She’s pictured with the guy she loves now—whom she’s loved for a while, he presumes. The guy is tall, has dark hair, is enrolled at Harvard Law, was born Jewish. Everything he is not. He imagines it’s a recent photo. She looks up to the new guy, a champagne glass in her hand. The little black dress every girl needs. She’s sporting heels. These days she’s able to wear heels, something she couldn’t do with him. He’s glad to see her in heels, happy.
One touch. Then turn. Then open the defense. Then, gliding down your private corridor as the backs go screaming out, you slide in slow motion as you score, again, in the heroic present tense. As Cantona says, that’s what it’s all about. Like boxing and the blues it’s the poor man’s art. It’s where the millions possess a gift as vital as it is vicarious. While Fergie chews and struts like Bonaparte, we see the pride of London be stiffed and the victory falls on the Republic, us.
But Eric, what about that Monsieur Hyde? Your second half who shows his studs, his fangs, his disdain? Who gets sent off then nearly sent inside? The scene at Selhurst where you Ty Cobb-ed a hooligan named Simmons?
Leave thuggery to thugs and use your brain.
Now choose the stop before the ball arrives. Now chest it, tee it, volley from the D. Now Wimbledon, like extras, simply look. And even those doubters, detractors must agree: this luxury is why the game survives: this poetry that steps outside the book.