Mario is an enormous fan of Gerhardt Schtitt, whom most of the other E.T.A. kids regard as probably bats, and as w/o doubt mind-looseningly discursive, and show the old pundit even token respect mostly because Schtitt still personally oversees the daily drill-assignments and can, if aggrieved, have Thode and deLint make them extremely uncomfortable more or less at will, out there in A.M. practice.
One of the reasons the late James Incandenza had been so terribly high on bringing Schtitt to E.T.A. was that Schtitt, like the founder himself (who’d come back to tennis, and later film, from a background in hard-core-math-based optical science), was that Schtitt approached competitive tennis more like a pure mathematician than a technician. Most jr.-tennis coaches are basically technicians, hands-on practical straight-ahead problem-solving statistical-data wonks, with maybe added knacks for short-haul psychology and motivational speaking. The point about not crunching serious stats is that Schtitt had clued Incandenza in, all the way back at a B.S. 1989[33] U.S.T.A. convention on photoelectric line-judging, that he, Schtitt, knew real tennis was really about not the blend of statistical order and expansive potential that the game’s technicians revered, but in fact the opposite — not-order, limit, the places where things broke down, fragmented into beauty. That real tennis was no more reducible to delimited factors or probability curves than chess or boxing, the two games of which it’s a hybrid. In short, Schtitt and the tall A.E.G.-optics man (i.e. Incandenza), whose fierce flat serve-and-haul-ass-to-the-net approach to the game had carried him through M.I.T. on a full ride w/ stipend, and whose consulting report on high-speed photoelectric tracking the U.S.T.A. mucky-mucks found dense past all comprehending, found themselves totally simpatico on tennis’s exemption from stats-tracking regression. Were he now still among the living, Dr. Incandenza would now describe tennis in the paradoxical terms of what’s now called ‘Extra-Linear Dynamics.’[34] And Schtitt, whose knowledge of formal math is probably about equivalent to that of a Taiwanese kindergartner, nevertheless seemed to know what Hopman and van der Meer and Bollettieri seemed not to know: that locating beauty and art and magic and improvement and keys to excellence and victory in the prolix flux of match play is not a fractal matter of reducing chaos to pattern. Seemed intuitively to sense that it was a matter not of reduction at all, but — perversely — of expansion, the aleatory flutter of uncontrolled, metastatic growth — each well-shot ball admitting of n possible responses, n2 possible responses to those responses, and on into what Incandenza would articulate to anyone who shared both his backgrounds as a Cantorian[35] continuum of infinities of possible move and response, Cantorian and beautiful because wfoliating, contained, this diagnate infinity of infinities of choice and execution, mathematically uncontrolled but humanly contained, bounded by the talent and imagination of self and opponent, bent in on itself by the containing boundaries of skill and imagination that brought one player finally down, that kept both from winning, that made it, finally, a game, these boundaries of self.
‘You mean like the baselines are boundaries?’ Mario tries to ask.
‘Lieber Gott nein,’ with a plosive disgusted sound. Schtitt likes best of all smoke-shapes to try to blow rings, and is kind of lousy at it, blowing mostly wobbly lavender hot dogs, which Mario finds delightful.
The thing with Schtitt: like most Europeans of his generation, anchored from infancy to certain permanent values which — yes, OK, granted — may, admittedly, have a whiff of proto-fascist potential about them, but which do, nevertheless (the values), anchor nicely the soul and course of a life — Old World patriarchal stuff like honor and discipline and fidelity to some larger unit — Gerhardt Schtitt does not so much dislike the modern O.N.A.N.ite U.S. of A. as find it hilarious and frightening at the same time. Probably mostly just alien. This should not be rendered in exposition like this, but Mario Incandenza has a severely limited range of verbatim recall. Schtitt was educated in pre-Unification Gymnasium under the rather Kanto-Hegelian idea that jr. athletics was basically just training for citizenship, that jr. athletics was about learning to sacrifice the hot narrow imperatives of the Self — the needs, the desires, the fears, the multiform cravings of the individual appetitive will — to the larger imperatives of a team (OK, the State) and a set of delimiting rules (OK, the Law). It sounds almost frighteningly simple-minded, though not to Mario, across the redwood table, listening. By learning, in palestra, the virtues that pay off directly in competitive games, the well-disciplined boy begins assembling the more abstract, gratification-delaying skills necessary for being a ‘team player’ in a larger arena: the even more subtly diffracted moral chaos of full-service citizenship in a State. Except Schtitt says Ach, but who can imagine this training serving its purpose in an experialist and waste-exporting nation that’s forgotten privation and hardship and the discipline which hardship teaches by requiring? A U.S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness:
The happy pleasure of the person alone, yes?’
‘Except why do you let deLint tie Pemulís and Shaw’s shoes to the lines, if the lines aren’t boundaries?’
‘Without there is something bigger. Nothing to contain and give the meaning. Lonely. Verstiegenheit.’36[36]
‘Bless you.’
‘Any something. The what: this is more unimportant than that there is something.’
Schtitt one time was telling Mario, as they respectively walked and tottered down Comm. Ave. eastward into Allston to see about getting a gourmet ice cream someplace along there, that when he was Mario’s age — or maybe more like Hal’s age, whatever — he (Schtitt) had once fallen in love with a tree, a willow that from a certain humid twilit perspective had looked like a mysterious woman aswirl with gauze, this certain tree in the public Platz of some West German town whose name sounded to Mario like the sound of somebody strangling. Schtitt reported being seriously smitten with the tree:
‘I went daily to there, to be with the tree.’
They respectively walked and tottered, ice-cream-bound, Mario moving like the one of them who was truly old, mind off his stride because he was trying to think hard about what Schtitt believed. Mario’s thinking-hard expression resembles what for another person would be the sort of comically distorted face made to amuse an infant. He was trying to think how to articulate some reasonable form of a question like: But then how does this surrender-the-personal-individual-wants-to-the-larger-State-or-beloved-tree-or-something stuff work in a deliberately individual sport like competitive junior tennis, where it’s just you v. one other guy?
And then also, again, still, what are those boundaries, if they’re not baselines, that contain and direct its infinite expansion inward, that make tennis like chess on the run, beautiful and infinitely dense?
Schtitt’s thrust, and his one great irresistible attraction in the eyes of Mario’s late father: The true opponent, the enfolding boundary, is the player himself. Always and only the self out there, on court, to be met, fought, brought to the table to hammer out terms. The competing boy on the net’s other side: he is not the foe: he is more the partner in the dance. He is the what is the word excuse or occasion for meeting the self. As you are his occasion. Tennis’s beauty’s infinite roots are self-competitive. You compete with your own limits to transcend the self in imagination and execution. Disappear inside the game: break through limits: transcend: improve: win. Which is why tennis is an essentially tragic enterprise, to improve and grow as a serious junior, with ambitions. You seek to vanquish and transcend the limited self whose limits make the game possible in the first place. It is tragic and sad and chaotic and lovely. All life is the same, as citizens of the human State: the animating limits are within, to be killed and mourned, over and over again.