tennis

We made a successful, last-minute effort to get the French Open many years ago, when the USA network bailed on it. I remember, four of us jumped on a plane on the spur of the moment to cover it. I think we had someone draw up a sign (by hand) that we could hold up in front of the camera to tell viewers that it was ESPN coverage.

The real, many-veiled answer to the question of just what goes through a great player's mind as he stands at the center of hostile crowd-noise and lines up the free-throw that will decide the game might well be: nothing at all.

What if, when Tracy Austin writes that after her 1989 car crash, 'I quickly accepted that there was nothing I could do about it,' the statement is not only true but exhaustively descriptive of the entire acceptance process she went through?

She felt about a love set as a painter does about his masterpiece; each ace serve was a form of brushwork to her, and her fantastically accurate shot-placing was certainly a study in composition.

The public never appears to tire of endless courses of strawberries and cream, and the theory that you run the risk of boring people with endless photo montages of the Chelsea Pensioners in their dress reds, or close-ups of a Pimm's Cup sprouting all kinda of flora, has yet to be proven. People like Wimbledon in the same way they like blue jeans or even their own spouses: for the pleasure yielded by their reliable sameness.

Except in a very few matches, usually with world-class performers, there is a point in every match (and in some cases it's right at the beginning) when the loser decides he's going to lose. And after that, everything he does will be aimed at providing an explanation of why he will have lost. He may throw himself at the ball (so he will be able to say he's done his best against a superior opponent). He may dispute calls (so he will be able to say he's been robbed). He may swear at himself and throw his racket (so he can say it was apparent all along he wasn't in top form). His energies go not into winning but into producing an explanation, an excuse, a justification for losing.

In any game, the game itself is the prize, no matter who wins, ultimately both lose the game.

You know how when you step on court your coach is like "go go go!"? And all throughout you just keep telling yourself to hit harder and harder and keep at it? You know how much you treasure those five-minute timeouts? You know how good you feel at the end of a session? You know how you're glad you're tired? No pills, no shots, just plain energy. I want to work like that. Whether I have to write ten thousand words or send five hundred emails, brainstorm for hours at a time, I want to have that energy. To keep fighting. To know it's all worth it. Oh, yeah. That's my perfect day.

During a match, you are in a permanent battle to fight back your everyday vulnerabilities, bottle up your human feelings. It__ a kind of self-hypnosis, a game you play, with deadly seriousness, to disguise your own weaknesses from yourself, as well as from your rival.

I didn't cry when they buried my father - I wouldn't let myself. I didn't cry when they buried my sister. On Thursday night, with my family asleep upstairs, my eyes filled as Agassi and Marcos Baghdatis played out the fifth set of their moving second-round match.

I like pros, especially when it comes to tennis and rent boys_ _ and here I__ really wondering if the pun on prose consolidates Bruce__ feeling toward it versus poetry under the sign of sex, which Bruce sometimes pays for, in order to direct us toward the pleasure of its use-function when monetised, a pleasure seldom associated with poetry, and one that might lead to the company of more pros. He continues: __f I can get a twofer, and the trick looks like Rafael Nadal, I__ in heaven.

Humility is the recognition of your limitations, and it is from this understanding, and this understanding alone, that the drive comes to work hard at overcoming them.