The Curious Incident of the Silent Tournament

O Scotland! Scotland!
The Tragedy of Macbeth IV, 3

Where Scotland?
The Comedy of Errors III, 2

 

 

The “breakup of Britain must now be considered a realistic possibility,” according to James Kirkup of the Daily Telegraph, because in the United Kingdom’s May 7 general election the Scottish Nationalist Party swept all but three of Scotland’s parliamentary seats—an event that took nearly the entire British establishment by surprise. But the 7 May results are really two surprising events: as the New York Times reported, in the United Kingdom as a whole the Conservative Party won “an unexpected majority in what was supposed to be a down-to-the-wire election, proving polls and pundits wrong.” The two victories have made both Scotland and England virtually one-party states—which perhaps paradoxically may be a sign that the British state has taken a first step to a republic. At least, if golf’s British Open is a guide.

“Who’s he when he’s at home?” is a British idiom, meaning, “what’s he like when he’s among friends, when nobody’s watching?” Admittedly, the idea that a golf tournament might tell you something useful about an important thing like a national election is odd at best. But scholar Benedict Anderson’s Imagined Communities: Reflections on the Origins and Spread of Nationalism shows how the claim might be justified: he argues that the “generation of the impersonal will” necessary to nations is “better sought in … diurnal regularities” than in the “rare and moveable feast” of an election. In other words, consulting official papers, census returns, election results and economic data and so forth are like visiting someone’s front parlor on Sunday: you’ll get a story, but only the most sanitized version. But by looking at something like the British Open it might be possible to get a sense of what Britain really thinks.

Anderson’s method, which teaches paying attention to small details, is after all rewarded by the very results of the 7 May election itself: reading the granular measurements of incomes, polling, and past results is what the official press did leading up to Election Day—just in time to receive the proverbial pie in the face. The Scottish Nationalist Party’s triumph is a classic example of an underdog’s victory—and it’s the definition of a David vs. Goliath battle that David’s win should be a surprise. Just so, when scholar Tom Nairn published The Break-up of Britain: Crisis and Neo-nationalism in 1977, few would have thought that Scottish nationalists would ever become the majority party in Scotland: at the time, Scottish electoral politics were dominated by the Labour Party, as they had been since the 1960s. Until this past election, Labour was still the top dog in Scottish politics—and then they weren’t.

Nevertheless, the idea that the SNP’s triumph might threaten the very integrity of the United Kingdom might, to the outsider, appear to be the apocalyptic hyperbole designed to sell newspapers. Scotland constitutes less than ten percent of the United Kingdom’s population; what happens there arguably can hardly affect much of the rest of the country. But that assumption would be false, as a scrutiny of the British Open might show.

From Anderson’s perspective, the fact that the golf tournament is far removed from the game of electoral politics is just what makes it worth examining—in a manner also suggestive of Arthur Conan Doyle’s greatest creation. Like the dog in “The Adventure of Silver Blaze”—the dog that, famously, didn’t bark—the silence of the R & A (the organization that has run the golf tournament since 2004), is after all a bit curious, even on its own terms. The R & A has a vested interest in maintaining the Act of Union that binds the United Kingdom together because the possibility of an independent Scotland presents, at minimum, a practical problem.

The group’s headquarters are in St. Andrews, first of all, but more importantly, of the nine golf courses in the Open Championship’s current “rota,” five lie north of Berwick-upon-Tweed: the Old Course at St. Andrews (the “Home of Golf), Muirfield, Royal Troon, Carnoustie, and the Ailsa Course at Turnberry, within sight of Ailsa Craig. But most of the Open’s fans lie south of the Tweed; logistically, if for no other reason, an independent Scotland would be a great complication for the R & A.

The R & A’s silence then is suggestive—at the very least, it reveals something about how how difficult it might be psychologically to think about an independent Scotland. For example, consider both the name of the tournament—the “Open Championship”—and how the winner of each year’s tournament is introduced following victory: the “champion golfer of the year.” Despite name of the tournament in America—the “British Open”—neither of these make any reference to Great Britain as a nation; the organizers of the golf tournament thus might appear to be philosophically opposed to nationalism.

In that view, nationalism is “the pathology of modern developmental history, as inescapable of ‘neurosis’ in the individual,” as Tom Nairn puts it. It’s the view that reads nationalism as a slap in the face to Enlightenment, which proclaims, as British academic Terry Eagleton says, “the abstract universal right of all to be free” regardless of the claims of nationality or other conceptual divisions of identity like class or race or gender. Hence, the name of the tournament and the title of the R & A’s champion could be a read as a sign that the R & A heroically refuses nationalism in the name of universal humanity.

Yet Anderson gives us reason to doubt that sanguine view. The name of the old “Union of Soviet Socialist Republics,” Anderson remarks for instance, billed itself as “the precursor” of an “internationalist order” because it refused to acknowledge nationality in its name—a style it shared with Britain’s current name. But where the Soviet Union’s name was meant to point to a post-nationalist future of a universal humanity, the name of the “United Kingdom of Great Britain and Northern Ireland” is the name of a “prenational dynastic state.” Where the name of the Soviet Union bid towards a future beyond the nation-state, the name of the United Kingdom hearkens back before the nation-state.

The name in other words reflects the fact that Great Britain is ruled by an anachronistic form of government: a kingdom, a style of government virtually unique in the contemporary world. Whereas, as Benedict says, in “the modern conception, state sovereignty is fully, flatly, and evenly operative over each square centimetre of a legally demarcated territory,” a kingdom “revolves around a high centre”: the monarch, who may add or lose new territories as war and marriage might permit.

A kingdom’s borders are thus “open” to new territory in a way that a republic’s are not: Henry V, of Shakespeare’s famous play, ruled nearly as far east as Paris, and on a historical timescale it wasn’t that long ago that a resident of Calais was as much an “Englishman” as any Londoner. In those days, as Anderson says, “borders were porous and indistinct.” The “openness” of the Open may not therefore reflect a pious refusal of nationalism so much as it is a studied ignorance of nationalism’s terms—which is to say, it would reflect how most Englishmen (and, presumably, women) think about their country. The apparent universality of the name of the Open Championship may thus reflect more the atavistic qualities of the United Kingdom than a utopian vision of the future.

For the R & A to take a position regarding Scottish secession would require revisiting the name of the tournament, which would require rethinking the assumptions behind the name—and doing that would lead to a confrontation with the monarchy, because as Anderson demonstrates, the question of Scotland is necessarily a question of the monarchy. That is why, for example, he says that “[Tom] Nairn is certainly correct in describing the 1707 Act of Union between England and Scotland as a ‘patrician bargain.’” What Anderson means is that it was the “conception of a United Kingdom [that] was surely the crucial mediating element that made the deal possible”—in other words, only in a world where lands and peoples are no more than pieces on a chessboard can such deals be struck.

One has only to imagine Paris today selling Normandy to London to see how uniting England and Scotland would be “impossible,” as Nairn puts it, once “the age of democratic nationalism had arrived.” Many witnesses at the time testified to the Act of Union’s unpopularity with the Scottish people: one negotiator on the Scottish side—a pro-Union man to boot—wrote that he thought the Act was “contrary to the inclinations of at least three-fourths of the Kingdom.” Only under a monarchy could such a deal have been possible—again, another way to put the matter is to imagine the United States selling Louisiana back to France, or California back to Mexico.

It isn’t any wonder then why the R & A would refuse to bark; or to put it better, avoid discussing the matter. To discuss Scottish independence is to discuss how Scotland lost its independence, and to discuss that is necessarily to discuss the monarchy. To bring up one subject is to bring up, sooner or later, the other. Reversing the polarity, however, solves the problem of the “double event” of the 7 May general election: if Scottish nationalism threatens the monarchy by threatening the premises it relies upon, then why England simultaneously elected the most pro-aristocracy party isn’t much of a mystery—as Holmes remarks about coincidence in Sherlock, the most recent television adaptation of his adventures, the “universe is rarely so lazy.”

Advertisements

Great Lengths

‘A first class hole must have the subtleties and strategic problems which are difficult to understand, and are therefore extremely likely to be condemned at first sight even by the best of players.’
Alister MacKenzieThe Spirit of St. Andrews (1933; pub. 1995)

Both men were over two hundred yards from the hole when we arrived at their golf balls, far to the left side of Streamsong Red’s thirteenth. My player, though not as skilled a golfer as his companion, was slightly closer to the green; the other player was further away. His caddie counseled him to take a long club, and play up to the right of the dune fronting the thirteenth’s green. The man did, hitting a heroic shot that flew over the center fairway bunker, to the right of the dune. It left him with a short wedge into the green, only partially obscured by the massive dune. My player looked at me, presumably expecting me to counsel similarly. But while I told the other player, “good shot,” I was handing my guy a wedge.

My reasoning, had there been time to follow it at length, had much to do with a golf course nearly three thousand miles away: Riviera Country Club, outside Los Angeles. The thirteenth hole on Streamsong’s Red Course draws from that golf course on two distinct levels: in the first place, it is a short par five, designed to follow the long par four twelfth—a rehash of a trick the Coore and Crenshaw team had already used on the first and second hole of the same course: a short par five following a par four of nearly the same length. The artifice is inspired by the opening holes of Riviera, a course that begins with one of the easiest par fives in golf and is followed by one of the most difficult par fours. But the Red Course, and specifically the thirteenth, also draws much from the thought of Riviera’s architect, George Thomas.

“Each hole at Riviera,” reads the course’s review at the website, Golf Club Atlas, is a ‘how to’ of golf architecture.” One of these is the contrast between the first and the second holes: one of the easier par fives on tour (often not even requiring a driver to reach in two shots) followed by the course’s number one handicap hole. The idea is a kind of rhyme, where what happened on the previous hole matters in a way not often found in less sophisticated designs.

One way the first two holes at Riviera rhyme, for example, is by contrast of their greens: the first hole’s green is very wide, yet not very deep, while the second’s is the opposite. Hence, the one mitigates a shot that is the correct distance but is indifferently aimed, while the second mitigates the opposite kind of shot. Conversely, each also punishes the “wrong” sort of shot—the sort that might have been just the thing on the previous hole. It’s a subtle but far-reaching effect, one that can be hard to detect—unless you happen to read the scorecard.

A careful reading of any course’s scorecard can, in other words, reveal holes of extremely similar distances; the lesson Coore and Crenshaw, following Thomas, would impart is: “Pay attention when two holes of similar lengths have different par values.” The numbers are a clear signal to the careful golfer, because the choice of length is not haphazard; it is a sign that those two holes have a relation to each other. In the case of the thirteenth and the twelfth on Streamsong’s Red, each is—in part—a funhouse version of the other. Where one is downhill (the 12th) the other is uphill (the 13th), and where one offers a clear view of the green the other obscures it. But the dune of the thirteenth is not just a mirror; it is a razor.

It’s a razor because the thirteenth on the Red Course embodies George Thomas’ thought in an even more subtle sense. “The spirit of golf,” Thomas wrote in his Golf Architecture in America, of 1927, “is to dare a hazard, and by negotiating it reap a reward, while he who fears or declines the issue of the carry, has a longer or harder shot for his second.” Everything in golf revolves around that axis mundi; it is the turtle upon which the disc of the world, as the recently-deceased Terry Pratchett might have appreciated, rests. Proceed by one path, and others become unavailable—every choice, like Borges’ “Garden of Forking Paths,” is determined by previous choices.

One way the thirteenth does this is by separating the golfer from a clear view of the green until he nearly stands upon it. But it does not do that entirely: from the extreme left it’s possible to see the flag, if not the green itself. The trouble—and of course, as George Thomas’ maxim advertises, there is a trouble—is that, from the left, a player must traverse nearly a hundred yards of sand; not so from the right, where a smooth road of fairway grass chases gently to the green. The architecture appears to be designed, in Thomas’ sense, to reward a “spirited carry” over the dune.

Some version of that thought, presumably, is why my colleague counseled his player to play up the right side with the strong shot he hit. Yet two wedge shots of just more than a hundred yards would easily reach the green—a shot that even the worst golfer can usually manage. So, why have a player choose a club far more easily mishit, like a long iron, to a target that grants only a modest advantage? I didn’t ask the other caddie for his rationale, but I’d presume it has something to do with the conventions of golf, at least as played by Americans in the early 21st century—conventions that seem to ignore the second part of George Thomas’ remarks about the “spirit of golf.”

That second part is this: “yet the player who avoids the unwise effort gains an advantage over one who tries for more than in him lies and fails.” In other words the player who can pull off a difficult shot should get the edge over the player who can’t—but the player who knows his own game ought to get the edge over the player does not. In that sense, the thirteenth’s “spirited carry” over the dune rewards, as it should, the player with a possible eagle—but as few seem to realize, it does not reward a heroic second shot that does not finish on the green. In fact, it positively threatens the player who makes that choice.

Just out of sight from the fairway, concealed from anyone standing at a distance from the green, about eighty yards short and to the right of the green, Coore and Crenshaw dug a deep bunker that threatens any ball hit past the beginning of the tall dune, but not onto the green itself. In other words, to try to hit a long shot that does not attempt the green risks sticking the struck ball in that bunker. Needless to say, it is a difficult recovery that more or less takes par—and certainly birdie—off the table. The player who know he cannot carry the dune, and lays up in front of the dune, has a much easier time of it than the golfer who hits a long second shot that does not reach the green.

The answer for most American golfers, I’d say, is to hit it as far as possible anyway—even if there isn’t a reward at the other end. But that is the ruse of the Red’s thirteenth: sometimes it’s actually more “daring” to decline the dare. It may be worth noting that Thomas himself, at least as ventriloquized by the golf writer Geoff Shackelford, was rather pessimistic about that possibility of such a lesson ever being learned: “I sense that that the combination of technology, refined conditioning, the aerial game and the overall curiousity with fairness have combined to eliminate strategy,” says “Thomas” in an interview published in Golf Club Atlas, and these are signs, the great Californian concludes, of “a society willing to go to great lengths to avoid thought.” This may yet be unfair, however: the existence of the thirteenth at Streamsong’s Red is an argument to the contrary.

The World Forgetting

In August was the Jackal born;
The Rains came in September;
‘Now such a fearful flood as this,’
Says he, ‘I can’t remember!”
—Rudyard Kipling.
The Second Jungle Book. 1895.


“In the beginning,” wrote Pat Ward-Thomas, whose career as golf writer for the Guardian began in 1950, “it knew no architect but nature; it came into being by evolution rather than design, and on no other course is the hand of man less evident.” He was, obviously, speaking of the Old Course, at St. Andrews; the place where many say the game began and, it seems by the hysteria overtaking certain sectors of the golf world, is about to end. “I was horrified,” the golf architect Tom Doak—who is supervising the renovation of Medinah’s Course #1—recently wrote to the presidents of the American, Australian, and European societies of golf course architects, “to read of the changes proposed to the Old Course at St. Andrews.” The Old Course is aiming to beef up the course once again and Doak, for one, objects, on the grounds suggested by Ward-Thomas. But while Doak may be right to object, the reasons he gives for objecting are wrong.

Before getting to that, though, it needs to be established that there is some kind of hysteria. Luckily, Ian Poulter is involved. “I know lets draw a Moustache on the Mona Lisa” reads one of Poulter’s ungrammatical tweets (which is how you know it’s really from him). Another reads “if they make changes to the Old Course St Andrews they are insane.” I’d love to be able to reproduce the image here, but it’s worth remembering the look on Poulter’s face at Medinah during the late afternoon on Saturday. (Try here: http://www.cbssports.com/golf/blog/eye-on-golf/20408062/usa-10-europe-6-ian-poulter-goes-absolutely-crazy-to-give-europe-a-chance).

Instead of reproducing Poulter’s look, however, et’s look at the changes a bit more dispassionately. The R & A’s architect, Martin Hawtree, plans to work this winter on the second, seventh, eleventh, and seventeenth holes, while next winter working on the third, fourth, sixth, ninth, and fifteenth holes. The headline event seems to be the widening of the Road Hole Bunker—the infamous “Sands of Nakajima”—but most of the other work appears relatively innocuous: bringing the greenside bunkers a bit closer in on the second hole, for instance, or lowering a bit of the eleventh green to create a few more pin spots. According to the R & A, in short, all this seems just so many nips and tucks.

The reasons for the steps taken by the Royal and Ancient Golf Club of St. Andrews, the body responsible for the Old Course, are clear: Stephen Gallacher for instance, who won the Dunhill Links Championship at St. Andrews in 2004, told the Scotsman “I take it they don’t want 59 shot on it.” The increasing distances hit by the professionals requires, as it has worldwide, longer and tougher courses, and the Old Course is no longer judged to be invulnerable to the modern power game. Most of the changes appear, without seeing a detailed map, designed to force professionals to be a bit more precise, whether off the tee or approaching the green.

Doak however views all this as, quite literally, sacrilege: “I have felt,” he says in his letter, “for many years that the Old Course was sacred ground to golf architects.” He appeals to history: “It [the Old Course] has been untouched architecturally since 1920, and I believe that it should remain so.” In so saying, Doak casts his lot with Ward-Thomas’ view of the Old Course as the world’s only “natural” course: built, as they say, by sheep and the winds blowing off the North Sea. In this, Doak is not only just in some technical sense off, but spectacularly wrong. The Old Course has the “hand of man” all over it.

“We do not know exactly when or how the current layout of the Old Course at St. Andrews developed,” writes the anonymous author of Scottish Golf History at the eponymous website, but as it happens this is not true, as the author somewhat uneasily relays within the same sentence as the above: “by 1764 St. Andrews consisted of twelve holes, ten of which were played twice, making a round of twenty-two holes in all.” It was in that year that the Royal & Ancient (not yet known by that name) decided that the first four holes, “which were also the last four holes” were too short, and turned them into two holes instead. But this was only one of a long line of changes.

These days the Old Course is played in a counter-clockwise fashion: the nine “out” holes lie closest to the North Sea to the town’s east and the nine “in” holes lie just inland. But prior to the nineteenth century the Old Course played clockwise: since there were no separate tee boxes then, play proceeded from the eighteenth green to what is now the seventeenth green, and so on. That created, as it might be imagined, some issues: “Because the middle holes … were played in both directions, it meant that golfers might often be waiting, not just for the group in front to clear the green, as today, but also for a party playing in the opposite direction to do the same.” One can only suppose there were the occasional disagreements.

The Old Course, as it stands today, is the handiwork of one man: “Old” Tom Morris, the legendary four-time winner of the Open Championship (the British Open to us on the left-hand of the Atlantic), and father of another four-time winner (“Young” Tom Morris). “Old” Tom seemingly had a hand in half the courses built in the British Isles at the end of the nineteenth century and from his shop virtually all of the great players and designers of the following generation or so issued. It was Old Tom who decreed that the Old Course should be played counter-clockwise (or widdershins). It was he who built the first and eighteenth greens. And, maybe most interestingly at this time of year, he introduced the concept of mowing to golf. (“Golf was a winter game until the middle of the nineteenth century,” says Scottish Golf History, “when mechanical grass cutters allowed play in the summer as well.”)

In any case, any serious investigation will demonstrate not only that the Old Course wasn’t designed by “Nature” but that long after Old Tom had been buried in the town cemetery, the Old Course was still undergoing changes. New bunkers, for instance, were constructed in 1949, which is one reason why Peter Dawson, leader of the R & A, said that the course has been “largely” unaltered over its history in the press release regarding the changes: Dawson, knowing the real history of the course, knows it has been tweaked many times.

Doak and Poulter’s stance, in other words, is historically inaccurate. That isn’t really, though, what’s so bothersome about their position. It isn’t in the facts, but rather in their logic, that their argument is ultimately faulty. But to understand why requires knowing something about a human activity whose origins also lie in Scotland; more specifically, just south of the Grampian Mountains.

That’s where Charles Lyell was born in 1797, within sight of the Highlands. He grew to become a lawyer, but it is for his book The Principles of Geology that he is best-known for today. And the reason why he is known for that book is because it expounded Lyell’s contention that “the present is the key to the past”: what Lyell argued was that it is by examining what happens today that geologists can learn about what happened to the earth ages ago, not by consulting religious books for signs of supernatural intervention.

What Lyell taught, in other words, is that in order to investigate the past the researcher should presume that processes existing today also existed then; that there wasn’t any sharp break between the present and the past. But Doak and Poulter’s argument necessarily implies a break with the past: if we should know so much regarding the changes in the Old Course since the nineteenth century, why should we presume that—prior to the intervention of “Old” Tom—the course, as Ward-Thomas put it, “knew no architect but nature?”

What Doak and Poulter’s argument rests on, in other words, isn’t an assertion about the superiority of God and/or Nature over Man, but rather on the superiority of “Old” Tom Morris as opposed to all other golf architects before or since. Which, it must be pointed out, is entirely arguable: as mentioned, at times it seems that Morris had a hand in half the golf courses in Britain. Still, there’s a considerable difference between chalking up a design to the hand of the Nature (Or the wanderings of sheep) and a particular man. Doak certainly may argue that Morris’ conception of the Old Course ought to be preserved—but he’s wrong to suggest it might be flouting the Divine Will to tinker with it.

Hallow This Ground

“Country clubs and cemeteries are the biggest wasters of prime real estate!”
—Al Czervik (Rodney Dangerfield)
Caddyshack, 1980



As I write it’s been a month since the Ryder Cup—it’s Halloween in fact—and I’ve been thinking about the thirteenth hole. The back tee on the thirteenth hole on Medinah’s Course Three is about a hundred yards behind the most forward tee-box on the par-three hole, and perhaps fifteen feet higher; during the Cup, viewers often witnessed Michael Jordan lying on the grass next to that tee, watching the players send their shots soaring through the slot in the trees and out over Lake Khadijah where, for the first time, the golf ball is exposed to whatever wind is there. It’s one of the most photogenic spots on Medinah’s property: while the first tee is a popular spot, the reigning photographic champion of Medinah’s Course Three is the back tee on the thirteenth hole. There are, it seems, a number of people who think they know why.

The thirteenth, for those who haven’t been there, is a very long three-par hole: two hundred and fifty yards long, give or take, and the tee shot has to carry part of Medinah’s Lake Khadijah (named after Muhammad’s wife) in order to reach the green. Most amateurs are content to take a picture from the height, then climb down to a more comfortable elevation—their cameras, after all, usually have more chance of capturing the green than their clubs do. It’s at this point, as a writer named Steve Sailer might put it, where the Anglo-Irish writer Edmund Burke (chiefly remembered as being a member of the British Parliament not unfriendly to the American Revolution, who later was an enemy of the French one), comes in.

Burke, to those with uneasy educations, first came to prominence via a book about the distinction between the beautiful and what he called the sublime. In an essay entitled, “From Bauhaus to the Golf Course: The Rise, Fall, and Revival of Golf Course Architecture,” Sailer notes that Burke’s distinction fits golf courses quite well, because while for Burke the “beautiful is … meadows, valleys, slow moving streams, grassland intermingled with copses of trees, the whole English country estate shtick,” the “sublime is nature so magnificent that it induces the feeling of terror because it could kill you, such as by falling off a mountain or into a gorge.” Or at least, the golf course is “the mock sublime, where you are in danger of losing not your life, but your mis-hit golf ball into a water hazard or ravine” or such.

The thirteenth is a good example of the “mock sublime”; while it’s true that no one is likely to die by falling off the tee, it is true that a great many hopes have been dashed, or at least threatened, there. Sam Snead, who had four runner-up finishes in the US Open over his career, missed the green during the final round of the 1949 edition, made bogey—and missed a playoff with Cary Middlecoff by a stroke. Ben Crenshaw saw his chances to get into the playoff at the 1975 US Open dowsed in the lake. In 1999 Tiger Woods, like Snead fifty years before, missed the green in the final round and it led to a double bogie—though, while Tiger’s over-par score allowed Sergio Garcia’s dramatic shot from behind a tree on the sixteenth hole to matter, it didn’t end up costing him the tournament.

At any rate, at times I’ll find myself behind somebody’s iPhone taking a picture of the foursome on that tee, looking down towards the distant flag. People like Sailer are dissatisfied by answering the question, “Why?” with invocations of past disasters or the musings of 18th century philosophers. For Sailer and the rest it seems that a Harvard biologist has produced just the right balm for this intellectual itch. Sailer himself notes the source of that balm in his essay, but it’s also been mentioned by David Owen—author of The Chosen One (about Tiger Woods) and a writer for the New Yorker among other places—in his blog.

Owen has been reading the biologist Edward O. Wilson’s recent book, The Social Conquest of the Earth, and in it the esteemed Harvard sociobiologist claims that human beings desire three items in their surroundings: they “want to be on a height looking down, they prefer open savanna-like terrain with scattered trees and copses, and they want to be close to a body of water, such as a river, lake, or ocean.” The reason for these three desires is, Owen says that Wilson says, because of an “‘innate affiliation’ that humans feel with landscapes that resemble ‘those environments in which our species evolved over millions of years in Africa.’” An affiliation that, surely, is satisfied by the heights of the back tee on the thirteenth hole; QED.

All of it sounds quite tidy as an explanation. People who think like this, however, might consider Sam Snead’s remark at a major championship contested only three years before the contest at Medinah. As his train pulled into town for the 1946 Open Championship (the proper name for the British Open), Snead infamously remarked that St. Andrews’ Old Course—the one that’s had golfers on it since the fifteenth century—looked like “an old, abandoned golf course.” (Unlike Medinah three years later, and despite his remark, Snead won the tournament.) At first look, Snead’s comment sounds like the same kind of humorous remark made by the “hillbilly” who once asked his agent how his photo got into a New York paper “when I ain’t never been there.” (Snead said later that he was just pulling legs.) But what Snead said isn’t just that.

It’s also a marker of time’s passage: how the look of St. Andrews had, by the 1940s, stopped being synonymous with “golf course.” By then, “golf course” meant something different. Not long before, that is, Snead’s comment would not have been understandable. “The chosen home of golf, its ‘most loved abode,’” wrote the writer and artist Garden Grant Smith in The World of Golf in 1898, “is the links, or common land, which is found by the seashore.” As John Paul Newport wrote in the Wall Street Journal about St. Andrews in 2010, links courses were built on “coastal waste land used for golf initially because it was unsuitable for farming.” And what’s most noticeable, or perhaps rather unnoticeable, about links golf courses as opposed to other kinds of golf courses is just what links courses don’t have: trees.

If trees could grow on that land, in other words, Scotsmen would have farmed it. So no true links course has any trees on it, which is how all golf courses looked—until the end of the nineteenth century. The course whose building signaled that shift was Willie Park, Jr.’s design of Sunningdale’s “Old Course” (it wasn’t called the Old Course when it was opened, of course) in 1901. The construction of Sunningdale’s first course had such an impact in part because of who its designer was: in addition to winning the Open twice himself, in 1887 and 1889, Park was the son of Willie Park, Sr., who not only had won the first Open Championship ever held, at Prestwick in 1860, but then won it again three more times. Junior’s uncle, Mungo Park, who is not to be confused with the explorer of the same name, also won the Open, in 1874.

Whatever Park did, in other words, came pretty close to defining what golf was: imagine the kind of authority Gary Nicklaus would have if in addition to his dad’s victories, he’d won the US Open twice, and so did one of his brothers. Anyway, according to Wikipedia’s entry on Sunningdale Golf Club Park’s design was “set in a heathland area, with sandy subsoil amid mixed treed foliage,” and was “among the first successful courses located away from the seaside, as many people had thought at the time that turf would not grow well in such regions.” The success of Sunningdale and Park’s Huntercombe—also opened in 1901 and where, later, James Bond would own a 9 handicap—proved to the traditionalists that golf could be played away from the sea.

Park’s later designs, like Olympia Field’s North course, further demonstrated that golf courses could be designed with trees on them. In retrospect, of course, that move would appear inevitable: as Garden Grant Smith observed in 1898, “we cannot all live by the seaside, and as we must apparently all play golf, we must take it where and how we can.” If proximity to the ocean was necessary to the game, it would still be a curious Scottish custom and not a worldwide sport.

It’s hard to think, then, that somehow golf is popular because it replicates the look of a landscape that, surely, only a small percentage of human beings ever experienced: the landscape of some percentage of Africa’s vastness. Consider, for instance, the description offered in 1865 by a Scotsman named William Saunders about a project he was working on: “The disposition of trees and shrubs is such as will ultimately produce a considerable degree of landscape effect” by working together with the “spaces of lawn provided” to “form vistas … showing … prominent points.” The effect aimed for by Saunders, in other words, sounds similar to that described by Wilson: grassy lawns interrupted here and there by copses of trees, arranged so as to open up what Saunders calls a “pleasure ground effect.” Saunders’ project, in short, sounds very like a modern golf course—and support for Wilson’s theory.

Yet what Saunders was describing was not a new golf course, but rather the design for a new kind of park: the national cemetery at Gettysburg, built in the aftermath of the great battle. I found Saunders’ remarks contained in a book entitled Lincoln at Gettysburg, and the book’s author, Garry Wills, takes pains to trace the connections between what ultimately got constructed in that Pennsylvania town and its forebears. The American source for the design of the Gettysburg burial ground, Wills says, was a cemetery built outside of Boston in 1831. Called Mount Auburn, it was it seems a place so well-known in the nineteenth-century that it even introduced the word “cemetery”—a word whose origin is Greek—to American English.

Like that of its Pennsylvania progeny a generation later, Mount Auburn would consist of “shady groves in the neighborhood of murmuring streams and merry fountains,” as Justice Story of the United States Supreme Court would say in a speech at Mount Auburn’s opening. These new places were to be unlike the churchyard, the former place of American burials; rather than urban, these places would be rural: “an escape from the theological gloom of churchyards, a return to nature,” as Wills says.

Mount Auburn, in turn, had its genesis in Pére Lachaise, the cemetery in Paris now best known to Americans as the final resting place of Jim Morrison, leader of the American band the Doors. Opened in 1804, Pére Lachaise was meant to be an alternative to the crowded churchyards of Paris; “outside the precincts of the city,” as the place’s Wikipedia entry reads. Alexandre Brongniart, the cemetery’s architect, imagined “an English garden mingled with a contemplation place,” as one website describes it. And Pére Lachaise was meant to supersede the old churchyards in another way as well: “Every citizen has the right to be buried regardless of race or religion,” declared Napoleon Bonaparte on the occasion of the cemetery’s opening—a line with an especial resonance in the context of Gettysburg.

That resonance, in fact, might intimate that those who wish to trace golf’s attraction back to Africa have other motives in mind. “In the US,” writes David Givens—director of the Center for Nonverbal Studies—in Psychology Today, “according to Golf magazine, ninety-eight percent of CEOs play golf.” According to Givens, golf’s centrality to modern American business culture is by no means arbitrary. “Stalking through grassy fields in close-knit, face-to-face groups, sticks in hand,” Givens says, “business people enjoy the same concentration, competition, and camaraderie their ancestors once experienced in Africa.” In other words, golf is popular because it is a lot like hunting a wildebeest.

“On the geological time scale,” writes John McPhee in Annals of the Former World, “a human lifetime is reduced to a brevity that is too inhibiting to think about deep time”—sometimes human beings like to castigate themselves for not thinking sufficiently long term. But it’s also wise, perhaps, not to follow all leads down to the rabbit hole of deep time’s abyss: this notion of golf’s appeal doesn’t do a great deal to explain why the golf course only began to resemble the African plain—if it has—within the past century, nor does it particularly explain why golf courses should resemble nineteenth-century cemeteries.

To believe Wilson and his followers, that is, we would have to believe not only that golf courses are more like Kenya than they are like Pennsylvania, but also that somehow those infinitely tiny bits of plasma known DNA somehow contains within it memories of an African past, and that those bits somehow trump the ideas championed by Napoleon and Lincoln—and those ideas are, perhaps, at least as plausible as the idea that a player’s golf clubs, and not just his cell phone’s camera, can capture the green from the back tee at the thirteenth hole.

Fitzgerald and McIlroy Are NOT Dead—Yet

Guildenstern: Good my lord, vouchsafe me a word with you.
Hamlet III, 2

There’s a legendary looper I know somewhat who works mostly on the LPGA—but also has worked at Riviera and various other places—named Mike Troublefield. I last ran into him some years ago at Lochinvar, outside of Houston, Texas (where Butch Harmon spent some time before becoming guru to the stars). When I first met Troublefield, while I was working an LPGA tournament at Stonebridge outside of Chicago, he introduced me to the concept of the “yaddie”: a caddie who, no matter the circumstance, just says “yeah” to whatever nonsensical shot his player wants to hit. In Troublefield’s estimation, which is now mine, the worth of a caddie is shown by his willingness to say, at least once in a while, “no” to his player. It’s a point I’ve been thinking about this summer because of the recent focus on elite players’ caddies: not merely Steve Williams, but also through the rather lesser-known controversy over Rory McIlroy’s caddie, J.P. Fitzgerald.

During the Irish Open last month, McIlroy lost three shots during the first day of the tournament to shoot 70, which is a respectable score, but it caused an American ex-pro-turned-commentator named Jay Townsend to go into full-blown meltdown mode: Townsend said, via Twitter, not only that McIlroy’s course management was “shocking,” but also blamed it on Rory’s caddie, Fitzgerald, by saying that “I thought JP allowed some SHOCKING [sic] course management today.” Rory fired back, also via Twitter, by replying “shut up … You’re a commentator and a failed golfer, you’re opinion means nothing!” [sic]. All of which is tremendous fun, but also brings up a sensitive subject: namely, how much was J.P. to blame for McIlroy’s meltdown at Augusta in April? Or to put it Troublefield’s way: is J.P. a yaddie?

To be sure, in light of his victory at Congressional in June, the collapse in Georgia seems merely a prelude—rather like Bobby Jones walking off the course at St. Andrews in the summer of 1921—but at the time it seemed ominous, with many speculating that McIlroy might turn out like Sergio Garcia, another young phenom who never (or hasn’t yet) learned how to close out his rivals. Now such fears appear ridiculous, but the real question isn’t whether McIlroy is a world-class player (which now is answered), but the passage of time allows us to ask a different question about McIlroy’s failure: the question of just how much responsibility (or ability) a caddie has to derail a player from boarding a bogey train.

Unfortunately, there isn’t any video available to me (that I know of) of the first round of the Irish Open this year, so it’s unclear to me just what it was that Townshend was referring to in his tweets. But it is possible to view video of Rory’s 10th hole at Augusta—where McIlroy made the triple-bogey that began the string of bad holes that lost him the tournament—on YouTube, which provides the only neutral evidence of the relation between J.P. and Rory and what J.P.’s possible role in the blow-up might have been. So I watched it.

Before getting to what I saw, though, it’s important to note just what sort of limitations a caddie’s job has. Obviously, J.P. doesn’t hit the shots; he merely carries the bag and (occasionally) might provide a bit of counsel. J.P. didn’t hit the huge hook that ended up so far left of the 10th fairway that it was nearly left of the Butler Cabin—Rory did. Just as clearly, neither of them (but particularly J.P.) could not have seen that coming (though it’s been remarked that the hook is Rory’s “miss,” the shot he tends to hit when he loses focus). In other words, J.P. can’t bear responsibility for Rory’s drive.

To this point, Rory had been playing spectacularly well that week, since after all he was winning the tournament. Some might point to the bogies he made at the first hole and the fifth in the final rounds as foreshadows of what was to come, but J.P. could not have thought of them as anything other than bumps in the road: both holes are spectacularly difficult ones now after the several redesigns at Augusta in recent years. Maybe Rory might not have been playing so well as he had in the first round, but then there weren’t a lot of 65s shot this year so Rory was bound to regress to the mean in following rounds (he shot 69 and 70 respectively in rounds 2 and 3). Rory’s lead was four shots beginning the final round so, as J.P. must have known, it wouldn’t take a spectacular round for the Northern Irishman to win. (All it would have taken, in retrospect, is another 69 to beat Charl Schwartzel, the man who ended up winning.)

Despite the bogies on the front nine, McIlroy had made a birdie on the difficult 7th, so not everything must have looked bleak to J.P.. There were plenty of birdie holes coming up, so the caddie must have been thinking that even after the horrible drive, a bogey or even a miracle par weren’t out of the picture, which could still be saved by birdies or even eagles on the two five-pars at 13 and 15. It wasn’t a reason to panic. McIlroy smartly pitched out to the fairway on 10, leaving a not-too-difficult shot to the green for his third shot. It’s on what happened next that any question of J.P.’s role has to rest.

What McIlroy did was hit virtually the same shot that sent him into the trees off the tee—a big hook that sent him into the trees (again) left of the green. The television coverage cut away from McIlroy to show what was happening elsewhere on the golf course, and anyway J.P. wasn’t miked (as some Nationwide tournaments have done with caddies recently) so it’s hard to say what the two discussed on the way to the ball. Even then, J.P. could not have been panicking—although it’s unusual for a professional golfer to miss the same way twice on the same hole, J.P. must have known that a smart chip to the green, followed by a good putt, would still salvage bogey and Rory’s chances. The mistake J.P. made, if he did make one, could only have come prior to the next shot, Rory’s fourth.

That shot was a chip that hit a branch of a tree, thereby coming up short of the green and rolling back down a slope, virtually to Rory’s feet. If there’s anything that J.P. could have said before that moment it would have been, or should have been, something like “take the tree out of play” and “plenty of green behind the pin.” In other words, what J.P. should have emphasized was that Rory’s primary job for that shot was to get the ball on the green rather than try to cozy the ball next to the pin, which is apparently what Rory actually tried to do. By missing that shot, Rory made double-bogey a virtual certainty rather than a possibility, as it had been at every point before then.

That shot was, as it turns out, the climax of Rory’s tournament: he did go on to three-putt the 11th and four-putt the 12th, but it’s arguable that those misses were simply the result of what had already happened. Rory didn’t miss any more shots like he had on 10 (at least, none so badly); he just seems to have been rattled by the triple-bogey into putting poorly. It’s possible to say, especially about the four-putt, that J.P. should have taken his man aside and slowed him down, forcing him to focus on the putts and thereby preventing those horrible miscues, but it also seems clear that the crucial hole was the 10th.

Of all the shots, in turn, that McIlroy played on that hole (7 of them!), it follows that the most significant was his fourth, which was the one that made the triple possible in the first place. In other words, even aside from the fact that the fourth was the shot for par (as unlikely as that was), it was the shot that created the likelihood for what eventually happened: prior to then, McIlroy might still have made par, while afterwards the triple became not only possible, but even likely. For the purposes of determining what responsibility J.P. bears for McIlroy’s loss in April, then, the most important point would seem to be what happened before Rory hit that shot of all the shots he hit that day.

Unfortunately, the video doesn’t show what happened: whether, in short, player and caddie had any kind of discussion about how to play it. And, actually, it’s difficult to even make out just what happened on that shot at all: McIlroy suddenly appears, after a commercial break, behind some sort of bush or small tree, and hits the ball; immediately after, there’s the sinking sound of a ball striking wood: McIlroy struck the tree. The announcers do claim that McIlroy had to try to fly it over that bush, but the video doesn’t provide enough evidence either way: maybe he did, which seems likely given that the announcers were proximate (if they were), and maybe, given that Nantz at least wasn’t directly at the 10th hole, not.

What’s interesting about that aspect of the shot is that the alternative to the high-flying shot CBS’ announcers believed necessary is exactly the sort of shot one might think a golfer who grew up playing in linksland—as we might think Northern Ireland, home of Royal Portrush among other links courses, to be—would relish: a low-flying, then rolling, shot up the bank of the 10th green, thereby avoiding the tree branch. But, as McIlroy said during this year’s Open Championship, he isn’t really that sort of player: he prefers the high-ball American style of flop shot, down-the-chimney golf. And that’s the sort of shot he attempted on the 10th: a high shot that, had it not hit the branch, would have landed near the pin and, with the right spin, would have stayed there. Knowing his player’s preferences, J.P. might have decided that the odds favored the kind of shot Rory likes to hit, rather than one that he didn’t.

That is to say that the call J.P. made, whether he vocalized it or not, is at the end of the day a judgement call. It so happens that J.P. guessed wrong. But what Troublefield would want to know about what happened on the 10th is whether J.P. questioned his player about it or whether he just went along with whatever the boss said. As I’ve mentioned there isn’t anything at least in the public record about what happened in the moments before that fourth pass, but there are two people who do know: J.P. and Rory.

For the moment, and particularly after the U.S. Open, Rory is happy with J.P.’s performance, which seems to indicate that J.P. did say what needed to be said at that time. But what will ultimately let us know about what happened in the valley of Augusta’s 10th on that Sunday in April is what Rory decides to do about J.P. after the season is over, when he has a moment to calmly reflect on a season where he might have started out halfway to a Grand Slam but let it slip away on a grassy Georgian knoll.

The Vanity of Art: Tom Doak Vs. Medinah

… why hath thy queen
Summon’d me hither, to this short-grass’d green?

The Tempest IV, i

Looping for one of the incoming officers at Medinah about a month ago, I was told that Tom Doak had been selected to be the architect for a renovation of Medinah’s Course 1—Course 3’s older, but far-less heralded, brother. The Ryder Cup, coming next year, will use a lot of Course 1’s terrain for parking lots, staging areas, and corporate tents, which means the course will be torn up—a perfect opportunity to use that repair work to rethink the entire golf course. The redesign idea is thus no surprise. What is a surprise, however, is using Doak: he’s on record as disparaging Medinah, both in his (infamous) Confidential Guide to Golf Courses (which ripped on lots of famous old courses) and later. Doak is a wild card, and by picking him Medinah is taking a roll of the dice—not least because Course 1, as it now stands, is a paradigmatic example of everything Doak hates in golf architecture.

That makes it like its brother course, Course 3, which has always stood, to Doak, as a pinnacle of bad golf architecture. Here is Doak, for instance, in an interview with Golf Digest in October of 2005: “The most overrated courses,” he said, “tend to be ones that hold important tournaments and major championships.” “Invariably, they’re long, tight, and repetitive, with virtually every hole offering similar shot values,” he continues; “Firestone and Medinah are classic examples.” Many Medinah members would, and have, bristled over statements like this, and my informant tells me that there was quite a disagreement among the members about hiring Doak—the vote, it seems, broke down along generational lines: older members were against, and younger ones were in favor.

Presumably, the older ones remembered Doak’s longstanding opinion of Medinah, while the younger ones were captivated by Doak’s resume since publishing The Confidential Guide in his mid-twenties. As of now, four of his designs are in Golf magazine’s “Top 100 Courses in the World” list: Pacific Dunes (at Bandon Dunes in Oregon), Barnbougle Dunes in Tasmania, Ballyneal in Colorado, and Cape Kidnappers in New Zealand. Cape Kidnappers, in particular, is spectacular in photographs, with holes routed along massive cliffs along the ocean. But photographically-spectacular courses are not really, according to the man himself, Doak’s design aim.

Everything about Doak, in fact, seems contrary to the way in which golf design has headed since the 1980s. While golf courses have gotten longer and longer, Doak says—in an interview with Golf magazine published this month (June 2011)—that “modern courses are too long.” And where a lot of courses designed in the last 30 or 40 years have tried to stand out with flashy, or even kitschy, bunkers (Cantigny’s “Dick Tracy” bunker comes to mind) and “water features” (Donald Trump, anyone?), Doak says that his “favorite hazard is short grass.” That, to a lot of golfers, might not make sense: isn’t short grass the fairway?

Well, yes, it is, but the short grass Doak has in mind isn’t the flat sort of fairway you might find at your local muni. What he’s thinking of is the “collection areas” at Pinehurst #2, Donald Ross’s Carolina masterpiece. “Short grass,” Doak says, “is always subtle and sometimes diabolical.” He’s thinking of the “steeply banked fairway that repels a slightly errant drive into an area where the approach shot is more difficult” (a feature, by the by, of Course 3’s hole 12). He’s considering “[w]ide expanses of fairway that lull the player to sleep so he doesn’t pay attention to the best position for his tee shot, and which makes it hard to determine the distance of a fairway bunker he’s tempted to carry” (a feature of Course 3’s hole 10, among others). Like Carl Spackler in Caddieshack, who made explosive “models” of his enemy the gopher’s “friends” (the bunny and squirrel), Doak believes in using the golfer’s ally (the fairway) against him.

This is nearly unthinkable heresy for American golfers, but it isn’t unknown to golf: it is, in fact, how the game began. St. Andrews for instance is well-known to have nearly infinitely-wide fairways and nevertheless it has been confounding golfers for over 500 years—which brings up another point about Doak’s biography. For two months in the summer of 1982, he caddied at St. Andrews, where presumably he learned of the Scottish methods of playing the ball on the ground instead of, as is usual on American tracks, through the air. It isn’t unusual there, from what I understand, of hitting a 6-iron like a putt from 85 yards. An American would, of course, be likely to use his 60-degree wedge from such a distance (and inevitably mishit it), but to the Scots such a choice has never made any sense. A 60-degree shot requires a precise strike on the clubface; a 6-iron merely needs something nearly precise. Or even imprecise.

Yet it’s difficult to picture making use of that philosophy on Course 1. It is the antithesis of Doak’s (or should we say, Scottish) ideas. Doak isn’t much of a believer in bunkers, water, or trees (I haven’t mentioned it, but Doak is on board with the anti-tree movement of the past decade or so.) Course 1 however, built in 1924 (the first of Medinah’s three courses, which explains why it’s Course 1), is built around water, sand, and trees. The 10th hole of the course, for instance, gives an idea of how Course 1 operates.

The 10th on Course 1 is a short par-5 of only 460 yards or so, which is shorter than many of Course 3’s par-4s. The tee shot is governed by a pond that stretches along the entire right side of the fairway, all the way to the green. A big drive, however, can easily get within 200 yards—at which point the approach is blocked by a set of massive willow trees that require the golfer to either go around them or over them to get to the green. Any approach that manages to climb over the willows, though, risks landing in a huge bunker directly in front of the green—so you have to judge not only how high you can hit your club, but also how far it will carry. It’s a classic risk-reward hole, but without water, sand, and trees, it’s a kind of lengthy par-4, not a par-5 you might be still be talking about five years from now.

The 10th is also a problem for Doak in terms of routing: it’s the sort of hole that needs to be played toward the middle of a round, after a player has found his rhythm. Only if you’re confident of your swing would you try to take on the willow trees—which is one reason why it is the 10th hole in the current routing. The problem is that the 9th hole—a marathon 600+-yard par-5—is the perfect finishing hole for the course, which in the current routing ends with a difficult-but-sub-200-yard par-3. It’s unusual for a golf course today to end on a par-3—though Congressional, site of this year’s U.S. Open, does in its non-tournament routing—and the current routing has often been a topic of discussion. But to get the ninth as a finishing hole while preserving the 10th’s status near the middle of the course as a whole is a difficult juggling act; it might require demolishing and rebuilding several other holes.

That isn’t hard to imagine Doak doing because many of the holes on the course are fairly pedestrian, especially during a rather mediocre slog through the middle of the back nine. Still, the course is often ranked within the top 20 in Illinois—Course 3 is usually #1—which means that many holes are of high quality. The 7th through the 9th, for instance, are nearly the equal of several of the best holes on Course 3, and it would be a shame for the course to lose them.

Doak though has demonstrated the kind of imaginative ability that a design problem like this one requires—and more than that, a species of contrariness that he’s going to need if he’s going to bring whatever vision he creates to the turf. If he means to implement his stated design philosophy on Course 1 he’s going to have to re-imagine the course completely, which will be difficult to do on a track that’s nearly 90 years old—not to mention the members nearly that age. What he does may just be a kind of tweaking—fixing a bunker here, cutting a tree there. But I don’t think Medinah is paying him for that.

I think that what Doak—and Medinah—may be aiming at is nothing less than a revolution in American course design. If Course 1 can be re-made in line with Doak’s vision, then virtually nothing is impossible for golf architecture. Nothing of Doak’s plan has been made public as yet—I am not sure at this writing whether it even exists. But the canvas Doak has been presented with is virtually unique: he’s been handed the keys to the family’s ancient Rolls Royce and told to pimp it out, with a budget presumably paid for by the proceeds from the Ryder Cup. Where some of Doak’s architectural contemporaries would be tempted to add, say, 22-inch rims and flatscreen TVs, Doak’s impulse seems rather the other way: he appears to question why anyone’s carriage ever needed an engine rather than a horse.

That sounds like rather a diss, but it isn’t: Doak’s object, it seems to me, isn’t just to churn out another sequence of holes that look like, and play like, every other set of holes anywhere in the world, but rather to get at something fundamental, something about how we play the game. Maybe even why we play this game. My choice of the word “philosophy” to describe Doak’s ideas about golf architecture isn’t meant lightly: it’s a word that’s often bandied about, but in Doak’s case I think it actually means something, because he’s a guy who’s actually thought about very, very fundamental matters. This doesn’t mean that his ideas are right, or the only ones, but it does mean that what he does is carefully thought out, and that’s something that’s rare enough in any profession. It also doesn’t mean that Doak’s redesign of Course 1 is destined for greatness—but it does mean that there he has been given a very, very rare opportunity. It remains to be seen what he does with it, whether it be spectacular success or merely, as Prospero says in The Tempest, “Some vanity of mine own art.”

The Kong of Golf

“There are generally,” Nick Paumgarten at The New Yorker wrote recently, “two approaches to thinking about games: narratology and ludology.” Paumgarten is writing a profile of Shigero Miyamoto, the “King of Videogames”—he is the man behind Donkey Kong, Super Mario Brothers, the Legend of Zelda series, and another bunch of zillion-selling videogames that have literally changed the terms not merely of videogames, but childhood itself. By “narratology” and “ludology,” Paumgarten means two things: the second is how a game plays, or its mechanics; the first, however, is the story a game tells. But the division between the two is far older than videogames.

One way to think of the distinction is to think of Arnold Palmer, the King of Golf. One reason for his title is because (according to myth) he always went for every shot. He was, in sum, a master of ludology—he could hit the most difficult shots. Palmer only thought of hitting the best possible shot on every occasion. Of course, Palmer didn’t really, because golf is not just about hitting golf shots, but that’s how people remembered him.

People today tend to forget about a golf course’s narratological aspects, I think, for several reasons, one perhaps being Palmer’s example. But Palmer, despite a swing that most people think of as at best unorthodox, is also perhaps behind what might be a significant reason for narratology’s decline: the rise of golf pro at the expense of the caddie.

It’s a subject I’ve discussed before, but essentially the point is this: golf pros teach a particular way of swinging the club. They take no account of the particular situation a golfer might be in—every swing, on the practice range, takes place in an idealized space, with no reference to what happened before—or what might happen afterwards. Or, in short, the way Palmer played.

Learning golf from a golf pro is in Paumgarten’s terms, an exercise in ludology. What a caddie does, however, is quite different. The caddie’s job is to select the best shot for the golfer at that moment. It is not to find a shot the golfer might be able to hit with another hundred or thousand repetitions, it is to find the one that will work now—with reference to the shots the golfer has already hit during that round, and with reference to the ones the golfer will likely have to hit to reach the green. To put it in philosophic terms, the golf pro is a Platonist, dealing with ideal conditions, while the caddie is an Aristotelian, dealing with gritty reality.

Golfers, used to learning to play on driving ranges with instruction either from a golf pro or—perhaps more likely—a friend or relative influenced by the teachings of golf pros, become accustomed to the ideal space created by the range. They take each shot as a singularity, expecting to play the shot as if they would at the range where if they fail they can always just tee up another ball. They forget about the shots they’ve hit previously and forget their next shot should not be their best shot—the one they might be able to hit under ideal conditions at the range—but the one they are likely to hit. But the driving range is not the golf course, and ludology alone is not golf.

Golf, like videogames, has that other element described by Paumgarten—narratology. There is a story to each course, and each round played on every course has its own story. This is perhaps less surprising than it might appear—Milman Perry and Albert Lord discovered in the 1930s that epic poetry, like The Iliad or The Odyssey, was originally an oral form composed around discrete episodes, each of which had to be completed before moving to the next. Every poet or bard who recited or sang an epic might recite it slightly differently each time—using alternate line readings, perhaps—but each recitation took place within an organized frame. Just so, videogames proceed according to differing “levels,” within which the player might take any number of different actions, but that proceed until the end of the game.

Golf is played in that sort of space: each hole is like a “level” in a videogame, or an episode in an epic poem. The narratological aspect of a course is recognized by the fact that holes on particularly well-known courses, like videogame levels or episodes in an epic, have distinct names. The Odyssey for instance has episodes like “Scylla and Charybdis,” Level One of Donkey Kong is called “Barrels,” St. Andrews has the Road Hole and the 12th at Augusta National is “Golden Bell.” These names aren’t merely a useful shorthand to remember the hole, or simply picturesqueness. They are also reminders of what golf is—and at times, a clue as to how to play.

Those names are also reminders to golf architects that the job is not just to construct interesting holes, but also to string them together well. No golf course, for instance, ought to begin with the toughest hole—like a videogame, courses should begin with easier holes and gradually (or not so gradually) become more difficult. But that’s a relatively easy assignment. What’s more interesting—and perhaps a mark of a superior architect—is to construct a hole that depends for its interest upon an earlier hole, that builds upon the past.

The interest of the 8th at Riviera Country Club for instance depends on the fact that from the 7th tee the golfer has to hit a shot into a very narrow landing area. On the 8th tee the golfer has to choose between two different landing zones: a broad one on the right fairway and a tight one on the left fairway. Naturally, if the tee shot on the 7th was troublesome the right fairway on the 8th will look more inviting—but that sets up a more difficult approach to the green. It’s precisely for this reason that a good caddie can be helpful: a skilled player who for some reason had trouble on the 7th might elect to take the right side without a caddie in his ear.

That’s one reason why golf architects and caddies are natural allies—and both are enemies of that other reason narratology is often lost by golfers: the golf cart. To understand golf’s narratology needs a slow examination of each hole, which is to say that an appreciation of narratology requires walking.

Zipping from shot to shot means missing the connection of each shot to the next, and each hole to the ones following. Without those connections the golfer loses the plot, like the reader who reads The Odyssey for the battles, or the videogamer who uses the cheat codes. Riding a golf cart, in that sense, isn’t playing golf at all.

Most guides to golf courses, the kind the upscale courses put on their yardage books, are written by golf pros and as such are written from a ludological perspective. The pro tells you where to hit your tee shot and then how to hit the approach. I’ve never seen any guides written from a narratological standpoint, though I think these would probably be more useful.

Such guides would be written by way of at least two or three different viewpoints: one for the skilled player, which would probably be closest to the guides written by pros, and at least one other for the less-skilled player. I have rather an ambition to write such a guide at least for the golf courses I’m familiar with most. If Arnold Palmer is the King of Golf, perhaps there’s room for Kong.