Culture
'Take your time, you d*ck': 15 years of defending and deserving Andy Murray
This feature has been updated upon Andy Murray’s confirmation that the Paris Olympics will be his final tennis tournament.
Andy Murray made you care.
That was his superpower. There were better players in his era; there were more stylish ones. But none possessed the ability to make you invest emotionally in their matches as much as Murray did.
As someone British, and the same age as Murray, I probably would have felt a degree of kinship however he’d played. But it went a lot deeper than that.
When he arrived on the scene as a scruffy 18-year-old in 2005, Murray seemed to experience tennis as I’d always experienced it: as an unbelievably frustrating sport that seemed almost designed to wind you up. Murray would moan and berate himself and do all the things that felt to me entirely natural. Why wouldn’t you scream in anguish after missing a shot you knew you should have made? That wasn’t odd. Even saying “Take your time, you d**k” after missing a serve, as Murray once did, wasn’t that odd to me. It was everyone else who was odd, somehow pretending that they were OK when they messed up.
Andy Murray’s emotions on court were part of his magnetism (Elsa/Getty Images)
Defending Murray against accusations of dourness, rudeness, and surliness that arose from his on-court demeanour became a bit of a passion of mine around this time. The fact a lot of people didn’t get him only made me get him even more and when those anti-Murray views became more entrenched after he joked that he would be supporting “anyone but England” at the 2006 World Cup, so did my defence of him.
For me, very much a committed England supporter, comments like this just showed off his dry sense of humour and his ability not to take the media circus too seriously. On the court, his complete determination, raw emotions and supreme athleticism added to his appeal — even if the habit that he could never kick of berating his team was a bit much. Murray was not perfect, but that was kind of the point — throughout it all, he was a potent combination of the superhuman and the relatable.
When we thought Murray was about to retire in 2019, friends reminded me of my habit from the mid-to-late 2000s: spending student nights out earnestly trying to explain to unsuspecting revellers why Andy Murray was misunderstood. In the same period, I remember making this point to a woman in Bedford who was trotting out the usual lines about how rude and boring he was. Eventually I relented, but in my mind, she had shown her true colours: how one felt towards Murray was a genuine bellwether for me about what they were really like. If you were unable to look beyond the lazy tropes about him, then that was you pretty much written off.
Murray beamed around the world during Wimbledon 2009 (Paul Gilham/Getty Images)
On the flipside, bonds were strengthened with those people who could see how great and thoughtful Murray really was. “If you don’t like Andy Murray then we can’t be friends” became a good mantra to live by.
Clearly, this was all unhinged. But that’s the thing: Andy Murray made you care.
GO DEEPER
Fifty Shades of Andy Murray
Now, England have reached another final and fallen at the last, and Murray has said farewell to Wimbledon after withdrawing from the singles tournament and making one last appearance with his brother Jamie in the doubles. He’ll play his final tennis tournament at the Paris Olympic Games, and I’ll no longer feel that I have to convince all and sundry of how special he is.
On those student nights and in my early days as a real adult at the end of the 2000s, it was apparent that Murray, a phenomenally talented player in his own right, had been dealt a hand of almost unprecedented difficulty. He was competing with two of the best players of all time in Roger Federer and Rafael Nadal; with Novak Djokovic, who was emerging and about to go supersonic; and with the weight of British tennis history growing heavier and heavier as his talent sharpened and the margins got finer. Murray was not a demigod like the elegant Federer or the muscular Nadal, but rather a man, growing into his ill-fitting clothes and trying to compete with them. Murray played the role of the outsider giving absolutely everything to stay on their otherworldly level perfectly.
At times he resembled Leonardo DiCaprio’s character in The Revenant, snarling and battling in the wilderness to stay alive, only for another terrifying beast to jump out at him moments later. And we were right there, living it with him. I remember watching his miraculous recovery against Richard Gasquet at Wimbledon in 2008 from the corporate marquee at the tournament where I was supposed to be working. Seven months later I stayed up until around 4am to see him lose to Fernando Verdasco in five sets at the Australian Open, in one of those infuriatingly tetchy and drawn-out defeats he would sometimes suffer at that time.
Andy Murray after his 2010 Australian Open defeat to Roger Federer (Jon Buckle/PA Images via Getty Images)
As he grew as a player, he was belatedly winning the hearts and minds that I couldn’t in those university nightclubs. Before he was crying on Centre Court at Wimbledon — as he delivered the “I’m getting closer” line that would become prophetic after losing the 2012 final to Roger Federer — he was crying in the Rod Laver Arena in Australia after losing to the same opponent in that final in 2010. “I had great support back home in the last couple of weeks, sorry I couldn’t do it for you tonight,” Murray said.
“I can cry like Roger, it’s just a shame I can’t play like him.”
It was winning the 2012 Olympic gold medal — avenging his Wimbledon defeat to Federer on the same court — that secured him a place in most peoples’ hearts. He could soon and suddenly do little wrong, winning his first major at the US Open a month after the Olympic triumph, then ending Britain’s 77-year wait for a Wimbledon men’s champion the following summer, putting everybody watching through an excruciating final game. Speaking in Andy Murray: Will to Win, a new BBC documentary, he explains how much Wimbledon meant to him, but also to everybody watching him.
“After I won it was just relief,” he says. “It was my most important match, as I believe if I was sitting here today having not won Wimbledon, then everything else I achieved in my career wouldn’t matter.”
Another Wimbledon title and another Olympic gold, plus the Davis Cup and the world No 1 ranking, followed in the next few years. He was Team GB’s flag bearer at the 2016 Rio Olympics and between 2013 and 2016, Murray won three out of four BBC Sports Personality of the Year awards — voted for by the public and a sign of the complete transformation of perceptions about his, well, personality.
The Scot claimed his second gold by beating Juan Martin del Potro of Argentina in four sets (Julian Finney/Getty Images)
Murray had well and truly gone mainstream.
Sometimes doing that can bring out the worst in people, but Murray used his greater profile to talk about issues that mattered to him. Like gender equality, about which he has spoken frequently — including when he took the then and still unconventional step of appointing a female coach in Amelie Mauresmo, before defending her from the misogynistic criticism that followed.
He was also a great support to his compatriots, practising with them, offering advice, watching their matches even if it was late and cold and he was playing the following day. A couple of weeks ago, a day after suffering a bad injury at Queen’s, he was courtside watching the Scottish 17-year-old Charlie Robertson playing pre-Wimbledon qualifiers. In 2016, a few days after winning his second Wimbledon title, Murray flew to Belgrade to join up with the British Davis Cup team for their tie against Serbia. He was in no state to play, but there he was, cheering on his mates and acting as ball-boy in training.
On a personal level, I was now covering tennis professionally, getting to see Murray up close after following him from a distance. Never meet your heroes? Not so much. Murray was generally extremely impressive with the media and I was sat a few seats away when he reminded a journalist that only no American “male player” had reached a Grand Slam semi-final since 2009. Murray called out others, like commentator John Inverdale at the Rio Olympics, for similar slip-ups around the Williams sisters, eventually playing with Serena herself in the Wimbledon mixed doubles in 2019.
That “male player” line came after Sam Querrey beat Murray in the 2017 Wimbledon quarter-finals and the defeat represented the end of one chapter and the beginning of another for the Scot. Murray was the world No 1 at the time and a shoo-in for the closing stages of Grand Slams, but his hip was damaged beyond repair and Murray would never be the same again.
The next time he played was 11 months later, ranked No 156, post-first hip operation and with his movement hugely hampered. He tried and failed to get fit for Wimbledon and six months later was so broken at the 2019 Australian Open that he revealed that the end could be nigh. The event even put on a retirement celebration for him. Murray wasn’t quite done though and after a hip resurfacing operation, he came back and somehow won an ATP title nine months later in Antwerp.
Don’t think it can be overstated what a physical and mental beast Andy Murray is. Just nine months ago, he was done, finished, thanks for the memories. He was given a retirement video for crying out loud! Now he’s in an ATP final. The guy is a complete one-off.
— Charlie Eccleshare (@CDEccleshare) October 19, 2019
Since then there’s been a lot of struggle and it’s sobering to think of how long Murray has been so physically disadvantaged. It’s seven years since the first hip injury in 2017, barely shorter than the eight-year period when he was reaching major finals. For people of a decent age, the only Murray they’ll really remember is the one of the last few years, raging against the dying of the light and unable to have another deep run at a Grand Slam tournament — the third round is his best progress since 2017.
Winning that title in Antwerp with a hip replacement still has to rank as one of the outstanding achievements of his career and last summer he then climbed to a highest-ever post-operation ranking of No 36, which is a remarkable achievement considering the depth of talent and athleticism on the tour.
He still managed to produce one last mind-bending win at a Grand Slam — the epic, near six-hour, five-set comeback against Thanasi Kokkinakis at last year’s Australian Open, which finished after 4am local time and exemplified everything that made Murray who he was on a court. He had what felt like a magnetic attraction to drama; only two days earlier, he had been involved in another marathon win, this time over Matteo Berrettini, saving a match point in a contest that lasted more than four and a half hours.
Murray, fittingly, marked the Kokkinakis win with both a point of truly impossible defence and a soundbite for the ages: “It’s so disrespectful that the tournament has us out here until three, f****** four in the morning and we’re not allowed to take a piss.”
“The GOAT when it comes to pure WTFery” I called Murray at this time, and at this point covering football, not tennis, my phone lit up with messages from fellow Murray acolytes during the Kokkinakis match saying, “Are you watching this?”
Many others would have been sending and receiving similar messages because this was what Murray did. He brought people together, united by a feeling of being part of a club that had always loved and understood him when others didn’t. Of messaging one another in the early hours when he was playing in Australia or the U.S. and asking: “You still watching?”
Of course we were. Just as whatever their job, so many would have been sneakily watching him playing Jordan Thompson at Queen’s hoping for some late-career fireworks. They didn’t arrive. Instead, there was more injury pain, a neural issue in his back that hampered him even walking up the stairs to the court and disappointment his many fans felt acutely as he tried once again to battle through the pain. He couldn’t recover from the subsequent surgery in time for this year’s Wimbledon.
It’s hard to imagine the sport without Murray, whose career lasted just over half my life. Players come and go all the time, but in individual sports, unlike team ones, you don’t make a decision in childhood about who you root for and then stick with it for life. You don’t know who you will have an affinity with until you watch them and often the ones you have that connection to surprise you. It’s a deeply personal thing and that’s what makes it special and powerful. People whose views you normally agree with can feel the exact opposite to you about a certain player because the chemistry is different.
The knowledge he had finally done it, after winning his first Wimbledon in 2013 (Bill Murray/SNS Group via Getty Images)
And so you find yourself arguing with them about those players in the early hours of the morning while others look at you and think, “What are you doing with your life?”
But that’s the thing: Andy Murray makes you care.
(Top photos: Clive Brunskill, Rob Carr, Shaun Botterill / Getty Images; Design: Dan Goldfarb for The Athletic)
Culture
Try This Quiz and See How Much You Know About Jane Austen
“Window seat with garden view / A perfect nook to read a book / I’m lost in my Jane Austen…” sings Kristin Chenoweth in “The Girl in 14G” — what could be more ideal? Well, perhaps showing off your literary knowledge and getting a perfect score on this week’s super-size Book Review Quiz Bowl honoring the life, work and global influence of Jane Austen, who turns 250 today. In the 12 questions below, tap or click your answers to the questions. And no matter how you do, scroll on to the end, where you’ll find links to free e-book versions of her novels — and more.
Culture
Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday
On Dec. 16, 1775, a girl was born in Steventon, England — the seventh of eight children — to a clergyman and his wife. She was an avid reader, never married and died in 1817, at the age of 41. But in just those few decades, Jane Austen changed the world.
Her novels have had an outsize influence in the centuries since her death. Not only are the books themselves beloved — as sharply observed portraits of British society, revolutionary narrative projects and deliciously satisfying romances — but the stories she created have so permeated culture that people around the world care deeply about Elizabeth Bennet and Mr. Darcy, even if they’ve never actually read “Pride and Prejudice.”
With her 250th birthday this year, the Austen Industrial Complex has kicked into high gear with festivals, parades, museum exhibits, concerts and all manner of merch, ranging from the classily apt to the flamboyantly absurd. The words “Jane mania” have been used; so has “exh-Aust-ion.”
How to capture this brief life, and the blazing impact that has spread across the globe in her wake? Without further ado: a mere sampling of the wealth, wonder and weirdness Austen has brought to our lives. After all, your semiquincentennial doesn’t come around every day.
By ‘A Lady’
Austen published just four novels in her lifetime: “Sense and Sensibility” (1811), “Pride and Prejudice” (1813), “Mansfield Park” (1814) and “Emma” (1815). All of them were published anonymously, with the author credited simply as “A Lady.” (If you’re in New York, you can see this first edition for yourself at the Grolier Club through Feb. 14.)
Where the Magic Happened
Placed near a window for light, this diminutive walnut table was, according to family lore, where the author did much of her writing. It is now in the possession of the Jane Austen Society.
An Iconic Accessory
Few of Austen’s personal artifacts remain, contributing to the author’s mystique. One of them is this turquoise ring, which passed to her sister-in-law and then her niece after her death. In 2012, the ring was put up for auction and bought by the “American Idol” champion Kelly Clarkson. This caused quite a stir in England; British officials were loath to let such an important cultural artifact leave the country’s borders. Jane Austen’s House, the museum now based in the writer’s Hampshire home, launched a crowdfunding campaign to Bring the Ring Home and bought the piece from Clarkson. The real ring now lives at the museum; the singer has a replica.
Austen Onscreen
Since 1940, when Austen had a bit of a moment and Greer Garson and Laurence Olivier starred in MGM’s rather liberally reinterpreted “Pride and Prejudice,” there have been more than 20 international adaptations of Austen’s work made for film and TV (to say nothing of radio). From the sublime (Emma Thompson’s Oscar-winning “Sense and Sensibility”) to the ridiculous (the wholly gratuitous 2022 remake of “Persuasion”), the high waists, flickering firelight and double weddings continue to provide an endless stream of debate fodder — and work for a queen’s regiment of British stars.
Jane Goes X-Rated
The rumors are true: XXX Austen is a thing. “Jane Austen Kama Sutra,” “Pride and Promiscuity: The Lost Sex Scenes of Jane Austen” and enough slash fic and amateur porn to fill Bath’s Assembly Rooms are just the start. Purists may never recover.
A Lady Unmasked
Austen’s final two completed novels, “Northanger Abbey” and “Persuasion,” were published after her death. Her brother Henry, who oversaw their publication, took the opportunity to give his sister the recognition he felt she deserved, revealing the true identity of the “Lady” behind “Pride and Prejudice,” “Emma,” etc. in a biographical note. “The following pages are the production of a pen which has already contributed in no small degree to the entertainment of the public,” he wrote, extolling his sister’s imagination, good humor and love of dancing. Still, “no accumulation of fame would have induced her, had she lived, to affix her name to any productions of her pen.”
Wearable Tributes
It is a truth universally acknowledged that a Jane Austen fan wants to find other Jane Austen fans, and what better way to advertise your membership in that all-inclusive club than with a bit of merch — from the subtle and classy to the gloriously obscene.
The Austen Literary Universe
On the page, there is no end to the adventures Austen and her characters have been on. There are Jane Austen mysteries, Jane Austen vampire series, Jane Austen fantasy adventures, Jane Austen Y.A. novels and, of course, Jane Austen romances, which transpose her plots to a remote Maine inn, a Greenwich Village penthouse and the Bay Area Indian American community, to name just a few. You can read about Austen-inspired zombie hunters, time-traveling hockey players, Long Island matchmakers and reality TV stars, or imagine further adventures for some of your favorite characters. (Even the obsequious Mr. Collins gets his day in the sun.)
A Botanical Homage
Created in 2017 to mark the 200th anniversary of Austen’s death, the “Jane Austen” rose is characterized by its intense orange color and light, sweet perfume. It is bushy, healthy and easy to grow.
Aunt Jane
Hoping to cement his beloved aunt’s legacy, Austen’s nephew James Edward Austen-Leigh published this biography — a rather rosy portrait based on interviews with family members — five decades after her death. The book is notable not only as the source (biased though it may be) of many of the scant facts we know about her life, but also for the watercolor portrait by James Andrews that serves as its frontispiece. Based on a sketch by Cassandra, this depiction of Jane is softer and far more winsome than the original: Whether that is due to a lack of skill on her sister’s part or overly enthusiastic artistic license on Andrews’s, this is the version of Austen most familiar to people today.
Cultural Currency
In 2017, the Bank of England released a new 10-pound note featuring Andrews’s portrait of Austen, as well as a line from “Pride and Prejudice”: “I declare after all there is no enjoyment like reading!” Austen is the third woman — other than the queen — to be featured on British currency, and the only one currently in circulation.
In the Trenches
During World War I and World War II, British soldiers were given copies of Austen’s works. In his 1924 story “The Janeites,” Rudyard Kipling invoked the grotesque contrasts — and the strange comfort — to be found in escaping to Austen’s well-ordered world amid the horrors of trench warfare. As one character observes, “There’s no one to touch Jane when you’re in a tight place.”
Baby Janes
You’re never too young to learn to love Austen — or that one’s good opinion, once lost, may be lost forever.
The Austen Industrial Complex
Maybe you’ve not so much as seen a Jane Austen meme, let alone read one of her novels. No matter! Need a Jane Austen finger puppet? Lego? Magnetic poetry set? Lingerie? Nameplate necklace? Plush book pillow? License plate frame? Bath bomb? Socks? Dog sweater? Whiskey glass? Tarot deck? Of course you do! And you’re in luck: What a time to be alive.
Around the Globe
Austen’s novels have been translated into more than 40 languages, including Polish, Finnish, Chinese and Farsi. There are active chapters of the Jane Austen Society, her 21st-century fan club, throughout the world.
Playable Persuasions
In Austen’s era, no afternoon tea was complete without a rousing round of whist, a trick-taking card game played in two teams of two. But should you not be up on your Regency amusements, you can find plenty of contemporary puzzles and games with which to fill a few pleasant hours, whether you’re piecing together her most beloved characters or using your cunning and wiles to land your very own Mr. Darcy.
#SoJaneAusten
The wild power of the internet means that many Austen moments have taken on lives of their own, from Colin Firth’s sopping wet shirt and Matthew Macfadyen’s flexing hand to Mr. Collins’s ode to superlative spuds and Mr. Knightley’s dramatic floor flop. The memes are fun, yes, but they also speak to the universality of Austen’s writing: More than two centuries after her books were published, the characters and stories she created are as relatable as ever.
Bonnets Fit for a Bennett
For this summer’s Grand Regency Costumed Promenade in Bath, England — as well as the myriad picnics, balls, house parties, dinners, luncheons, teas and fetes that marked the anniversary — seamstresses, milliners, mantua makers and costume warehouses did a brisk business, attiring the faithful in authentic Regency finery. And that’s a commitment: A bespoke, historically accurate bonnet can easily run to hundreds of dollars.
Most Ardently, Jane
Austen was prolific correspondent, believed to have written thousands of letters in her lifetime, many to her sister, Cassandra. But in an act that has frustrated biographers for centuries, upon Jane’s death, Cassandra protected her sister’s privacy — and reputation? — by burning almost all of them, leaving only about 160 intact, many heavily redacted. But what survives is filled with pithy one-liners. To wit: “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.”
Stage and Sensibility
Austen’s works have been adapted numerous times for the stage. Some plays (and musicals) hew closely to the original text, while others — such as Emily Breeze’s comedic riff on “Pride and Prejudice,” “Are the Bennet Girls OK?”, which is running at New York City’s West End Theater through Dec. 21 — use creative license to explore ideas of gender, romance and rage through a contemporary lens.
Austen 101
Austen remains a reliable fount of academic scholarship; recent conference papers have focused on the author’s enduring global reach, the work’s relationship to modern intersectionality, digital humanities and “Jane Austen on the Cheap.” And as one professor told our colleague Sarah Lyall of the Austen amateur scholarship hive, “Woe betide the academic who doesn’t take them seriously.”
W.W.J.D.
When facing problems — of etiquette, romance, domestic or professional turmoil — sometimes the only thing to do is ask: What would Jane do?
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
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