ABSTRACT
The moments of nature and history do not disappear into each other, but break simultaneously out of each other and cross each other in such a way that what is natural emerges as a sign for history, and history, where it appears most historical, appears as a sign for nature. People load themselves into their cars and vans, circle Cooperstown, and perhaps Dyersville, on their maps, and traverse miles of state and county roads to arrive in these bucolic locales of baseball's celestial sights, sounds, and smells. The transformations in Cooperstown and Dyersville are implicated in the production of "spaces of representation," following David Harvey. They engender a poetics and utopies of space across which imaginary landscapes—as ways of seeing and creating meaning—are constructed. However, the meaning of socially produced space, even the tourist landscapes deeply implicated in hegemonic political and discursive economies, are never fixed and are inherently open to alternate readings and multiple experiences.
