Rarely has the men's game had such thick cream at the top.
The unforced error is when you beat yourself. The ball comes to you and you hit it into the net. Or you hit it long. Or you hit it onto the roof of Gary Burke's car, in the parking lot, which I do, a lot.
But the worst error of all is when you don't even try.
On game day, I knew our opponents were going to be tough. During warm-up, the tall one kept hitting fast, spinning serves. I knocked a couple toward Gary’s parking space just to show her that she didn't scare me. But of course, she did.
During the match, however, I stayed tough and maintained my focus. When she hit a 400-mile-an-hour drive straight at my kidneys, I played my game: the dink. Soft returns, ridiculous loopy lobs and a serve that floated across the net like a matzo ball made with love.
But a funny thing happened. My opponents kept overhitting. Meanwhile, my partner, Cheryl, and I got most of our shots in. At one point in the second set, I even heard one of our opponents hiss to the other, "But her serves are so soft ..."
"Float like a matzo ball, sting like a bee," I thought. And wafted another of Nana's seltzer specials over the net.- Michelle Slatalla, There is a 'Me' in 'Team'"
By the time she retired from full-time singles at age thirty-eight, Navratilova had played so long that Conchita Martinez, the woman who defeated her in her swan-song run to the 1994 Wimbledon final, had grown up in Spain idolizing her and hitting practice balls against a wall she nicknamed "Martina."
Evert's loss [to Kathy Jordan in the third round of Wimbledon 1983] ended one of the most amazing streaks in sports. Starting with her sensational 1971 U.S. Open debut as a sixteen-year-old, Evert had never failed to reach the semifinals of the first thirty-four Grand Slam tournaments she had played -- a peerless run that stretched back twelve years.
At any given moment, Rosie Casals might be in one corner planning an excursion to a museum or concert, and Navratilova might be strolling by with her latest dog. ...Francoise Durr of France could be playing one of her loud bilingual Scrabble games with Betty Stove of the Netherlands, who spoke six languages. Kristien Kemmer might be showing Evert the latest halter dress she bought. Ingrid Bentzer of Sweden might be walking around the dressing room stark naked with a cigarette dangling from her mouth, raucously holding forth on any number of topics in what Bentzer jokingly calls her "pompous Swedish way."- Howard, The Rivals
...Tilden was playing more than a mere game. He never forgot what his friend, the famous opera singer Mary Garden, had told him long ago: "You're a tennis artist, Bill, and artists always know better than anyone else when they're right. If you believe in a certain way to play, you play that way no matter what anyone tells you. Once you lose faith in your own artistic judgment, you're lost."- Marshall Jon Fisher, A Terrible Splendor: Three Extraordinary Men, A World Poised for War, and the Greatest Tennis Match Ever Played (Crown, 2009)
...whoever said that you or ANYBODY else are going to be reading the same book, ever, even when every word in it is identical between your two copies?
...It is flat impossible to write for every possible interpretation of a given set of words – you would have to have the mind and the breadth of vision of a God to be able to understand everything about everybody, to know the contents of every single person's duffle bag as they slog along the road of life. You write a story -- and after it's out of your hands it's between the story and the readers. They may have issues with the story. While "issues" are often something that you can take on board and fix in your head and do better (or try to) in your next story -- it's also true that you could not posssibly have known about every issue from every reader. You owe the reader the best story that you could write. What they discover in it… is more often than not something that you never thought that you had said. As a writer, this is something that you have to live with.
Let's put it this way: Barbie is to Cindy Crawford what Hello Kitty is to Naomi Campbell. One is the conscientious workhorse of her oeuvre, with a heart of gold (or plastic) and an improbably perfect body; the other is more difficult to read, with a sinister streak lurking behind that sweet, beautiful facade.
...where is this personal venom coming from against our inaugural poet and poem? Are people in the music industry bitching that Obama should have picked Patti Labelle or Faith Hill or that guy from Coldplay? Are they up in arms at the selection of Yo Yo Ma? I kinda doubt it. This grotesque pettiness goes back to poets fighting over that tiny crumb of a pie. Poets, forget the fucking pie already! I promise you, it's stale and flavorless. If you ever get a bite, you'll still be as empty as you are now.
Bishop T.D. Jakes, a senior pastor from Houston, used Scripture to offer the incoming president four lessons for his administration. "In time of crisis, good men must stand up," Jakes said. "God always sends the best men into the worst times." He also told the worshipers, "This is not a time for politeness or correctness; this is a time for people to confront issues and bring about change. . . . You cannot enjoy the light without enduring the heat."
Looking directly at Obama, Jakes said, "The problems are mighty and the solutions are not simple, and everywhere you turn there will be a critic waiting to attack every decision that you make. But you are all fired up, sir, and you are ready to go. And this nation goes with you. God goes with you."
"I say to you as my son who is here today, my 14-year-old son -- he probably would not quote Scripture. He probably would use Star Trek instead. And so I say, 'May the force be with you.' "
He filmed some Pinter pieces in Turin with Michael Gambon and ended up having a conversation in the back of a taxi about body piercing and tattooing. "I adore Michael. He said, 'Yeah, I've never had a piercing but I've got "Laddo" tattooed on my cock. When it's erect it spells Llandudno!'"
[David] Galenson quotes the literary critic Franklin Rogers on [Mark] Twain’s trial-and-error method: “His routine procedure seems to have been to start a novel with some structural plan which ordinarily soon proved defective, whereupon he would cast about for a new plot which would overcome the difficulty, rewrite what he had already written, and then push on until some new defect forced him to repeat the process once again.” Twain fiddled and despaired and revised and gave up on “Huckleberry Finn” so many times that the book took him nearly a decade to complete. The Cézannes of the world bloom late not as a result of some defect in character, or distraction, or lack of ambition, but because the kind of creativity that proceeds through trial and error necessarily takes a long time to come to fruition.