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The Left Arm of God
Tom Verducci
July 12, 1999
He was a consummate artist on the mound, the most dominant player of his time, yet he shunned fame and always put team above self. On the field or off, Sandy Koufax was pitcher perfect
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July 12, 1999

The Left Arm Of God

He was a consummate artist on the mound, the most dominant player of his time, yet he shunned fame and always put team above self. On the field or off, Sandy Koufax was pitcher perfect

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He sat in the same booth every time. It was always the one in back, farthest from the door. The trim, darkly handsome man would come alone, without his wife, nearly every morning at six o'clock for breakfast at Dick's Diner in Ellsworth, Maine, about 14 miles from their home. He often wore one of those red-and-black-checkered shirts you expect to see in Maine, though he wasn't a hunter. He might not have shaved that morning. He would walk past the long counter up front, the one with the swivel stools that, good Lord, gave complete strangers license to strike up a conversation.

He preferred the clearly delineated no-trespassing zone of a booth. He would rest those famously large hands on the Formica table-top, one of those mini-jukeboxes to his left and give his order to Annette, the waitress, in a voice as soft and smooth as honey.

He came so often that the family who ran the diner quickly stopped thinking of him as Sandy Koufax, one of the greatest pitchers who ever lived. They thought of him the way Koufax strived all his life to be thought of, as something better even than a famous athlete: He was a regular.

Dick Anderson and his son Richard, better known as Bub, might glance up from their chores when Koufax walked in, but that was usually all. One time Bub got him to autograph a napkin but never talked baseball with him. Annette, Bub's sister, always worked the section with that back booth. For three years Koufax came to the diner and not once did he volunteer information to her about his life or his career. It was always polite small talk. Neighborly. Regular.

Koufax was 35, five years since his last pitch, in 1966, when he came eagerly, even dreamily, to Maine, the back booth of America. He had seen a photo spread in Look magazine about the Down East country homestead of a man named Blakely Babcock, a 350-pound Burpee Seed salesman, gentleman farmer and gadfly whom everybody called Tiny. Tiny would invite neighbors and friends over for cookouts and dinner parties, during which he liked to consume great quantities of food, then rub his huge belly and bellow laughingly to his wife, "So, what's for dinner, Alberta?" Tiny's North Ellsworth farmhouse caught Koufax's fancy at just about the same time one of his wife's friends was renovating her farmhouse in Maine. Wouldn't it be perfect, Koufax thought, to live quietly, almost anonymously, in an old farmhouse just like Tiny's?

Alberta Babcock was pulling a hot tin of sweet-smelling blueberry muffins from the oven when Koufax first saw the place in person, and the old Cape-style house was filled with so many flowers that it looked like a watercolor come to life. Koufax was sold, and on Oct. 4,1971, Sanford and Anne Koufax of Los Angeles, as they signed the deed, took out a 15-year, $15,000 mortgage from Penobscot Savings Bank and bought what was known as Winkumpaugh Farm from Blakely and Alberta Babcock for about $30,000. A cord was cut. The rest of Sandy Koufax's life had begun.

The Babcocks had lived in the farmhouse since 1962, but no one was exactly sure how old the place was. Property records were lost to a fire at Ellsworth City Hall in 1933, and records from 1944 list the farmhouse's age even then only as "old." Nestled on the side of a small mountain off a dusty dirt road called Happytown Road and around the corner from another called Winkumpaugh Road, the farmhouse was the perfect setting for a man hoping to drop out of sight, even if that man was a beloved American icon who mastered the art of pitching as well as anyone who ever threw a baseball. A man so fiercely modest and private that while at the University of Cincinnati on a basketball scholarship, he didn't tell his parents back in Brooklyn that he was also on the baseball team. The man whose mother requested one of the first copies of his 1966 autobiography, Koufax, so she could find out something about her son. ("You never told me anything," she said to him.) The man who in 1968, two years after retiring with three Cy Young Awards, four no-hitters and five ERA titles, mentioned nothing of his baseball career upon meeting a pretty young woman named Anne who was redecorating her parents' Malibu beach house. Koufax did offer to help her paint, though. It wasn't until several days later that she learned his identity—and he learned hers: She was the daughter of actor Richard Widmark. They were married six months later in her father's West Los Angeles home in front of about a dozen people.

The last two years that Anne and Sandy Koufax lived at Winkumpaugh Farm were the first in his life when he was bound by neither school nor work. After commuting from Maine during the summer of 1972 for his sixth season as a television commentator for NBC, he quit with four years left on his contract. He loathed the work. He could tell you every pitch thrown by every pitcher in a game without having written anything down, but there was a problem: He didn't like to talk about himself. At a meeting before Game 5 of the 1970 World Series, fellow announcer Joe Garagiola noted that Cincinnati's starting pitcher, Jim Merritt, had an injured arm. "I said, 'Sandy, what a perfect thing to talk about. That's what you had, too.' " Garagiola says. "But he said he didn't want to talk about himself. He wouldn't do it."

"Every time he had to leave Maine to work one of those games, it broke his heart," says MaJo Keleshian, a friend and former neighbor who attended Sarah Lawrence College with Anne. She still lives without a television on land she and her husband bought from Koufax. "He was very happy here. He came here to be left alone."

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.

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