Alba Escayo

Let me tell you about being lucky.

I have been lucky enough to have the covers of my last three books created by Alba Escayo.

Alba holding her girl and a copy of
JJM & the 1971 U.S. Open

No, we have never met. 

No, we have never spoken on the telephone, or even by Zoom. 

Yet, somehow, I feel that I know Alba. And I mean beyond her fabulous artwork. Writing, and especially writing books, is a rather lonely and isolating process. And, when you’re done writing, it always seems to come as a surprise that a book has no physical presence or look, beyond the words on the page.

I always respond to that moment with a slight twinge of panic. You see, every writer wants his work to be good and to look good. Some writers (and that includes me) want their words to both read nicely and also to look correctly , for lack of a better word, on the page. When words are kept together or held apart by a stylistically correct layout, they help to encourage the right spirit and heart from the reader. And, once a writer is aware of this fact, he simply can’t commit words to paper without caring about how they look.

But, the panic that I referred to earlier has to do with the cover. The person who said that you cannot judge a book by its cover was right and wrong at the same time. Especially for the self published writer, I think the connection between the writer and the cover artist is nothing less than critical. if the artist doesn’t know the writer, and doesn’t know the book, I just don’t see a way for the artist to create a cover that truly works with the book and its story.

The other day, I was trying to remember when I first crossed paths with Alba Escayo. It was a very long time ago. The subject of the book was golf. And, when I first heard from Alba she wrote of her fondness for her countryman, Seve Ballesteros. Reading about her passion for golf, a game that at the time I don’t believe she had even played, gave me great hope for the project. Later, when I saw her initial sketches, I knew she was perfect for that project and all the ones that will come after.

An early version of Cottonwood’s cover

Alba and I have created two books that revolve around golf. The first was John J. McDermott and the 1971 U.S. Open and the second was Cottonwood. Neither book would be as good as it is without her contribution. Alba’s covers made the book come alive before the reader even opened it. There is no way to place the value on the initial impact that a really great cover can give to a book so I won’t try.

There is also no way to place a value on Alba’s ongoing friendship or her endless patience with my sometimes peculiar visions, but I value both greatly. The depth and sensitivity of her art is fascinating. I can give her nothing more than a few words and get back beautiful images that make me want to use all of them rather than choose one over another.

The sad remnants of the Racquet Club of Palm Springs courtesy of Google Earth or something like it

Tennis thing is an unusual book. But, I told you how lucky I am when it comes to cover art. It turns out that both Alba and I took up tennis at about the same time, she and her girl on the clay courts of Spain and me on whatever SoCal hardcourt will put up with me. For Tennis thing I gave her an odd starting point, the long-abandoned Racquet Club of Palm Springs. The club first opened by in 1934 and it was owned by actors Charles Farrell and Ralph Bellamy. I’m tempted to go into a lot of boring detail about the club and its history and sad decline but I will resist since I’m just trying to show how little I can get away with giving Alba and still get fantastic artwork.

From that visual hunch Alba came up with this:

No, this is not quite the final version of the paperback’s cover but you get the idea. How did she manage to get the precise feel of my book? I will never know yet I am ecstatic with the result. It makes me want to write a better book next time just so I can work with Alba Escayo again.

There’s nothing better than being lucky.

Alba Escayo

Tennis thing: Learning the serve

I take two lessons a week, only 30 minutes each, though for a time I added a third lesson to focus specifically on the serve. My thought was that within a month or so my serve will catch up with the rest of my game and I’ll go back to two lessons a week. It may turn out that my estimate is optimistic. We’ll see.

Serving is a blend of the toss, the swing (upwards and then outward) and managing to send the ball into the court. I think the toss is unique in sports. I can’t think of another game that asks the player to essentially throw the ball to himself to initiate a strike. The serve, at this point, is abbreviated. I start with elbow up and the side of the racket against my upper back. I’m sure it looks funny but I understand the theory. It reminds me of an abandoned golf swing theory that David Leadbetter tried to sell a few years ago called the A Swing. In the A Swing, the player started his backswing with the hands at around waist high and the club head near shoulder height. 

It never caught on. 

But, as I said, I do get Caesar’s idea. The entire serve motion is surprisingly tricky. The problem is that it looks so simple on TV, or when an expert like Caesar hits a serve right before my eyes. If only. Watching others is instructive in at least two ways. The first is as examples of what not to do. This is a sadly rich field. I see some pretty good tennis players with very bad serves. When I asked Caesar about this he didn’t hesitate before he answered. “Very common. The best way to practice the serve is to do it alone, and it’s boring.” This sounded similar to practicing putting. 

But wait, I’m trying to forget about golf. 

In addition to tossing the ball to yourself, you also have to coordinate a separate motion, that being the actual swing at the ball. There’s one more bit of fun; the ball will be (or should be) far above your head when you strike it. That strike location makes the motion all the more difficult to master. 

I keep the images of three serves in my head. First and most obvious is Caesar’s. Even through he  frequently reminds me that it’s been over twenty years since he’s hit a competitive serve there’s no missing the mastery of his motion. His serve makes the solid strike of the ball seem like a mere eventuality. It looks like he couldn’t miss. The motion and the pace of the serve seem very much out of step with each other. His take back is slow and smooth but once the ball is hit the other perception is of speed.

2021 © Ben Gauger

On TV I  enjoy watching Maria Sakkari of Greece. She is closer to my height so length of her arc and potential extension are closer to mine. There’s a fantastic slo-mo of her serve on Instagram that I study from time to time. It reminds me a mid-1990s golf thing called Sybervision that featured continuous slo-mo loop of Bobby Jones hitting a golf ball. I never got my tempo anywhere close to Jones’ but it was a helpful reference to what was possible. 

2010 © Kate Tann

In the realm of the impossible, something I enjoy watching for its abbreviated if lurid grandeur, is the serve of Andy Roddick. I love abbreviated, explosive athletic motions like Roddick’s. It looks as if every unnecessary movement has been deleted leaving only the kinetic elements that contribute directly to the strike. This appeals to me. It makes me think that I could replicate the essence of Roddick’s serve absent, of course, the astonishing speed and power he achieved. The movement in his serve reminds me a little of watching Nick Price hit a 4-iron. Neither swing lasts long but both are awesome.

2007 Boss Tweed, CC BY 2.0 via Wikimedia Commons

The take back is the next issue. I’ve watched videos of professionals who start with the racket in the trophy position, upper arm parallel to the ground, upper arm at something like a right angle to it, racket pointing skyward. From here, they execute their racket drop, the rotation of the upward-facing racket to a position that finds the top of the racket pointing backward or, in the case of Mr. Roddick, nearly straight down. Many players coordinate the movement of the tossing arm with the racket arm, so both arms are moving upward at about the same time. I cannot say exactly why, but there’s something about this motion that feels off to me. If the tossing and swinging arm go up at the same time and the ball is tossed further upward it seems to me that the swinging arm will have to wait for the ball to apex and start falling. I understand the racket drop takes time before the forward swing gets going but it seems to me that, maybe, if the swinging arm trailed a bit the transition into the swing might be smoother and more sequential. Not to fixate on Andy Roddick, but this photo shows what I mean.

More on the serve later.

Tennis thing: Learning the serve

Tennis thing: “Paulie, you would love tennis!”

I first wanted to play tennis when I was eleven. But, I didn’t actually play, and neither did any of the 5th-heading-to-6th graders who were unlucky enough to take tennis in summer school in 1971. Shit, I even got a racket, a Pancho Gonzales model I got in exchange for two books of Blue Chip Stamps. I also had enough dough on hand to buy a can of Slazenger tennis balls. My dearest piece of tennis swag was the neat little ball pouch my mom made for me. Rather than lug that silly, cylindrical tin can around I carried my three new tennis balls in the pouch my mother made, complete with drawstring fashioned from an old venetian blind pull-cord.

Rockin’ for sure. 

The only problem, as I mentioned, was that we never hit a ball and the class was unceremoniously cancelled after the first session. It seems no one realized a tennis court needs a net for the game to be a game. Sure, we could have banged balls against the handball court that stood a few feet away but no one thought of that. So, the Spalding tennis racket went home and our springer spaniel, Bo, got to shred the new Slazengers to pieces. There’s always someone who’s happy with an outcome.

Fast forward to late summer of 2023. I’m 62 and I’ve still never played tennis, yet a coalescence of forces somehow got me started in the game. First, was my friend Michael who early in our largely-telephonic relationship would tell me, “Paulie, you’d love tennis!” 

Where Michael got the nerve to call me Paulie I will never know. 

The second force was a spur-of-the-moment stop at nearby Calabasas Tennis & Swim Center. I’d been thinking of taking swimming lessons but nothing had panned out at nearby Pierce College. Indoor pools (like those at area YMCAs) lost their appeal sometime early in the pandemic. After the visit, I found myself checking out the club’s website when I noticed a list of tennis coaches. One name stuck out, I’m not sure why. Maybe it was the first name, Caesar. Heck, I’ve always wanted to know someone named Caesar. Plus, he’d worked with wheel-chair players. I figured anyone who could do that successfully had a decent chance with broken-down me. I sent Caesar an email and waited— for about an hour. Turns out he had time the next day, Monday. Talk about the ball being in my court. I thought it over for a minute before I fired back an email saying I’d be there.

I was ready, if ready meant wearing one of my best golf polos, a pair of khaki golf shorts and my old Nike gym shoes. Caesar was kind enough to offer the loan of one of his cool Tecnifibre rackets. My first lesson was the end of July and it was hot, just the way I like it. One of the unexpected yet best things about taking up something like tennis at my age is this: I had absolutely no idea what to expect. Would I even have a chance to swing at the ball during my first lesson? I remember stories of John Wooden spending the first practice going over the proper way to tie a basketball shoe;  a method that prevented blisters, turned ankles and laces that untied themselves during a game. Maybe that would be how it was. Another nightmare vision stressed running, more running than I could do at 62 and maybe more than I could have done at 42. Caesar is a no-nonsense kind of guy with an outwardly easy yet somehow intense brand of focus. Caesar’s racket in hand I stroked short forehands from the forward-service line as he hit the ball lazily back over the net. I was overjoyed when my first swing sent the ball right back to him. Amazing.

Better than the result, an outcome wholly irrelevant when you consider we weren’t playing a game, was the feeling. It felt good. I could feel the ball and the tension of strings come together before the ball made its way back into Caesar’s court. That was only a few months ago, in late July, but after only a few more swings I was hooked. It wasn’t as if every shot was perfect, or even successful. There was some magical combination of my motion and watching the approach of the ball and unconsciously aligning my body in a way that gave me a clean cut at the ball that grabbed me right away. Michael was right.

Every few balls, after I’d swatted a ball into the net or fouled one off into the court adjacent to us, Caesar would stop long enough for a chat at the net. Those breaks were a relief, a chance for my arm to recover and for me to catch my breath. Caesar always, and I mean to this day, many, many lessons later, always starts by saying something positive before moving on toward something that needs correction, like my forehand follow through.

Caesar’s positive style is still perfect for me, especially with my well-developed ability to be critical of myself. The overall vibe of the club was similarly positive though it took me a while to specify everything I experienced and saw that made it feel that way. First, and this was unexpected, was the presence of actual women. I mean, there were women everywhere, I’m guessing at least half of the people taking lessons were women and an even greater percentage of those who were playing, usually doubles. There were young women, well-tended middle-aged women, little girls and one woman, who had to be at least 75, carrying a Babolat bag that must have weighed at least half as much as she did. 

Being on the tennis courts felt like being out in the world. It was nothing like being on a golf course where 95% of the players were just like me; late middle-aged men. In golf, women and girls are so much in the minority that they always stick out in a way that disadvantages them. But in tennis, they all seemed so at home, so empowered, so much as if they belonged, which they do. Being better for them makes it better for everyone, including me. Even better is the vibe that extends to the way lessons are given. Walking by the courts you can hear students and coaches chatting with each other, sharing a laugh at shots, both good and bad. And, usually, student and coach are playing some approximation of tennis itself. This is almost never true in golf, where the instructor usually stands, arms crossed, observing the student and commenting on an occasional shot.

Stifling. 

Even though I was gassed after my lesson I could feel a connection to the game I had never felt before, except in baseball. It wasn’t like I was great at it, I’m still not. It was the way my motion and flight of the ball and the eventual meeting of the ball and the racket brought a feeling that was just right. Now, when it comes to tennis feeling right it’s not exactly feeling. And, while some elements of tennis do feel natural there are a myriad of details to monitor to make the shot come off, and not all of those come easily. Example? The toss that precedes a serve. More on that later.

Occasionally, in the same way one’s thoughts might drift toward the consideration of mortality, I wonder what might have been if I had turned to tennis when I was 52 or 42 or 32 or 15? It’s fun to think about the rackets of each era, especially the ones that were used when I was 15 in 1976. The Pancho Gonzales model I had when I was 11 would have come in handy, I suppose. But, I manage to keep those feelings away and to stay in the moment, as tennis demands.

Every time I walk onto the court, I feel lucky, and that’s a gift in itself.

Tennis thing: “Paulie, you would love tennis!”

Tennis thing is done!

I’m very excited that Tt is done and right on time. Alba Escayo is still working on the final version of the print cover but this gives you a good idea of how cool it will be when I am finally holding it in my hands (and, hopefully, you’re holding it in your hands, too).

So just what is Tennis thing?

That’s a fair question. Those of you who have read anything else I have ever written has never read anything about tennis. There’s good reason for this. Up until August of 2023 I had never played tennis. But, shortly after I started learning tennis I had an idea and Tennis thing was born. It’s part diary, part confessional, part study, part history and part analysis. Most writers seek to create works with at least an element of timelessness. But, the stated purpose of Tennis thing is to bring out everything I learn, come to believe and think about tennis; all of the experiences and emerging mindsets bracketed by a one year period. That’s going to bring a purposeful bit of discursiveness to Tennis thing. Who is to say whether Charles Broom, whom I interview later in Tennis thing, will still be playing professional tennis by the time you read this? The same goes for my observations about the other pros I’ve watched play, the tennis coaches I’ve observed and worked with, or even my own viability in tennis. I want the 365 day now of my tennis experience to trump everything. Is that a good idea? I think so but the proof is in the reading and that’s where you come in. 

Tennis thing is done!