it carried the kind of unguarded joy that Nimmo had offered for years. Tong was young enough to regard the uniform as a privilege rather than an obligation. Fans who had spent the winter arguing about contracts, trades, and the intentions of the front office found themselves smiling at the photograph.

They wanted him to stay. They wanted him to succeed. They wanted him to become a beloved Met, perhaps in the way David Wright had become one. They knew the dangers. Prospects are not promises. A pitcher can dominate the minor leagues and still find that major-league hitters have an answer for his fastball. His secondary pitches might not develop. His control might fail him. A promising career can disappear before it has properly begun.

But hope is not a forecast. It is an act of faith undertaken in the absence of sufficient evidence.

That was why the young pitcher mattered. He reminded the fans that the next chapter was not merely a matter of filling holes in a lineup. It was also a matter of finding the next player who would make them care.

The Mets would sign other players. They would acquire pitchers, arrange their infield, calculate their options, and search for a combination that could take them into October. The baseball department would make decisions that could be judged only after the games had been played. Some would work. Others would not. A signing that looked inspired in December might seem foolish in June; a minor move could become the transaction that saved a season.

And somewhere in Texas, Brandon Nimmo would put on a different uniform.

He would run to first base. He would smile. He would strike out, perhaps more often than his new fans would like. He would hit a home run at an unexpected moment, make a difficult catch, or drive in a run that mattered. There would be days when his new team would be glad to have him and days when its supporters would wonder whether the contract was wise.

That is the ordinary life of a baseball player. He moves from one city to another, taking his skills and his habits with him. The old city retains the memories, and the new one begins making its own.

Mets fans will remember Nimmo's catch against the Dodgers, the home run in Atlanta, the curtain call against the Cubs, and the three-run blast in Los Angeles. They will remember his running on walks and the smile that seemed to suggest he had wandered into a wonderful mistake and hoped nobody would discover it. They will remember the kid from Wyoming who became a regular in New York, a place that has never been especially patient with anyone.

They will remember, too, that he was not perfect. That is part of the affection. Perfect players belong to the highlight reels and the Hall of Fame debates. Familiar players belong to the lives of the people who watched them.

The best baseball memories are rarely clean. They contain missed opportunities, injuries, bad calls, and games that were lost despite a player's best efforts. They contain arguments about whether a man should have been traded, whether a manager should have made a different move, whether the front office has mistaken efficiency for wisdom. They contain the knowledge that baseball is a business and the stubborn wish that it might occasionally behave like a family.

A player leaves. The team moves on. Spring comes, and the new center fielder takes his position beneath the sky. The first pitch is thrown, the crowd settles into its seats, and for a moment the old player is forgotten.

Then a ball is hit into the gap, and someone runs hard after it.

The memory returns. It always does.

[Cowtipper]

Chapter 26: 

The Long Way Around to November

Summary: For Mets fans, the 2025 World Series offered the peculiar pleasure of watching baseball at its most magnificent while being reminded that their own team had been left behind. As Toronto and Los Angeles fought through extraordinary games, bad baserunning, managerial gambles, commercial interruptions, and the weight of baseball history, the series became a reminder of what makes the game endure—and what makes its followers so wonderfully impossible to satisfy.

There is a particular loneliness to October when your team is no longer playing.

The first week is the worst. You have spent six months arranging your evenings around a schedule, learning the moods of a bullpen, calculating the consequences of a two-game losing streak, and persuading yourself that the next series will be the one that turns everything around. Then the Mets are gone, and the calendar continues without them. Other cities fill their stadiums. Other players make their October reputations. Somewhere, people are buying tickets for games that matter, and you are left to decide whether you can bear to watch.

Some Mets fans could not. Watching other people enjoy the postseason seemed an unnecessary cruelty. Others watched the highlights, read the recaps, or tuned in with a divided allegiance: Toronto, perhaps, but mostly seven games. There was a difference between wanting the Blue Jays to win and wanting baseball to last as long as possible. The second desire was more dependable.

The World Series began with an anniversary. Fifty years earlier, Carlton Fisk had stood in the batter’s box in the twelfth inning of one of the great games, then waved a ball toward the left-field foul pole as if he could guide it home by force of will. The photograph remained astonishing: the rising ball, the blur near Fisk’s shoulder, the batter already investing the flight with his entire body. A half-century later, the image still carried the old electricity.

That is one of baseball’s arrangements with time. A game disappears, but a moment survives. The people who watched it grow old; the people who were not born yet inherit it anyway. A photograph becomes a kind of family album for strangers, and the game keeps finding new ways to make the past present.

The Blue Jays and Dodgers had not yet thrown a pitch when the old photographs began doing their work. Joe Carter was due to throw out a ceremonial first pitch in Toronto, as he should have been. There are obligations that baseball owes its own history, and bringing Carter back to a World Series in Canada was one of them. In 1993, his home run had given Toronto a championship in a single, unforgettable swing. A city remembers such things. It remembers the sound, the flight, the people standing beside it.

For the Mets faithful, memories like that can be both nourishment and reproach. They know what October looks like when it belongs to someone else.

Then the games began, and the arguments followed.

The Blue Jays played with a stubbornness that became easier to recognize than to explain. They put the ball in play. They defended. They took advantage of mistakes. They did not always look like a team destined for a championship, which may have been part of their charm. They looked like a team that had decided to keep working until the other club made a mistake.

The Dodgers, meanwhile, possessed the sort of roster that makes the rest of baseball examine its bank accounts and wonder whether competition has become a theoretical concept. Their Japanese stars were a source of admiration, resentment, and the occasional weary joke about the wrong Japanese players having ended up in New York. Their talent was undeniable. So was the suspicion that baseball’s wealthiest organizations were beginning to play a different game, one in which the best players could be gathered under one roof and the rest of the league left to admire the architecture.

Yet money cannot prevent every bad decision. It cannot keep a runner from being thrown out at third. It cannot guarantee a right fielder will make the proper throw. It cannot persuade a manager that the pitcher who is getting people out should remain in the game.

The series supplied ample evidence.

One night, a Dodgers manager removed an effective reliever and watched the next batter reach base. Then another reached base. The Blue Jays took the lead, and the spectators at home were treated to the familiar spectacle of the modern manager demonstrating his mastery of strategy while the game proceeded to ignore him. It was a clinic in how not to manage, one fan concluded. Another wondered whether Toronto had mistakenly summoned the Mets’ bullpen.

Mets fans are uniquely qualified to recognize bullpen trouble. They have spent years watching the eighth inning arrive like a collection agency. A manager’s decision to remove a pitcher who is pitching well is never merely a tactical question to them. It is a reminder of past evenings, of games that were nearly won, of the strange human tendency to improve a situation that was already working.

The Blue Jays made mistakes of their own. Teoscar Hernández could hit a baseball with a violence that suggested he had taken the game personally, then undo the work with a reckless trip around the bases or a poor throw from right field. A hitter could be brilliant and still be a liability. Baseball has always been generous with such contradictions. It offers no rule requiring a man to be good at everything.

The baserunning became its own subplot. There were moments when a runner seemed to mistake enthusiasm for judgment, charging toward the next base when the play was already in front of him. In a sport built around inches and split seconds, the difference between courage and carelessness is sometimes the length of a stride. A player can spend a lifetime learning how to hit a major-league pitch and still make a decision on the bases that would embarrass a Little Leaguer.

That is part of baseball’s harsh beauty. The game gives a man years to develop extraordinary abilities and then judges him on the instant when he forgets the ordinary ones.

The spectators noticed everything. They noticed the missed cutoffs, the questionable managerial moves, the unnecessary intentional walks, and the players who seemed to forget how many outs there were. They also noticed the things that made no sense on a spreadsheet: a spectacular diving catch, a two-strike hit that seemed beyond a team’s reach, a reliever who appeared to have enough stamina for another game after everyone else had run out of pitchers.

The Toronto series had life. It had the old, unpredictable quality that baseball’s administrators often seem determined to engineer out of existence.

The administrators, of course, had other plans.

The first pitch was advertised for eight o’clock and arrived fourteen minutes later, after the pregame show had already consumed an hour. This was followed by a concert in the middle of a game, a lengthy interruption that left viewers wondering whether they had accidentally tuned into a music festival with occasional baseball attached. The Jonas Brothers performed as the sport’s machinery turned another inning into an occasion for entertainment, promotion, and sponsorship.

There was a reason for the performance: the league’s cancer-awareness efforts, and the band’s own family history, gave it a purpose beyond mere spectacle. Even the most irritated viewer could acknowledge that. But a good cause does not make eight minutes feel shorter when you are waiting for the next pitch.

Baseball has always been entertainment. It has also always been very good at entertaining itself. The players do not need much help. Give them a ball, a bat, a field, and a score to settle, and they will manufacture drama that no committee could have devised. The problem begins when the people selling the game grow impatient with the game itself.

The sport wants to move faster, we are told. It has introduced clocks and rules to shorten the proceedings. Yet a World Series broadcast can still make the audience wait through promotional segments and elaborate musical interludes before permitting the players to resume the business for which everyone ostensibly gathered.

A fan who complained about the interruption was accused of objecting to the cause it supported. Another pointed out that a cancer-surviving Mets fan in his own family had enjoyed it. The disagreement revealed something familiar: even baseball arguments are rarely only about baseball. They are about what people believe the game ought to be, what they think the world is becoming, and whether a few minutes of silence between innings might still be worth preserving.

There was another way to watch, of course. One could ignore the concerts and the advertisements and look at the field. One could watch a young pitcher who had begun the season in the minor leagues take the ball in the World Series, carrying the improbable distance between a spring afternoon in the lower minors and a Friday night in Toronto. One could watch a veteran return to the lineup with an injury because October offered no guarantee of another chance. One could watch the best players in the world discover, as they always do, that talent is not immunity.

The games grew longer. The Dodgers and Blue Jays played an eighteen-inning contest that lasted six hours and thirty-nine minutes. By the end, the box score seemed to belong to an expedition rather than a ballgame. Nineteen pitchers had been used. There were 609 pitches, thirty-seven runners left on base, and eleven runs scattered among thirty-one hits. Shohei Ohtani reached base nine times. The Dodgers’ bullpen survived thirteen and a third innings, a feat that would have seemed improbable before the game began and incomprehensible to anyone who had watched a Mets bullpen in distress.

Some viewers did not make it to the ninth inning. Others stayed until three in the morning. The next day, the numbers became a kind of folklore, and the game’s length became part of its identity. It was too long, perhaps, but it was not too small. It had outgrown the ordinary limits of an evening.

There was a home run at the end, a walk-off by Freddie Freeman, and the usual mixture of exhaustion and disbelief. Ohtani’s nine times on base had broken a postseason record. Somewhere in the early hours, a fan remarked that Will Klein had begun the game clean-shaven. Baseball’s capacity for preserving irrelevant details is one of its quiet glories. A six-hour game can produce a record, a hero, a villain, a managerial controversy, and a note about a pitcher’s facial hair. All are part of the same evening.

The extra-inning rule, with its runner placed on second base, drew the usual complaints. To some, it was an offense against the sport’s logic, a manufactured shortcut that distorted the meaning of endurance. A game that had already lasted deep into the night should not need an artificial nudge toward its conclusion. But the rule was there, and the players had to live with it. Baseball is forever negotiating between its traditions and its impatience.

The eighteen-inning game was followed by more baseball, because the series had not finished with either club. Toronto won enough to force a seventh game. The Blue Jays kept coming back, even when the Dodgers seemed to have seized control. They played defense, put balls in play, and waited for an opening. Their success did not require a grand theory. They worked.

In the final game, the old names and the new ones collided. Shohei Ohtani started for Los Angeles. Max Scherzer took the mound for Toronto. The matchup carried its own weight: the superstar whose talents had come to seem almost fictional against a veteran who had spent years making a career of refusing to disappear.

Ohtani did not last. Toronto hit him hard, and a three-run home run by Bo Bichette gave the Blue Jays a lead that felt, for a moment, like a declaration. The Dodgers adjusted. Scherzer labored. Toronto’s defense made remarkable plays to limit the damage. The game moved through its innings with the uneasy rhythm of a contest in which every mistake might be the one remembered forever.

There were missed opportunities, questionable calls, and baserunning errors that would be dissected long after the champagne had dried. In the ninth inning, Toronto came close enough to the championship to touch it. Then the Dodgers made the play they needed, and the Blue Jays did not make the play they needed. The season ended on a double play.

For Toronto, the defeat would live in the details: the runner who had not taken a proper lead, the failure to take a secondary, the decision on the bases that turned a chance into an ending. The overhead camera offered the unkind clarity of hindsight. A few feet, a few steps, a moment of discipline—or the lack of it—could separate a championship from a long winter.

The Dodgers had won. Toronto had come within reach. And baseball had done what it always does at its cruelest: it made the difference between triumph and despair look small enough to fit inside a single frame.

For Mets fans, the final game offered no simple consolation. The Dodgers’ triumph might have been admired, resented, or dismissed as the predictable consequence of a wealthy club collecting talent. The Blue Jays could be praised for their fight and criticized for their mistakes. Neither response changed the essential fact. The Mets were watching from home.

There is, however, a peculiar freedom in watching a World Series without your own team in it. You can choose sides for reasons that would never survive a baseball operations meeting. You can root for Canada. You can root against Los Angeles. You can root for seven games, for good pitching, for a young player to become a legend, or for a veteran to have one more October night worth remembering. You can become invested because your wife discovered that George Springer came from the same Connecticut town she did. You can find yourself cheering for a team you barely watched in August because it has become, by October, a collection of human beings whose success you would like to see.

And you can do all this while remaining a Mets fan, which is to say you can admire baseball without ever entirely trusting it.

The winter will soon bring its own arguments. In December, the Mets’ search for a first baseman produced talk of Willson Contreras, the former catcher whose bat had appeal but whose age, defense, contract, and potential acquisition cost invited scrutiny. Would he protect Juan Soto? Would the Mets have to surrender Mark Vientos? Was there a better hitter available who would not cost young players? Before long, Boston acquired Contreras from St. Louis, and the debate became another entry in the long catalogue of things Mets fans had considered, calculated, and then watched happen elsewhere.

Even the trade’s departing prospects supplied their own entertainment. Hunter Dobbins, Yhoiker Fajardo, and Blake Aita were names worthy of baseball, which is to say they sounded as if they had been assembled by a minor-league novelist. One fan suggested that every trade should be required by law to include a Hunter Dobbins. It was a joke, but a revealing one. Baseball people can spend hours debating the future of a roster and still be delighted by the sound of a name.

This is the game at its most human: statistics and superstition, strategy and silliness, the serious business of winning and the unserious pleasure of being a fan. It asks us to care about outcomes we cannot control, to remember details no one else remembers, and to return after disappointment with the conviction that the next season may be different.

The World Series ended. The winter meetings would come. The Mets would make decisions, and their followers would evaluate each one as if the fate of civilization depended on the defensive range of a first baseman. The next spring would bring another set of projections, another crop of prospects, another promise that this time the bullpen would hold.

But the old photograph of Carlton Fisk would remain. So would the memory of an eighteen-inning game, of a young pitcher who reached the World Series in the same year he began in A ball, of a superstar who proved mortal, and of a Toronto team that came within a play of the championship.

The Mets fans who could not bear to watch other teams enjoy October had their reasons. The rest watched anyway, because baseball has a way of making even a stranger’s triumph feel personal. The game belongs to the city that wins it, but its memories belong to everyone who has ever sat awake waiting for the next pitch.

And when the last pitch is thrown, there is always the winter. There is always another argument. There is always next year.

[Cowtipper]

Chapter 27: 
 

The League of Ordinary Dreams

 

Summary: For five seasons, a handful of Mets fans built a small world of their own around fantasy baseball, where draft-night negotiations, questionable roster moves, improbable comebacks, and the pursuit of first place became another way to live through the baseball year together. As the league’s longtime commissioner finally stepped away, the story became less about who won and more about the quiet labor of keeping a baseball community alive.

Every baseball league begins with a promise.

Sometimes the promise is made in a major-league clubhouse, with a general manager announcing a new direction and a manager explaining why this year will be different. Sometimes it is made in a kitchen, over a newspaper spread across the table, by a man who believes that one more pitcher might be the difference between a good season and a great one. And sometimes it appears in a short message on a computer screen: If eight people are interested, I’ll set it up.

Eight was the magic number. The league would be National League only, unless enough people arrived to make a larger field possible. There would be rules to settle, categories to choose, a draft to schedule, and a question that would soon become more urgent than anyone expected: could eight grown people find one evening when they were all available?

The first replies were encouraging, though not extravagantly so. One man volunteered, adding that he hoped he would remember to pay attention. Another preferred Yahoo as a place to manage the league. A third agreed without much ceremony. The commissioner celebrated the progress as if the pennant race had already begun.

Halfway there.

Fantasy baseball has always contained a contradiction. It offers the illusion of control over a game that resists control at every level. A man can calculate on-base percentages, compare pitchers, adjust a lineup, and search the waiver wire for an overlooked player. He can do everything correctly and watch his team collapse because a closer loses his job or a hitter develops an inconvenient weakness. He can do everything badly and find himself in first place by June.

The real major leagues have payrolls, scouting departments, coaches, and analysts. A fantasy league has the same arguments in miniature, conducted by people who may be trying to make dinner, get home from a child’s volleyball game, or remember whether they have already joined the league they are asking to join.

The draft had to move from seven to eight o’clock because one participant would not get home until half past six and still needed to make supper. This was not a problem for the commissioner. The date was changed, the invitation was circulated, and the search for the eighth owner continued. A link was posted elsewhere. A message went out on social media. The league was made public. The arithmetic was simple; the human beings were not.

At one point the league had seven teams. Then someone disappeared, and it had six. The commissioner considered postponing the draft. The others recruited, pleaded, and waited. Finally, on the afternoon of the scheduled draft, the missing player arrived.

We did it.

The announcement carried the disproportionate joy of a team that has just clinched a wild-card berth. Someone declared that he had saved the others’ asses and asked whether the draft was really that night. It was. The draft order would be randomized. The league was alive.

There is something touching about the amount of effort people will expend to create a game whose only prize, at least in the beginning, is the pleasure of playing it. They will alter schedules, explain the rules, send reminders, and coax reluctant friends into joining. They will argue about head-to-head scoring versus rotisserie standings, whether batting average should be replaced by on-base percentage, whether saves should be combined with holds, and whether a pitcher’s wins tell us anything useful. The arguments can be technical enough to suggest a conference of baseball executives. The enterprise may be held together by a man who has promised to remind everyone about the draft.

And then the season begins.

One participant drafted last, did almost no research, built a team around Michael Conforto and Francisco Lindor, and found himself in first place by June. His triumph was greeted with the appropriate mixture of admiration and profanity. Another owner admitted that he had put no work into the league and had earned his sixth-place finish honestly, through laziness.

This is one of fantasy baseball’s enduring democratic principles: there is no reliable connection between the amount of preparation and the final result. The fellow who spends all winter studying minor-league statistics may finish behind the fellow who selects familiar names and forgets to check his lineup. The diligent owner can explain exactly why he lost. The lucky owner has no explanation at all, which may be the more enviable position.

The commissioner was not without ambition. He experimented with the settings, introduced categories he thought better reflected a player’s value, and tried to make the game more interesting. He also discovered the limits of administration. An even number of teams was necessary for a head-to-head league. Players traded from the National League to the American League became unavailable, while those moving in the other direction could appear as free agents. A manager who failed to check the rules might suddenly find himself wondering why his roster had developed a hole.

There were the ordinary injuries, too. A player went on the injured list, and the available replacements were slim. Someone dropped Luis Arráez too early and regretted it. Another owner had no closer. A team led a matchup six categories to one, only to watch the opponent claw back until the score stood at five to five. The weekly contest could change shape with a single bad start or a pair of home runs. Nothing was settled until the numbers stopped moving.

A man who had spent years watching the Mets could recognize the pattern. The club had trained its followers to distrust a lead, particularly one involving the bullpen. Fantasy baseball merely gave that distrust a private address. The owner who was ahead by five categories did not relax; he checked the app. The owner who was behind did not concede; he studied the available players. Hope, in baseball, is rarely an abstract emotion. It is a roster move made before midnight.

The league also became a place for awards, boasts, and ceremonial indignities. A player could be named the league’s best hitter, best pitcher, or best bench player. Edwin Díaz could win an award for relief pitching. A manager who had drafted last and finished first could receive the title of general manager of the year. The champion could congratulate himself with the sort of language that would have earned him a fine from the commissioner of the real major leagues.

The commissioner, meanwhile, had earned a title of his own. His name was a reference to Bob Murphy, the beloved voice of Mets baseball, and when his team won the championship playoff, he made sure everyone understood the significance of the occasion. He apologized for failing to answer questions promptly. He did not apologize for crushing the competition.

It was an excellent distinction. A commissioner may be forgiven for administrative negligence if he has just won the title.

But the league’s life was not a straight line from one championship to another. In 2022, a regular participant dropped out. In 2023, the commissioner announced that head-to-head had become too much work for a league without a material prize. He would play a year-long format instead. The league carried on, but the format changed, and the owners adjusted. One participant watched the standings with a growing sense of dread as a rival surged ahead. Another confessed that he possessed the ability to squander a lead. In the end, the owner who feared a collapse did not collapse, and the commissioner announced the winner.

The following year, there was another draft, another debate over the format, and another scramble to find eight teams. The commissioner initially set the league for traditional rotisserie scoring. The owners objected. They had found head-to-head more dramatic, with a weekly reset that gave everyone a fresh chance. The commissioner listened and changed it back.

Someone observed that the commissioner of Major League Baseball might learn from this example.

The joke was affectionate, but it carried a point. In the professional game, rules often arrive from above, accompanied by explanations of why the public will eventually appreciate them. In this small league, the participants could object, argue, and persuade the person in charge. They were not always right, and they did not always agree, but they were heard.

The commissioner had also proposed a prize that had nothing to do with money. The winner could select a song for one of the league members, a musician, to perform at a show, subject to his approval. There was one restriction: no country music, unless the performer could be persuaded to learn it. Someone suggested “Stand by Your Man.” The request was rejected on genre grounds.

It was the sort of dispute that could never appear in a baseball almanac and would nevertheless be remembered longer than the standings. A league can record its champion, but it cannot easily record the small jokes that make a group feel like a group.

By the time the 2024 season began, one owner was asking where to find the matchup screen on his phone. He needed to know which of his opponents Brandon Nimmo was clobbering. Another, impressed by his own pitching staff, noted that he had a 6.17 earned-run average and was leading the league in that category.

Baseball is full of statistics that look ridiculous until you understand the circumstances. A 6.17 ERA would ordinarily be a reason to hide the pitching staff from public view. In a fantasy matchup, it might be a temporary advantage. The numbers are the same; the meaning depends on what everyone else is doing.

The season brought its usual reversals. In September, a team that had held first place collapsed after the owner traded Mark Leiter to the American League, along with other misfortunes. The championship went to an owner who had not even attended the draft. This was not an argument against preparation, exactly. It was an argument against taking preparation too seriously.

By then, the league had become an annual ritual. The same eight teams returned. The draft date was announced. The settings were reviewed. Owners made their declarations of readiness and confidence. One man was optimistic after the draft, though he knew he was easy to fool. He needed only a few things to go right, he said, and then he would roll over the others.

There is a special pleasure in that sentence. It is the language of a man who knows perfectly well that the season may ruin him, but who refuses to begin by admitting it. Every spring, fantasy owners become general managers of teams that have not yet failed them. Their pitchers are healthy, their hitters are ready, their prospects are about to arrive, and their rivals have made mistakes. The world is still full of possibility.

Then the games start, and the world becomes smaller. A starting pitcher has a bad inning. A star pulls a hamstring. A closer loses his job. The waiver wire offers little but disappointment. The owner who once imagined himself rolling over the competition begins asking whether the league has any decent replacements for a player he dropped in April.

The game is played in the standings, but it is lived in the daily adjustments.

This winter, the commissioner announced that he would not be returning. He remained willing to transfer control to anyone who wanted to keep the league alive. The message was practical and unceremonious. Someone asked whether the league was happening at all. The old commissioner would not be doing it, but he would hand over the keys.

It was not a dramatic ending. There was no final speech, no championship parade, no retiring of a number. There was only the realization that a small institution, which had survived scheduling problems, missing owners, arguments over scoring, and the ordinary attrition of adult life, depended on someone continuing to do the work.

That is how many baseball traditions end. Not with a decision that they no longer matter, but with the departure of the person who remembers to organize them.

There is another Mets memory, smaller than a championship and more fleeting than a season. Tyler Rogers, the submarining reliever, was reported to be leaving for Toronto. His delivery was immediately compared to those of Dick Hyde, Terry Leach, and Kent Tekulve. One fan remembered the delivery and little else. Another recalled him chiefly as a pitcher who surrendered leads. Someone else placed him in the familiar Mets category of short-term relievers who arrive, fascinate, and disappear: Steve Reed, Mark Guthrie, Juan Padilla, and now Rogers.

The discussion moved backward through baseball time, as such discussions do. Steve Reed, who came up late and spent much of his career pitching in Colorado, was remembered as a dependable reliever who never became a closer. He was a brick, year after year. The kind of player who could be easy to overlook until he was gone.

This, too, is baseball’s way of keeping its past. The stars are remembered by their numbers, their championships, their statues, and their places in the argument over who belongs among the icons. The smaller players survive in a different fashion. Someone remembers a strange delivery. Someone else remembers a run of reliable innings. A name returns in conversation because it has found a place among other names, and a brief career becomes part of a private history.

The fantasy league was built from the same materials. Its champions would not be known outside a small circle. Its trophies, if there were trophies, would not be displayed in a major-league stadium. The standings would eventually be erased by a new season. But the memories would remain: the last-minute recruit who made eight teams possible, the owner who won without doing research, the commissioner who changed the format after hearing the complaints, the champion who never attended the draft, the player whose disastrous ERA somehow helped him lead a category.

Perhaps someone will take over the league. Perhaps the draft will return next spring, and the old names will gather around their screens once more. Someone will ask whether the draft is at seven or eight. Someone will say he is ready. Someone will announce that his roster is excellent and that the rest of them are in trouble.

If it happens, the league will begin again as all baseball begins again: with a little organization, a little luck, a few arguments, and an unreasonable amount of hope.

And if it does not happen, that will not erase what came before. For five seasons, these Mets fans made a small game out of a larger one. They gave each other a reason to check the scores, to care about a pitcher on a Tuesday afternoon, to celebrate a late-season surge, and to complain when a player went on the injured list. They turned statistics into conversation and conversation into a kind of fellowship.

The major leagues will keep playing. The Mets will keep giving their followers reasons to believe and reasons to swear. The baseball year will move from winter rumors to spring training, from the first pitch to the final standings.

Somewhere, a new commissioner will be needed. Somewhere, an owner will be waiting to join. And somewhere, a man who has just finished last will be preparing to tell everyone why next year will be different.

That is the game. It is also the reason to keep playing.