“A Flight-weary Mouse” by Steven White

On his way home from Kitty Hawk, Buttermouse, as he came to be called because of his butterfly-wing-shaped ears, is blown off course by one of the nastiest storms he had ever seen. It had been hours since he’d seen land, and he suspected he was lost somewhere over the Atlantic Ocean. “If I only had a compass,” he thought.

 Tired and thirsty from thrashing about the skies and struggling against the storm, the flying mouse was beginning to believe that the balance of his existence could be measured in minutes.

 And then suddenly, Buttermouse’s ears began to hurt from a deafening sound that seemed a thousand times louder than the storm’s worst burst of thunder. At that instant, he momentarily seemed to be frozen in time and space, and the sky opened up in front of him in the form of a gaping hole. It was as if the entire universe began to churn, trapping him in its gravitational pull. Simultaneously, the immediate world around him transformed into an egg-shaped region of distorted space, and not unlike a celestial black hole, the dark core of the opening began to swirl and rotate, pulling everything in its grip to the center of the cavernous break in the sky – including the flight-weary mouse.

 “This is impossible!” Buttermouse shrieked as the blackness swallowed him whole. 

 To resist the wormhole’s pull was useless, Buttermouse thought, so he braced himself for an uncertain landing on the other side – he hoped. As he faded from the real world’s view, all visible light vanished with him. Truly, the force was so great that even light could not escape.

 Then, as quickly as the wormhole appeared, dispelling all myths about black holes or wormholes in space-time, the unpredictable marvel spat Buttermouse out the other side into what must have been another dimension, or perhaps another time in history.

 As the rodent regained his balance and orientation in the new world, an image began to take shape over the distant, foggy horizon. The closer Buttermouse flew to the figure, the clearer it became. Unfortunately, the clearness of vision was in direct proportion to an uneasy feeling creeping into his thoughts. There was something very strange about the object before him.

 A dark misty cloud hovering above the heights aided the deception, giving the air of a thing uncanny, unwholesome, and dangerous. But whatever the object was, Buttermouse had to find a place to rest his ears – lest he become fish food.

 The ocean phenomenon baffled Buttermouse’s fatigue-ridden intellect. He wondered if the strange cloud above the mysterious thing was a carrier of moisture. Often, the wind would drive away the mysterious cloud, only to be pushed or pulled back together with a howling of air that sounded like lost souls or demons.

 Buttermouse didn’t know what to do. “I must find a place to rest!” he said to himself. “I have to keep flying toward that thing in the water.”

 Swallowing his fears, he made a beeline for the mysterious thing, until finally, the vision before him became crystal clear. “It’s a pirate ship!” he shouted.

 The heyday of pirates was supposed to be a thing from the past, but when Buttermouse saw the Jolly Roger at the top of the ship’s mainmast, he thought to himself that he was either dreaming, or he had traveled back in time. But it made no difference – the ship was there.

 Only time would tell if he could survive life on board the Sails of Plunder!

Copyright © 2011 Steven R. White

All rights reserved.

1. Over Power your opponent.   If you can overpower your opponent, then do it!   Hit the big serve, get the short ball, stay in control of the point then hit the winner.    When NOT to do try this:  A. When you have two errors for every winner or more.  B. When your opponent is not phased by your power.  C. When your opponent loves the pace and counterpunches you. D. When the opponent is more powerful than you.

 2. Pressure your opponent into errors – Come to the net, move the opponent around on the court with shot combinations, deep short, side to side, high/low, fast/slow, much spin/less spin etc.    This is smarter than #1, but might take longer.  Do not do this, when you are playing someone who feeds of your creativity and then becomes more creative themselves.  Some players love to counterpunch against crafty players.  

 3. Disrupt the Rhythm of your opponent – Similar to #2, but with the intent of finding out what your opponents favorite ball is and never giving it to them.  I have seen many players with inferior technique and athleticism defeat stronger more technically proficient players by never hitting two shots the same and completely discombobulating them.   

 4. Take Time Away from your opponent – When they are at the net, lob.   Whenever they hit short, come to net.  If they are a baseliner only, bring them in on your terms.   If they love the net, bring them in on your terms.   When you intentionally hit very short and to the side, it brings the opponent forward in a zig zag pattern instead of coming straight in to the net, they also come in off balance if you hit short enough.

 5. Grind it out –  This is the WORST way to win. Sometimes you are off your game, and it all comes down to will to win.  Run everything down, hit it back the way it came or crosscourt, keep it deep as possible and just wait for your opponent to miss.   Of course, be sure not to throw in a bunch of errors, and you better be more fit than your opponent, because if you are not, then they will grind you out.  

P.S.  There must be more ways to win.

Footwork is important because your feet line you up for contact with the ball. It’s just that simple. The pros make the game look so easy because their footwork is so very good. They line up correctly for each shot over and over again without having to make uncoordinated body moves and stabs at the ball while trying to reach it like many lower level players do. They understand the importance of good footwork and let their feet do the work in bringing out successful play in themselves. They are able to “groove their strokes”, hitting similar shots over and over again, by lining up the ideal position to play each shot.

 Players wishing to advance their game should make a commitment to reach all balls on court. Your capacity to reach just one extra ball and send it back across the net could raise your game another notch. This may require you to get in shape because when you commit to reach all balls on court, you must be prepared to keep this up for an entire match.

 The first thing you can usually look for when stroking problems develop is slow moving feet. This is why so many professionals of the game train so hard to keep their tennis play at the highest level. They too have made a commitment to reach all balls on court and fully intend to uphold this commitment, no matter how many miles they have to run during the match they play.

This lesson is an excerpt from Bring Your Racquet: Tennis Basics for Kids

 www.kirkhouse.com/books/bring-your-racquet

 Amazon.com

• When giving instructions, speak clearly and slowly
• Try not to show fear – children can spot it a mile away
• Try to use vocabulary that they understand
• In order to get and maintain their attention, be excited
• Attention spans are short, so keep your instruction short
• Refrain from sharing negative thoughts
• When they do something right – tell them
• Try to be animated to show enthusiasm
• When you can, get down to eye level so they feel important
• Use repetition when delivering simple messages of instruction

It is up to you to see that the child actually learns. There are many ways to teach children. Although court time is a very good lesson and putting them on the court and allowing them to do the activity will teach them to some degree, they cannot learn effectively. We need to consider what we teach.

 For the younger players (5-7 years), we need to begin with the fundamental skills of running, jumping, and balance to create players with athletic skills. Reception skills including visual tracking, following the ball, and eye-hand coordination should also be included. As the players progress in skill and age, we can begin to include coordination skills that will enable the player to use the body in the most efficient manner. This includes the use of both sides of the body, the arms and legs in different ways, and eventually, an overall development of multiple skills.

 Now that you’ve learned a few things that will help you to teach your child certain elements in the game of tennis, it’s up to you to get him or her wanting to come back to the court. My advice to you is to make the practices as fun as possible.

 When teaching your player, movement and balance should be emphasized throughout the lesson. Try not to deliver too much information on technique. This will only confuse young players. Some simple guidelines and key teaching points are listed below: 

• Start by teaching them a ready position that is effective and comfortable to them.
• Use a ball as often as you can during your initial step of the lesson.
• Do fundamental activities before specific ones.
• Have the child practice moving in all directions.
• Teach the players how to move, don’t assume they already know.
• Don’t use the entire court for play.
• Teach to keep the head still and eyes focused on the ball.
• Teach good posture and control of the lower body.
• Teach them balance by lowering their center of gravity.
• Have them use their knees and joints to create stability.
• Form a wide base with the feet to create a good hitting stance.
• Coordinate the use of the arms and legs to help control the position of the upper body.
• Teach them to keep their shoulders level on all rotations and swings.
• When tossing balls for them to hit, start out tossing close to the body then progress their movement outward gradually.

www.kirkhouse.com/books/bring-your-racquet

 http://www.wishpublishing.com/tennis.htm Teaching Tennis: Protocol for Instructors

 The fiercest opponent you’ll probably ever face in tennis is a “bad attitude”. Tremendous abilities can be wasted when a bad attitude sets in. It can block out your desire to learn, destroy your ability to concentrate, and slowly break down your self-control. You could even say that your tennis future hangs in the balance when a poor attitude creeps into the picture. Think discouraging thoughts and you’ll be a discouraging player. Think encouraging thoughts and you will be an encouraged and motivated player. What you think about most often will form your attitude. So control what you let yourselfthink in order to develop and maintain a positive attitude.

 A winning attitude doesn’t mean you should become obsessed with “winning”. It is striving for your best effort and regularly playing up to your best potential. It is channeling all of your energies into the determination to be the best you can be. Many of the top players try to raise the level of their games with a little fist pump after winning an important point. It can work for you too.

 http://www.kirkhouse.com/Books/Bring-Your-Racquet

1980 Final – John McEnroe def. Bjorn Borg 7-6, 6-1, 6-7, 5-7, 6-4

“I want to be remembered as the greatest champion ever,” declared Bjorn Borg after he out-dueled John McEnroe in the thrilling 1980 Wimbledon final. Many experts considered the 1-6, 7-5, 6-3, 6-7, 8-6 smorgasbord of scintillating shot-making the greatest match ever. With his fifth straight Wimbledon crown seized soon after his fifth French Open title, the stoical Swede needed two more majors, the U.S. Open and the Australian Open (then played in December), to achieve a rare Grand Slam and his “greatest ever” ambition.

Borg and McEnroe have been forever linked after their two 1980 epic battles at Wimbledon and the US Open.

On the opening day of the U.S. Open, defending champion McEnroe said, “I just want to win the tournament, but if I knew beforehand that I’d win, I’d rather play Borg in the final. Say 22-20 in the fifth set.” Perhaps the irascible New Yorker should have been careful what he wished for since the tireless Borg had won his last 13 five-set matches. But pundits could also favor the sinistral McEnroe because lefthanders had captured the previous six men’s singles titles, and Borg had been frustrated in his previous eight tries to win the Open, losing six times to lefties.

This time, after a disastrous second set, Borg gamely fought back by whacking five clean winners in the third set tiebreaker and then grabbing the fourth set. Could McEnroe, who had outlasted Jimmy Connors in a grueling five-set, four-hour marathon the night before, finish off the fresher Borg and avenge his Wimbledon loss?

 Neither combatant matched their sublime Wimbledon performances. But Mac attacked relentlessly and intelligently to notch the crucial service break for 4-3 with a crosscourt backhand, and then served and volleyed with near perfection to finish a stretch in which he took 17 of 20 service points. Afterward, the exhausted McEnroe confided, “I felt my body would fall off.”

With his dream of a 1980 Grand Slam dashed, Borg skipped the Australian Open, which like the U.S. Open, he would never win.

1995 Final – Steffi Graf def. Monica Seles 7-6, 0-6, 6-3

Classic matches feature a riveting rivalry, star appeal, a premier event, contrasting playing styles and personalities, competitive balance and brilliant tennis. The 1995 U.S. Open women’s final offered these dynamic elements and even more drama because of the highly unusual circumstances.

In May 1993, Monica Seles had won seven of the previous nine Grand Slam events and dethroned arch-rival Steffi Graf before a deranged Graf fan stabbed her in the back during a changeover at a Hamburg tournament. The once-innocent and exuberant Seles underwent 120 sessions with a psychotherapist and left the pro tour for 27 months. While Seles had finally escaped her traumatic past, star-crossed Graf was trying to forget her troubled present, namely the imprisonment of her father on tax evasion charges.

In August 1995, the hyper-competitive Seles came back with a vengeance. She routed five opponents to capture the Canadian Open, and then at the U.S. Open blitzed No. 10-ranked Anke Huber, No. 4 Jana Novotna and No. 3 Conchita Martinez. That set up the most eagerly anticipated women’s showdown since the flamboyant Suzanne Lenglen, an idol of Seles, beat Helen Wills in 1926.

The “dream final” more than lived up to those great expectations. Powered by passion and pride, the two queens fought ferociously. Graf, renowned for her potent forehand and athleticism, staved off a set point to grab the sensationally played opening set, but Seles’ double-handed groundstrokes steamrolled Graf in the second set. Graf then outplayed her exhausted archrival to finish the 7-6, 0-6, 6-3 masterpiece that Graf called “the biggest win I’ve ever achieved.” After her victory Graf burst into tears, and the tournament’s most emotional moment came when the two champions embraced at the net.

Graf’s 18th career Grand Slam singles title tied her with Martina Navratilova and Chris Evert and made her the first player—male or female—to win four singles titles at each of the four Slam tournaments, an extraordinary achievement. For Seles, simply being back, rather than winning, meant everything. She had exorcised the demons that had so long beset her and declared she was “ecstatical.”

2001 Quarters – Pete Sampras def. Andre Agassi 6-7, 7-6, 7-6, 7-6

The best men’s rivalry of the 1990s ironically showcased its best match in 2001 when all-time greats Pete Sampras and Andre Agassi were in their 30s. Before their epic, Sampras said, “Andre brings out the best in me.” Indeed, Agassi often did, especially at the U.S. Open where Sampras whipped him in the 1990, 1995 and 2002 finals.

Pete Sampras raises up in celebration after beating arch rival Andre Agassi in perhaps the greatest match in US Open history.

In their 32nd clash, an astonishing array of thunderous serves, dazzling returns, pinpoint passing shots, and athletic volleying, as well as fierce battling for every point, elicited roars of appreciation and several standing ovations from the electrified Arthur Ashe Stadium crowd of 22,911. All told, Sampras and Agassi belted an amazing 178 winners (out of 338 points) against only 59 unforced errors.

In the first of four tiebreakers, Sampras built a 6-3 lead but couldn’t convert three set points–thanks to an Agassi winner and two Sampras unforced errors–and eventually succumbed 9-7. Agassi, a supreme frontrunner, had amassed a 49-1 Open record after winning the first set, but Sampras regained his composure quickly.

Incredibly, neither player lost his serve during the 3-hour, 33-minute duel, so the outcome hinged on tiebreakers. Serve-volleyer Sampras constantly pressured baseliner Agassi with 137 net approaches (versus only 21 for Agassi) and captured the next two tiebreakers 7-2.

Before the fourth set tiebreaker, the crowd gave both valiant warriors a standing ovation, which Agassi later called “chilling … I’ve never experienced that.” Down 2-3 in the breaker, Sampras whacked 116 and 128 mph aces to lead 4-3, but Agassi lost the most crucial point when he blew an easy backhand to fall behind 6-3. Even though Agassi survived two championship points on Sampras’ serve, the end came at 12:14 a.m. when he netted a forehand.

“The atmosphere was phenomenal. Awesome. I thought going into the match, this could be a classic. And I think tonight it was,” Sampras said afterward. CBS analyst John McEnroe, a four-time U.S. Open titlist, raved, “It was one of the most phenomenal matches I’ve been a part of in all my years of broadcasting this great game.”

1977 Final – Guillermo Vilas def. Jimmy Connors 2-6, 6-3, 7-6, 6-0

The last U.S. Open staged at the historic West Side Tennis Club in Forest Hills and on clay was the most bizarre because of all the firsts. The point penalty system and a 42-year-old transsexual, Renee Richards, made Open debuts along with an anti-apartheid demonstration and the notorious double-strung “spaghetti” racket that was soon banned. A spectator was mysteriously shot by an unknown sniper, another slashed his wrists, the women’s locker room had a bomb scare, and fans, angered by a program change, threw rubbish on the court.

In the last US Open played at the historic West Side Tennis Club in Forest Hill (and the last one played on clay), Guillermo Vilas defeated Jimmy Connors for his only US Open win.

Jimmy Connors, the brash rebel from the wrong side of the tracks in Belleville, Illinois, usually relished controversy and chaos. But it would prove his undoing at this Open. Guillermo Vilas ignored the distractions by talking only to his coach, Ion Tiriac, saying, “I must concentrate completely or I go crazy.”

While both were 25-year-old lefthanders, the similarity ended there. Defending champion Connors blasted flat groundstrokes, especially with his deadly two-handed backhand, contrasting sharply with the handsome Argentine’s heavy topspin style. Vilas, the introspective French Open champion who wrote poetry, had beaten 41 straight clay-court opponents, but Connors hit through the gusting winds and overpowered him 6-2 in the opening set.

After Vilas overcame 0-30 and 0-40 deficits to save his serve in the first and third games of the second set, he relaxed and began turning the match around. He shrewdly sliced backhands to exploit Connors’ vulnerability on low forehands. Showing mental toughness again in the third set, Vilas rebounded from 1-4, 30-40 and saved two set points serving at 4-5, 15-40.

When Vilas, buoyed by hundreds of boisterous Latin American supporters, took the pivotal third-set tiebreaker, Connors looked demoralized and tired. Then the muscular Vilas, renowned for his eight-hour training sessions, stepped up his attack—highlighted by dazzling backhand passing shots—and routed Connors 6-0 in the final set.

The fourth championship point ended the final controversially. The noise of the crowd drowned out the call of a linesman who seemed to hesitate at first. A confused Connors thought his forehand had been good. It wasn’t. Vilas verified the call. Infuriated, Connors skipped the awards ceremony and quickly tried to escape a berserk crowd overrunning the court. While some of Vilas’ overjoyed fans carried him on their shoulders around the arena, an angry Connors punched out a fan during his ignominious getaway.

2010 Semifinals – Novak Djokovic def. Roger Federer 5-7, 6-1, 5-7, 6-2, 7-5

Many observers believe Novak Djokovic’s Davis Cup Final heroics last December became the springboard for his phenomenal 2011. But the more likely turning point in his career can be traced to the 2010 U.S. Open. After Djokovic demolished Gael Monfils in the quarterfinals, ESPN analyst Darren Cahill commented: “Djokovic and Murray have been the two Robins to the two Batmans, Nadal and Federer. So it’s about time Novak put on his own cape and came through and won it [the Open]. He can do it. He’s playing much better. He has the belief now.”

Djokovic would need that belief because he hadn’t beaten a top 10 player all year and The Mighty Fed had easily ousted him the past three years at Flushing Meadows. He would also need to play aggressively, particularly on crucial points, and pressure Federer’s second serve and vulnerable backhand. The 23-year-old Serb did all of that plus served better than he had all season and played superb defense. He also executed a smart but potentially dangerous tactic.

In the spectacular deciding set, Djokovic frequently traded powerful forehands mano a mano with Federer, like two heavyweight boxers, even though the 29-year-old Swiss boasts the most formidable forehand in tennis history. The highly partisan crowd cheered loudly for Federer, and it looked like the five-time U.S. and 16-time Grand Slam champion would come through for them yet again.

But Djokovic, trailing 4-5, 15-40, courageously staved off two championship points with winners—a swinging forehand volley and a rocket forehand. Then he smacked two more forehand winners to hold for 5-all. Ironically, Djokovic forced Federer into seven forehand errors in the last two games to pull off the upset.

Afterward, an ecstatic Djokovic said, “It’s one of those matches that you will remember for the rest of your life, not just because you won against one of the best players that ever played this game, but coming back from match points down and playing good tennis to win in the end. I am very proud of myself.”

Why “10 and Under Tennis” instead of “QuickStart Tennis”?

When the USTA launched the QuickStart Tennis Play Format in 2008, the name QuickStart was chosen to convey that this new play format was a quick and easy way for kids to start playing tennis. After a few years of experience and feedback, we’ve discovered the following:

§           For parents with young kids who already play tennis, the “QuickStart” name could have a negative connotation – that it’s not “real” tennis or refers to just beginner tennis.

§           Whether a 10 and under player is a beginner or an advanced player, they should be playing on smaller courts with lower-bouncing, slower-moving balls and lighter, shorter racquets. These specifications will help kids at all levels improve their skill development.

§           QuickStart Tennis refers to a play format that can be used by anyone at any age to learn tennis more quickly – whether they are 6 years old, 12 years old or 70 years old. QuickStart Tennis is not a brand name that denotes “tennis for kids”.

With the 2012 rule change for kids 10 and under requiring tournament play on smaller courts with lower-bouncing, slower-moving balls and lighter, shorter racquets, it was an opportune time to change the name for this audience. Listening to your feedback, we decided on the name “10 and Under Tennis” to leverage the promotion of the rule change and to position this as “real tennis” for all kids under 10, whether they are beginners or advanced players.

What?

10 and Under Tennis using the QuickStart Tennis play format takes a new and better approach to introducing kids to the game. Balls are lower in compression; they bounce lower and don’t move as fast so they are easier to hit. This allows kids time to get to the ball and helps them develop optimal swing patterns. Racquets are sized for small hands, and the courts are smaller and easier to cover. All that equals more fun and less frustration. Full sized courts can be reconfigured to accommodate up to six 36-foot courts, so instead of waiting in line, kids can spend their time playing.

Why?

Kids learn to play baseball by first playing t-ball; they use shorter, lighter bats and larger, softer balls. Kids learning basketball shoot baskets with kid-sized balls and lowered backboards; they play soccer on smaller fields with smaller goals. But when it comes to learning tennis, we still make children play on adult-sized courts with yellow balls and adult-sized racquets. This is asking a lot of a kid who could be 2/3 the size of an adult.

But tennis has finally caught up.

10 and Under Tennis follows the same logic as other youth sports like baseball or soccer: kid-sized courts and kid-sized equipment. The benefits are immediate. Within an hour kids are rallying, having fun and psyched for more. They’re playing real tennis and having real fun. And isn’t that the point?

How?

There are many ways to get your kids involved in a 10 and Under Tennis program. By clicking on the Parents link on the right you can find valuable tips and information in our Parents’ Guide, learn about Community Programs near you, find organizers and facilities teaching 10 and Under Tennis, find programs and leagues – even information on becoming a coach yourself. 

Where?

The basic philosophy behind 10 and Under Tennis, using the QuickStart Tennis play format, is for kids to have fun learning and playing tennis. Besides being introduced to the sport through tennis programs, there are three ways for kids to get into and enjoy the game.

The first is spontaneous play. This can be as simple as hitting off a wall outside, and practicing hand-eye coordination and getting a feel for the ball and racquet. Courts can be set up at home in driveways or backyards – no different than the way kids play catch or shoot baskets.

Second is some kind of supervised play with parents or organizers getting a group of young players at local courts just as they would any other youth sport.

Lastly is structured play within an organized 10 and Under Tennis program.

The common theme with each of these types of play? Play. Get kids playing with the right racquets and low compression balls, and let them have fun.