a bush-league baseball player, to a friend back home. The letters made much use of the fictional author's idiosyncratic vernacular. It had initially been published as six separate but interrelated short stories in The Saturday Evening Post, causing some to classify the book as a collection of stories, others as a novel. Like most of Lardner's stories, You Know Me Al employs satire. Journalist Andrew Ferguson wrote that "Ring Lardner thought of himself as primarily a sports columnist whose stuff wasn't destined to last, and he held to that absurd belief even after his first masterpiece, You Know Me Al, was published in 1916 and earned the awed appreciation of Virginia Woolf, among other very serious, unfunny people." Ferguson termed the book one of the top five pieces of American humor writing. Sarah Bembrey has written about a singular event in Lardner's sportswriting experience: "In 1919 something happened that changed his way of reporting about sports and changed his love for baseball. This was the Black Sox scandal when the Chicago White Sox sold out the World Series to the Cincinnati Reds. Ring was exceptionally close to the White Sox and felt he was betrayed by the team. After the scandal, Ring always wrote about sports as if there were some kink to the outcome." Lardner's last fictional baseball writing was collected in the book Lose with a Smile (1933). Lardner later published such stories as "Haircut", "Some Like Them Cold", "The Golden Honeymoon", "Alibi Ike", and "A Day with Conrad Green." He also continued to write follow-up stories to You Know Me Al, with the protagonist of that book, the headstrong but gullible Jack Keefe, experiencing various ups and downs in his major league career and in his personal life. Private Keefe's World War I training camp letters home to his friend Al were collected in the book Treat 'Em Rough: Letters From Jack the Kaiser Killer. The sequel, The Real Dope, followed Keefe overseas to the trenches in France. Theatre and music Lardner also had a lifelong fascination with the theatre, although his only Broadway three-act successes were the thrice-filmed Elmer The Great, co-written with George M. Cohan, and June Moon, a comedy authored with Broadway veteran George S. Kaufman. Lardner also wrote skits for the Ziegfeld Follies and a series of brief nonsense plays that ridiculed the conventions of the theatre, using zany humor and outrageous, impossible