Since then only his address has changed – and many times, at that. DiMaggio, baseball's other legendary protector of privacy, was practically Rodmanesque compared with Koufax. DiMaggio was regal, having acquired even the stiff-handed wave of royalty. We watched the graying of DiMaggio as he played TV pitchman and public icon. Koufax is a living James Dean , the aura of his youth frozen in time; he has grayed without our even knowing it. He is a sphinx, except that he doesn't want anyone to try to solve his riddle.
Koufax is 63, in terrific shape and, thanks to shoulder surgery a few years back, probably still able to get hitters out. (In his 50s Koufax was pitching in a fantasy camp when a camper scoffed after one of his pitches, "Is that all you've got?" Koufax's lips tightened and his eyes narrowed – just about all the emotion he would ever show on the mound – and he unleashed a heater that flew damn near 90 mph.)
I am standing in a tunnel under the stands behind home plate at Dodger Stadium on a clear summer night in 1998. Koufax is about 75 feet in front of me, seated on a folding chair on the infield while the Dodgers honor Sutton with the retirement of his number before a game against the Braves. When the program ends, Sutton and all his guests – former Dodgers Ron Cey and Steve Garvey among them – march past me toward an elevator that will take them to a stadium suite. All except Koufax. He is gone. Vanished. I find out later that as soon as the ceremony was over, he arose from his chair, walked briskly into the Dodgers dugout and kept right on going into the team parking lot and off into the night. That's Sandy," said one team official. "We call him the Ghost."
I am searching for an apparition. I never saw Koufax pitch, never felt the spell he held over America. I had just turned six when Koufax walked into the Sansui room of the Regent Beverly Wilshire Hotel on Nov. 18, 1966, to announce his retirement from baseball. To have missed his brilliance heightens the fascination. For me he is black-and-white newsreel footage shot from high behind home plate, and an inexhaustible supply of statistics that border on the absurd. A favorite: Every time he took the mound, Koufax was twice as likely to throw a shutout as he was to hit a batter.
Koufax was 30 years old when he quit. Women at the press conference cried. Reporters applauded him, then lined up for his autograph. The world, including his teammates, was shocked. In the last 26 days of his career, including a loss in the 1966 World Series, Koufax started seven times, threw five complete-game wins and had a 1.07 ERA. He clinched the pennant for Los Angeles for the second straight year with a complete game on two days rest.
Everyone knew he was pitching with traumatic arthritis in his left elbow, but how bad could it be when he pitched like that?
It was this bad: Koufax couldn't straighten his left arm – it was curved like a parenthesis. He had to have a tailor shorten the left sleeve on all his coats. Use of his left arm was severely limited when he wasn't pitching. On bad days he'd have to bend his neck to get his face closer to his left hand so that he could shave. And on the worst days he had to shave with his right hand. He still held his fork in his left hand, but sometimes he had to bend closer to the plate to get the food into his mouth.
His elbow was shot full of cortisone several times a season. His stomach was always queasy from the cocktail of anti-inflammatories he swallowed before and after games, which he once said made him "half-high on the mound." He soaked his elbow in an ice bath for 30 minutes after each game, his arm encased in an inner tube to protect against frostbite. And even then his arm would swell an inch. He couldn't go on like this, not when his doctors could not rule out the possibility that he was risking permanent damage to his arm.
Koufax was so good, he once taped a postgame radio show with Vin Scully before the game.
Koufax was God's template for a pitcher: a prizefighter's back muscles for strength, long arms for leverage and long fingers for extra spin on his fastball and curveball. The baseball was as low as the top of his left ankle when he reached back to throw in that last calm moment of his delivery – like a freight train cresting a hill – just before he flung the weight and force of his body toward the plate.
His overhand curveball was vicious because his long fingers allowed him to spin the ball faster than anybody else. Most pitchers use their thumb to generate spin, pushing with it from the bottom of the ball and up the back side. Koufax could place his thumb on the top of the ball, as a guide'similar to the way a basketball player shooting a jumper uses his off-hand on the side of the ball – because his long fingers did all the work, pulling down on the baseball with a wicked snap. On the days he wasn't pitching Koufax liked to hold a ball with his fastball and curveball grips because he believed it would strengthen the muscles and tendons in his left hand by just the tiniest bit.