Having learned
the knack of watching the ball at all times, I felt that nothing
would worry me, until three years ago at the American
Championships, when I was playing T. R. Pell. A press- camera man
eluded the watchful eye of the officials, and unobtrusively
seated himself close to our sideline to acquire some action
pictures. Pell angled sharply by to my backhand, and I ran at my
hardest for the shot, eyes fixed solely on the ball. I hauled off
to hit it a mighty drive, which would have probably gone over the
backstop, when suddenly I heard a camera click just under me, and
the next moment camera, pressman, and tennis player were rolling
in a heap all over the court. The pressman got his action picture
and a sore foot where I walked on him, and all I got was a sore
arm and a ruffled temper. That's why I don't like cameras right
under my nose when I play matches, but for all that I still
advocate keeping your eye on the ball.
GRIP, FOOTWORK, AND STROKES
Footwork is weight control. It is correct body position for
strokes, and out of it all strokes should grow. In explaining the
various forms of stroke and footwork I am writing as a right-hand
player. Left- handers should simply reverse the feet.
Racquet grip is a very essential part of stroke, because a faulty
grip will ruin the finest serving. There is the so-called Western
or Californian grip as typified by Maurice E. M'Loughlin, Willis,
E.
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