Culture
Conor Niland’s book ‘The Racket’ documents fear and loathing on the tennis tour
When Conor Niland picked up £30,000 for winning the William Hill Sports Book of the Year Award three weeks ago, it was double his biggest payday throughout a seven-year professional tennis career.
This neatly encompasses what Niland’s award-winning book, “The Racket”, is all about — the reality of being a tennis player outside the elite. For players like Niland, who reached a career high of world No. 129 and never went further than the first round at a major, Grand Slam glamour gives way to the grind of the second-tier (Challenger) and third-tier (ITF) tours, crisscrossing the world on cheap flights — and one hair-raising drive through the Uzbekistan countryside without a seatbelt.
The Racket covers a side of tennis often overshadowed by bigger events and more famous names, which is part of the reason it has captured the imagination not just of the sport’s own fans but of the wider sporting public. “It’s very accessible to people who don’t follow tennis, but it isn’t watered-down in any way for those who do know and understand the sport,” Niland says in a Zoom interview at the start of December.
Part of what makes the Ireland Davis Cup captain’s book so fascinating is his discussion of the mental challenges of tennis, which are varied and intense. Niland sees the book as a counterweight to “Open”, eight-time Grand Slam champion Andre Agassi’s searingly honest 2009 autobiography which deals with similar themes but focuses on the top of tennis. It also has kinship with “Challengers”, the Zendaya tennis movie centered on a top pro tennis player trying to return to glory on the Challenger circuit.
“You’re in your head a lot, that’s for sure,” Niland says, explaining that musicians and actors who are hoping to ‘make it’ have reached out after feeling kinship with his story. “You’re on your own. And you’ve got an awful lot of time to reflect … Tennis asks so much of you.”
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Niland, 43, turned pro in 2005.
He qualified for two Grand Slams but lost in the first round of both. He blew a 4-1 final set lead against Frenchman Adrian Mannarino at Wimbledon in 2011; had he won, he would have played Roger Federer in the next round. He then had to retire with food poisoning while trailing Novak Djokovic 6-0, 5-1 on Arthur Ashe Stadium at that year’s U.S. Open. Those two defeats were his biggest career payouts, ahead of winning the Israel Open Challenger event in 2010 — until last month’s William Hill award.
Niland, as a promising 12-year-old from a country with negligible tennis pedigree, beat Federer in a friendly at the Winter Cup youth tournament in 1994. He trained at the Nick Bollettieri academy in Florida with Serena Williams, before competing on the U.S. college tennis circuit for the University of California, Berkeley, where he studied English literature and language.
He retired, aged 30, in 2012 because of a persistent hip injury but didn’t start writing his book for another eight years. Niland started jotting down some thoughts during the Covid-19 lockdown and found that they were gushing out of him; a few weeks later, he had a book proposal from publisher Penguin. Irish sportswriter Gavin Cooney was a ghostwriter on the project, but much of the writing is Niland’s own.
He feels tennis is a misunderstood sport: a profession in which around 100 men and women can make a decent living each year while thousands of others play for little reward. “It’s not good enough that there aren’t 300, 400 people in the world, men and women, who can make a very decent income,” Niland says, pointing to golf as an example of a sport with a better remuneration structure. Ultimately, only 128 men and women can be in any Grand Slam event’s draw, which makes getting those bigger paydays harder.
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This creates a brutal hierarchy, which is at the heart of The Racket. Niland paints a vivid picture of tennis’ haves and have-nots, documenting a training session with idol Pete Sampras among portraits of the myriad characters all the way down the sport’s rungs. Niland’s peers crave support and success, while the likes of Agassi and Sampras occupy another universe; he recalls Agassi surrounded at a tournament by so many hangers-on that he accepts a glass of water he doesn’t really want, just to give them something to do.
What Niland also captures is that players, even greats such as Sampras and Agassi, don’t breathe that rarefied air from the start; he uses current world No. 10 Grigor Dimitrov as an example of how the tennis hierarchy moves. He recalls getting on well with Dimitrov when the Bulgarian was a wide-eyed teenager who proudly declared that “(Maria) Sharapova likes me, man”, before explaining that Dimitrov became more distant as he rose up the food chain. “By the time he had cracked the top 20, he was ignoring me completely,” he writes.
There is scarcely more friendliness among players of the same level, though, especially on the Challenger and ITF Tours where people are fighting for their livelihoods as well as their ranking points. “Locker rooms on the lesser tours are full of strangers with bad tattoos,” Niland writes. “Everyone is just polite enough not to call one another out for being an a**hole, but selfishness is rewarded. Everyone is in competition with one another and on the lookout for a weakness in everybody else.”
Conor Niland’s only main-draw match at Wimbledon ended in heartbreak as he lost in five sets (Clive Mason / Getty Images)
These are power structures that people who have never gone near tennis can relate to, whether on the corporate ladder or in social groups. In tennis, as in all fields of life, “you’re constantly self-analyzing,” Niland says.
The tensions intrinsic to these hierarchies have boiled over in the past few months in the wake of high-profile doping cases involving men’s world No. 1 Jannik Sinner and women’s world No. 2 Iga Swiatek. Tennis players and fans largely accept that it is a tiered sport: the top players aren’t just paid more on and off the court, but receive preferential treatment in terms of court allocations and appearance fees.
Low-level players who do make it into bigger tournaments won’t get picked for show courts equipped with roofs for when it rains; they are less likely to make deep runs and so rarely know when their matches will be scheduled or how long they’ll be at a tournament for. An early defeat can mean a panic to change flights and an unexpected series of wins can mean scrambling for a new hotel room. The Challenger and ITF or ‘Futures’ circuits are played at small venues with modest facilities and few spectators.
The Racket sees Niland recount Federer summoning the British player Dan Evans to his base in Dubai for a few weeks of off-season workouts, insisting that every practice match be at 7 p.m. local time. Federer knew he would play the first match of his next tournament three weeks before the tournament even started.
Players accept these kinds of privileges. Things get heated when people perceive the accepted double standards in other realms.
Several of Sinner’s peers vented their frustration in August when he was not banned after twice testing positive for the banned substance clostebol, even though the International Tennis Integrity Agency (ITIA) followed due process throughout an investigation that led to a “no fault or negligence” verdict. Sinner received a provisional suspension for each positive test, but quickly and successfully appealed on both occasions, meaning he could keep playing without the bans being made public until the conclusion of the ITIA’s investigation.
‘One rule for them, another for us’ was the essential complaint. In November, Swiatek’s positive test for trimetazidine (TMZ) from contaminated melatonin (sleeping tablets) medication led to a month’s ban. Swiatek also quickly and successfully appealed her provisional suspension, which the ITIA issued in September.
On this occasion, lower-ranked players emphasized that only elite players like Sinner and Swiatek can afford the swift legal and medical advice and testing required to appeal their provisional suspensions. Players only have a 10-day window and ITIA chief executive Karen Moorhouse accepted that players with more resources are better positioned to deal with incidents like this.
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Niland feels the segregation of the Challenger and ITF Tours “downgrades” tennis outside of the rankings’ top 100s and “makes it seem like we’re not legitimate professionals,” describing the Swiatek case as a “perfect example” of why tennis is perceived to be a two-tier sport.
“The fact that they’re able to announce to the world on their terms on their own Instagram page … Tennis has a bad habit of thinking the very best players in the sport are the sport and that they’re bigger than the sport. It’s the way these things are managed and the feeling that it’s the haves and the have-nots,” he says.
Niland never directly witnessed doping but was once approached to fix a match by an anonymous caller. He hung up the phone.
Unable to afford the entourage and support teams of the best players, Niland describes the “crushing” loneliness and isolation of being a lower-ranked tennis player.
“I made virtually no lasting friendships on tour through my seven years, despite coming across hundreds of players my own age living the same life as my own,” he writes. Players who do strike up bonds, such as Dane Sweeny and Calum Puttergill, two Australians who document their seasons on YouTube, spend time figuring out if they can afford to lose a match or not.
Niland also recalls the unhealthy obsession with one’s ranking — the digits that measure a player’s sense of self-worth. He says he still gets a “flash of adrenaline” when he sees the number 129, say on a digital clock, remembering the constant fretting about losing points won the previous year.
“By September, you’re already thinking about the points you might lose in February,” he says.
“You’re dealing with losing constantly and constantly trying to get better and comparing yourself with the very best in the world,” he says, explaining that the intertwining of results with self-esteem was the worst part of the job.
And the best? “It was great to wake up with a dream every day — mine was to play at the Grand Slams. The fact I actually got to do it was great, even though it was bittersweet.”
Niland hopes The Racket humanizes the players below the sport’s top 100, explaining that one of the biggest misconceptions about tennis is the perceived gulf in talent between the elite and those just below them. It’s a much smaller gap than people think, he says, and very small margins can determine a player’s career trajectory.
Nowadays, Niland is the Irish Davis Cup captain, but his main job is with a commercial real estate company.
He lives in Dublin with his wife and kids (Emma, eight, and six-year-old Tom), all of whom play tennis, something he very rarely does anymore. Full-time coaching doesn’t appeal, but he would love to keep writing, with the work on this book helping him to process his gruelling first career: “I think some of the ‘failures’ in the book are what makes it more compelling and the fact that there isn’t necessarily a happy ending for me in the tennis context. I guess the happy ending is this book.
“Tennis can offer you something — you might get bits and pieces out of it, but it’s not necessarily going to save you.”
(Top photos: Getty Images; design: Dan Goldfarb)
Culture
What Happens When We Die? This Wallace Stevens Poem Has Thoughts.
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Culture
Do You Know the Comics That Inspired These TV Adventures?
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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