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Carlos Alcaraz hasn't won a title since Wimbledon. So what's going wrong?

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Carlos Alcaraz hasn't won a title since Wimbledon. So what's going wrong?

Let’s start with a big qualifier: Carlos Alcaraz is probably going to be just fine.

He’s 20 years old. He’s already won two Grand Slam titles, with neither of them coming on clay, which may be his best surface and is certainly the one he is most familiar with. At 19, he became the youngest man to achieve the No 1 ranking.

Even his top rivals, including contemporaries such as Jannik Sinner, expect Alcaraz to be the greatest player of his era. He is going to win a lot of tournaments, many of them Grand Slams. It’s just that he hasn’t won a tournament since he beat Novak Djokovic in five sets in the Wimbledon final eight months ago. 

That is his longest stretch without an ATP Tour-level title since he started winning them in 2021.

And that is, well, a bit weird.  

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Remember those heady days after Wimbledon? 

After he came back to beat Djokovic, the best grass court player in the world, on Centre Court, there was a sense that he had wrestled the torch out of the hands of the Serbian champion, a player who had won more Grand Slam titles and just about everything else than just about everyone. This was supposed to be the start of Alcaraz winning just about everything for a very long time. 


Alcaraz celebrates with the Wimbledon trophy last year (Julian Finney/Getty Images)

That might still happen. It just hasn’t happened yet. 

He’s a respectable 24-11 since winning Wimbledon. Then again, Sinner won his first title at the Australian Open in January, took two weeks off, then went to Rotterdam and won another title. He’s undefeated this year and hasn’t lost a match since mid-November. Both begin play at the BNP Paribas Open in Indian Wells, California, the so-called “fifth major”, later this week.  

“I have to improve a lot of things on the court and off the court, as well,” Alcaraz said earlier in the year. 

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He has lamented his dips in focus in the middle of matches. He has been at a loss to explain nights when he struggles to find the court with his usually lethal groundstrokes. He said when he practices occasionally with Djokovic, he studies how he concentrates, aspiring to one day be able to approach every match and every practice session with the intensity of the man who has set the standard for the sport the past decade and bested the two players, Roger Federer and Rafael Nadal, once considered untouchable. 

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Like every player, Alcaraz knows his weaknesses, such as they are, are some mystical combination of the physical, technical and mental.    

Alcaraz has resisted getting too specific about just what he needs to do to improve, leaving everyone else to figure out the answer to a question that feels a little silly given he has already won $27.5million in prize money and tens of millions more in sponsorships. He is 71-15 since the start of 2023. 

But here it goes anyway: what’s wrong with King Carlos?


The short answer is, not too much, except when it’s a lot.

Djokovic, Sinner, Daniil Medvedev and Alexander Zverev, four of the best players alive, are responsible for six of Alcaraz’s 11 losses since July, which includes his retirement with an ankle injury in Rio in February. There’s not a terrible amount of shame in that, except that he had been beating everyone on that list except Djokovic fairly comfortably the past year. 

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Alcaraz retired with an injury in Rio (Buda Mendes/Getty Images,)

To figure out what, if anything, has changed from the version of Alcaraz that won 11 tournaments in 17 months during 2022 and 2023, we enlisted the help of the wizards at TennisViz and Tennis Data Innovations, who collect ball and player tracking data with high-speed cameras and analyze them in real-time to understand the effectiveness of every shot.

The numbers show that Alcaraz has hardly become a shadow of his former self since Wimbledon, compared with an aggregate measurement of his play over the past year, but he has fallen off just enough to make himself more regularly vulnerable. That is especially true against the best of the best, when the slightest drop can result in a loss. 

Yet, his drop-offs have been dramatic in four surprising losses since last summer, to Nicolas Jarry and Roman Safiullin, and less surprising ones to Grigor Dimitrov and Tommy Paul (who has been a sneakily hard match-up for Alcaraz).

Tom Corrie, a former coach who is the head of performance for Tennis Viz and has spent more time than most studying Alcaraz, has a theory about this, which involves the Spaniard being almost too talented for his own good.

“The guy has endless tactical options,” Corrie said. “He’s unbelievably skilful, he hits with so much power, but sometimes he doesn’t play with a tactical framework that is as defined as some of the other players. Therefore, he goes missing in matches and plays at a bad level. When he drops off, he drops off quite big.” 

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Also worth noting – men’s tennis is crazy deep at the moment. Even the second half of the top 100 has some serious quality. Have fun with an early-round match-up against Tomas Machac (No 63) of the Czech Republic. Freebies can be few and far between. Alcaraz’s opponents, who are almost always extra motivated, have to get some credit for making him play poorly.   

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Still, some top-line numbers for Alcaraz stand out.

One measure is how often Alcaraz is ‘on the attack’ — defined by Tennis Viz as when a player has received a low-quality incoming shot, has a positive court positioning (up the court), or has a comfortable contact point with the ball (not on the stretch). A player will be ‘in defense’ if they have received a high-quality shot, have bad court positioning (particularly deep or wide in the court), or are playing the ball on the stretch.

The tour average for shots played in attack is 25 per cent. On average, Alcaraz is on the attack 24 per cent of the time, but since Wimbledon, that figure has dropped to 22 per cent. That might not sound like a lot, but tennis is a game of small margins. A few points can make a big difference and it’s harder to win them while defending.


(Marcelo Endelli/Getty Images)

The other numbers that show relatively dramatic changes are the effectiveness of his service return, his forehand and his backhand. The high-speed cameras and computers generate a score for each of those shots based on their speed and placement — extra credit for painting the lines or getting very close very often. 

On average over the past year, Alcaraz was near the top of the game in each of those categories. 

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On a scale of one to 10, Alcaraz’s service return averaged a 7.6, a full point better than the tour average and fifth overall. Since Wimbledon, his return rating has dropped to 7.0, still better than most but just 13th overall.

His backhand, an 8.0 on average over the past year, good for sixth overall, has fallen to 7.6 since Wimbledon— 15th place. And his deadly forehand, the shot that makes players shudder, has had one of the most dramatic drop-offs, from 8.8 to 8.1, tumbling from second best to 15th.

Alcaraz essentially magnified these trends during the surprising losses to Paul, Dimitrov, Safiullin and Jarry. 

Against Paul at the National Bank Open in Canada in August, he was on the attack during just 19 per cent of the match. Against Dimitrov in Shanghai and Jarry in Buenos Aires, the attack rate was just 20 per cent.

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That might not be such a problem if Alcaraz had continued to do the thing that has made him such a fan favorite — his ability to magically win a point from a defensive position when everything seems lost and he rockets a ridiculous forehand down the line on the run. That is known as his ‘steal score’. 

His steal score has averaged 37 per cent since the Wimbledon title — but in those four surprising losses, it was 30 per cent. Playing more defensively and less miraculously pretty much guarantees a loss. Add in sub-par execution on the most basic shots and there was no way Alcaraz was going to win those matches. 

His forehand quality was 7.3 against Paul and 6.8 against Jarry, both well below the tour average. Same for his backhand against Jarry and Safiullin. 

His performance against Jarry wasn’t just below his standards but way below pro tennis standards. As can be seen from the next two charts, his numbers were below the tour averages in 10 statistical categories, everything from the speed of his forehand to the percentage of points won when the rally lasted more than eight shots.

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Against Safiullin, he converted just 50 per cent of the points when he had established control and been on the attack. The tour average is 66 per cent. 

The effect of all this can be stunning to the eye. Since Alcaraz has established a reputation for the spectacular, it makes the bad performances look terrible. 

“When it goes wrong, it goes really wrong,” Corrie said. “If you beat Medvedev, he’s still putting thousands of balls in the court. He’s not disappearing so aggressively like Carlos is.”

(Top photo: Marcelo Endelli/Getty Images)

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Finding Wisdom in a Poem by Wendy Cope

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Finding Wisdom in a Poem by Wendy Cope

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Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?

How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.

Good poets know the rules and when to break them, which is something they can teach the rest of us.

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To wit:

Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?

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I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.

Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.

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Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.

This isn’t the kind of poetry you would describe as “confessional.” And yet …

Want to learn this poem by heart? We’ll help.

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Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.

Question 1/7

Let’s start with the first stanza.

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Stop, if the car is going clunk 

Or if the sun has made you blind. 

Dont answer emails when youre drunk. 

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Tap a word above to fill in the highlighted blank.

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Can You Match the Places These Authors Lived With Settings in Their Books?

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Can You Match the Places These Authors Lived With Settings in Their Books?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

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It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

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Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

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