Kentucky: May: Saturday
Three days before. This saw Boone: the bluegrass, the virgin land rolling westward wave by dense wave from the Allegheny gaps, unmarked then, teeming with deer and buffalo about the salt licks and the limestone springs whose water in time would make the fine bourbon whiskey; and the wild men too—the red men and the white ones too who had to be a little wild also to endure and survive and so mark the wilderness with the proofs of their tough survival—Boonesborough, Owenstown, Harrod's and Harbuck's Stations; Kentucky: the dark and bloody ground.
And knew Lincoln too, where the old weathered durable rail fences enclose the green and sacrosanct pace of rounded hills long healed now from the plow, and big old trees to shade the site of the ancient one-room cabin in which the babe first saw light; no sound there now but such wind and birds as when the child first faced the road which would lead to fame and martyrdom—unless perhaps you like to think that the man's voice is somewhere there too, speaking into the scene of his own nativity the simple and matchless prose with which he reminded us of our duties and responsibilities if we wished to continue as a nation.
And knew Stephen Foster and the brick mansion of his song; no longer the dark and bloody ground of memory now, but already my old Kentucky home.
Two days before. Even from just passing the stables, you carry with you the smell of liniment and ammonia and straw—the strong quiet aroma of horses. And even before we reach the track we can hear horses—the light hard rapid thud of hooves mounting into crescendo and already fading rapidly on. And now in the gray early light we can see them, in couples and groups at canter or hand-gallop under the exercise boys. Then one alone, at once furious and solitary, going full out, breezed, the rider hunched forward, excrescent and precarious, not of the horse but simply (for the instant) with it, in the conventional posture of speed—and who knows, perhaps the two of them, man and horse both: the animal dreaming, hoping that for that moment at least it looked like Whirlaway or Citation, the boy for that moment at least that he was indistinguishable from Arcaro or Earl Sande, perhaps feeling already across his knees the scented sweep of the victorious garland.
And we ourselves are on the track now, but carefully and discreetly back against the rail out of the way: now we are no longer a handful clotting in a murmur of furlongs and poles and tenths of a second, but there are a hundred of us now and more still coming, all craning to look in one direction into the mouth of the chute. Then it is as if the gray, overcast, slightly moist post-dawn air itself had spoken above our heads. This time the exercise boy is moving his mount at no schooled or calculated gait at all, just moving it rapidly, getting it off the track and out of the way, speaking not to us but to all circumambience: man and beast either within hearing: "Y'awl can git out of the way too now; here's the big horse coming."
And now we can all see him as he enters the chute on a lead in the hand of a groom. The groom unsnaps the lead and now the two horses come on down the now empty chute toward the now empty track, out of which the final end of the waiting and the expectation has risen almost like an audible sound, a suspiration, a sigh.
Now he passes us (there are two of them, two horses and two riders, but we see only one), not just the Big Horse of professional race argot because he does look big, bigger than we know him to be, so that most of the other horses we have watched this morning appear dwarfed by him, with the small, almost gentle head and the neat small feet and the trim and delicate pasterns which the ancient Arab blood has brought to him, the man who will ride him Saturday (it is Arcaro himself) hunched like a fly or a cricket on the big withers. He is not even walking. He is strolling. Because he is looking around. Not at us. He has seen people; the sycophant adulant human roar has faded behind his drumming feet too many times for us to hold his attention. And not at track either because he has seen track before and it usually looks like this one does from this point (just entering the backstretch): empty. He is simply looking at this track, which is new to him, as the steeplechase rider walks on foot the new course which he will later ride.
He—they—go on, still walking, vanishing at last behind the bulk of the tote board on the other side on the infield; now the glasses are trained and the stopwatches appear, but nothing more until a voice says, "They took him in to let him look at the paddock." So we breathe again for a moment.
Because we have outposts now: a scattering of people in the stands themselves who can see the gate, to warn us in time. And do, though when we see him, because of the bulk of the tote board, he is already in full stride, appearing to skim along just above the top rail like a tremendous brown hawk in the flattened bottom of his stoop, into the clubhouse turn still driving; then something seems to happen; not a falter nor check though it is only afterward that we realize that he has seen the gate back into the chute and for an instant thought, not "Does Arcaro want us to go back in there?" but "Do I want to turn off here?" deciding in the next second (one of them: horse or man) no, and now driving again, down to us and past us as if of his own intention he would make up the second or two or three which his own indecision had cost him, a flow, rush, the motion at once long and deliberate and a little ungainly; a drive and power; something a little rawboned, not graceless so much as too busy to bother with grace, like the motion of a big working hunter, once again appearing to skim along just above the top rail like the big diminishing hawk, inflexible and undeviable, voracious not for meat but for speed and distance.
One day before. Old Abe's weathered and paintless rails are now the white panels of millionaires running in ruler-straight lines across the green and gentle swell of the Kentucky hills; among the ordered and parklike grove the marcs with recorded lineages longer than most humans know or bother with stand with foals more valuable head for economic head than slum children. It rained last night; the gray air is still moist and filled with a kind of luminousness, lambence, as if each droplet held in airy suspension still its molecule of light, so that the statue which dominated the scene at all times anyway now seems to hold dominion over the air itself like a dim sun, until, looming and gigantic over us, it looks like gold—the golden effigy of the golden horse, "Big Red" to the groom who loved him and did not outlive him very long, Big Red's effigy of course, looking out with the calm pride of the old manly warrior kings, over the land where his get still gambol as infants, until the Saturday-afternoon moment when they too will wear the mat of roses in the flash and glare of magnesium; not just his own effigy, but symbol too of all the long recorded line from Aristides through the Whirlaways and Count Fleets and Gallant Foxes and Citations: epiphany and apotheosis of the horse.
The day. Since daylight now we have moved, converged, toward, through the Georgian-Colonial sprawl of the entrance, the throne's anteroom, to bear our own acolytes' office in that ceremonial.
Once the horse moved man's physical body and his articles of commerce from one place to another. Nowadays all it moves is a part or the whole of his bank account, either through betting on it or trying to keep owning and feeding it.
So, in a way, unlike the other animals which he has domesticated—cows and sheep and hogs and chickens and dogs (I don't include cats; man has never tamed cats)—the horse is economically obsolete. Yet it still endures and probably will continue to endure as long as man himself does, long after the cows and sheep and hogs and chickens, and the dogs which control and protect them, are extinct. Because the other beasts and their guardians merely supply man with food, and someday science will feed him by means of synthetic gases and so eliminate the economic need which they fill. While what the horse supplies to man is something deep and profound in his emotional nature and need.
It will endure and survive until man's own nature changes. Because you can almost count on your thumbs the types and classes of human beings in whose lives and memories and experience and glandular discharge the horse has no place. These will be the ones who don't like to bet on anything which involves the element of chance or skill or the unforeseen. They will be the ones who don't like to watch something in motion, either big or going fast, no matter what it is. They will be the ones who don't like to watch something alive and bigger and stronger than man, under the control of puny man's will, doing something which man himself is too weak or too inferior in sight or hearing or speed to do.
These will have to exclude even the ones who don't like horses—the ones who would not touch a horse or go near it, who have never mounted one nor ever intend to; who can and do and will risk and lose their shirts on a horse they have never seen.
So some people can bet on a horse without ever seeing one outside a Central Park fiacre or a peddler's van. And perhaps nobody can watch horses running forever, with a mutuel window convenient, without making a bet. But it is possible that some people can and do do this.
So it is not just betting, the chance to prove with money your luck or what you call your judgment, that draws people to horse races. It is much deeper than that. It is a sublimation, a transference: man, with his admiration for speed and strength, physical power far beyond what he himself is capable of, projects his own desire for physical supremacy, victory, onto the agent—the baseball or football team, the prizefighter. Only the horse race is more universal because the brutality of the prizefight is absent, as well as the attenuation of football or baseball—the long time needed for the orgasm of victory to occur, where in the horse race it is a matter of minutes, never over two or three, repeated six or eight or 10 times in one afternoon.
4:29 P.M. And this too: the song, the brick mansion, matched to the apotheosis: Stephen Foster as handmaiden to the Horse as the band announces that it is now about to be the one 30 minutes past 4 o'clock out of all possible 4 o'clocks on one Saturday afternoon out of all possible Saturday afternoons. The brazen chords swell and hover and fade above the packed infield and the stands as the 10 horses parade to post—the 10 animals which for the next two minutes will not just symbolize but bear the burden and be the justification, not just of their individual own three years of life, but of the generations of selection and breeding and training and care which brought them to this one triumphant two minutes where one will be supreme and nine will be supreme failures—brought to this moment which will be supreme for him, the apex of his life which, even counted in lustra, is only 21 years old, the beginning of manhood. Such is the price that he will pay for the supremacy; such is the gamble he will take. But what human being would refuse that much loss, for that much gain, at 21?
Only a little over two minutes: one simultaneous metallic clash as the gates spring. Though you do not really know what it was you heard: whether it was that metallic crash, or the simultaneous thunder of the hooves in that first leap or the massed voices, the gasp, the exhalation—whatever it was, the clump of horses indistinguishable yet, like a brown wave dotted with the bright silks of the riders like chips flowing toward us along the rail until, approaching, we can begin to distinguish individuals, streaming past us now as individual horses—horses which (including the rider) once stood about eight feet tall and 10 feet long, now look like arrows twice that length and less than half that thickness, shooting past and bunching again as perspective diminishes, then becoming individual horses once more around the turn into the backstretch, streaming on, to bunch for the last time into the homestretch itself, then again individuals, individual horses, the individual horse, the Horse: 2:01[4/5] minutes.
And now he stands beneath the rose escarpment above the flash and glare of the magnesium and the whirring film of celluloid immortality. This is the moment, the peak, the pinnacle; after this, all is ebb.
We who watched have seen too much; expectation, the glandular pressure, has been too high to long endure; it is evening, not only of the day but the emotional capacity too; Boots and Saddles will sound twice more and condensations of light and movement will go through the motions of horses and jockeys again. But they will run as though in dream, toward anticlimax; we must turn away now for a little time, even if only to assimilate, get used to living with, what we have seen and experienced. Though we have not yet escaped that moment. Indeed, this may be the way we will assimilate and endure it: the voices, the talk, at the airports and stations from which we scatter back to where our old lives wait for us, in the aircraft and trains and buses carrying us back toward the old comfortable familiar routine like the old comfortable hat or coat: porter, bus driver, pretty stenographer who has saved for a year, scanted Christmas probably, to be able to say "I saw the Derby," the sports editor who, having spent a week talking and eating and drinking horse and who now wants only to get home and have a double nightcap and go to bed, all talking, all with opinions, valid and enduring:
"That was an accident. Wait until next time."
"What next time? What horse will they use?"
"If I had been riding him, I would have rode him different."
"No, no, he was ridden just right. It was that little shower of rain made the track fast like California."
"Or maybe the rain scared him, since it don't rain in L.A.? Maybe when he felt wet on his feet he thought he was going to sink and he was just jumping for dry land, huh?"
And so on. So "it is not the Day after all. It is only the 81st one.
PHOTO
WHITNEY TOWER
PHOTO
AP
Nashua was the Big Horse, Swaps the winner.
PHOTO
CHARLES HATTON COLLECTION: NATIONAL MUSEUM OF RACING
The day was rosy for Bill Shoemaker and Swaps.
This is one of 40 classic Sports Illustrated stories to be presented during 1994 as a special bonus to our readers in celebration of SI's 40th anniversary.