Venus And Serena Against the World

5 years ago by in EyeCandy, Lifestyle
There’s video that
exists of Venus and Serena Williams playing tennis when they were kids — 8 and
7, respectively — in the late ’80s, on unshaded but otherwise decent-looking
public courts in California.
This is not one of the clips you’ve maybe seen, taken from various news
segments, but an earlier, stranger video, made by their father and longtime
coach, Richard Williams, as a kind of audition tape for the
tennis-instructional guru Vic Braden, ostensibly requesting an invitation to
Braden’s camp, although the real reason for it, you can’t help feel in
watching, simply was to let Braden know that greatness had arrived in the
world. Richard’s face in the film as he presents the girls to Braden seems, as
it does so often, on the brink of laughter. This was in Compton,
the low-income, gang-afflicted hub city outside Los Angeles, an area made infamous by many a
rap song. Although they enjoyed about as stable an upbringing as you could have
in Compton back
then, its problems were no mere abstraction: they supposedly knew to lie down
on the court when gunshots rang out in the park. And there’s a story that
Richard, when asked what he would do if his daughters ever won a Grand Slam,
said he would go back and try to help the Crips who sometimes looked out for
the girls during their practice sessions. “Venus
Williams Is Straight
Outta Compton!” read an early promotional poster their father made, to post on
telephone poles. He billed the two as celebrities before they were even famous.
That was how you did it. Not fake it till you make it. You decided what you were. First you had the
belief, and then you had the training. “Belief and training,” Venus told me a
couple of weeks ago when I met with her in Cincinnati, where she and Serenawere
playing in a tournament just days after returning from the Olympics. “That was
unconquerable.” 

She sat at a round, empty table in
the meeting room at the Hyatt, first messing with her dog, a little terrierlike
creature, and then placing it inside a duffel bag, where it apparently liked to
hang out, because it stayed completely silent there for the better part of two
hours, not even receiving any treats or anything. “He’s unemployed,” she said,
forcing him with her fingers to make a face at me.
Because she’s usually
frowning and scowling on court, or squinting and chewing the inside of her
mouth, or looking bummed in the changeover chair — or finally at the end
sometimes grinning and laughing maniacally — it’s easy to find yourself
unprepared for her sheer prettiness, as witnessed when she’s more or less at
ease, 6-foot-1 in pale designer jeans, quietly flashing the smile that made her
at one time the richest woman in sports (before Maria Sharapova came along). 

I was trying to bring
the person across the table into some kind of stereoscopic harmony with the
girl on the tape, the one whose short, beaded braids hang like a fringe of
tassels on the side of her head. It showed her hitting big, swinging volleys
from midcourt at about the skill level of a decent college player, except that
she was catching them up above her head, scything the fed balls out of the air
with enough topspin to send them arcing down toward the lines. After an
especially good shot, Richard would say, “Good shot, Venus,” and Venus would
say, in dulcet tones that retained a trace of hisLouisiana syrup, “Thank you, Daddy.” 

Richard addresses the
camera directly. Venus and Serena stand on either side of him, taking shelter
in the shadow of his legs as if the camera might not find them there. Richard
reveals to Braden that they have been watching his popular tape, “Tennis Our
Way,” quoting his fantastically optimistic slogan, “You’ll be famous by
Friday.” Richard can’t remember the exact wording. “You kept saying we’d be
good by Friday,” he tells Braden. “We was good by Tuesday. We should be great by Friday.” 

The remarkable thing
about the tape, from the point of view of someone interested in tennis, isn’t
the almost voyeuristically candid preflight glimpse it gives of some soon-to-be
superstars but simply the footage of Venus hitting. She doesn’t bounce on her
feet yet between every shot, she hasn’t fully learned that readiness; she just
stands there, in her jeans, waiting to be fed the next ball. Nor is it even the
excellence of her technique, although her technique, it goes without saying, is
ridiculous for an 8-year-old. It’s more something that she doesn’t even know
she’s doing, something having to do with the transfer of force, of mass, from
the back of her body to the front, and the way that this transference is passed
along into the shot, the way it enters her racket head at precisely the
millisecond she hits the ball, resulting in a kind of popping sound, the
distinctive pop in
ball-striking that signals someone who can really play, the thing you simply
cannot and will never learn to do if you are a hack or even a pretty good
player who has hit that cruel ceiling, the limits of your own physical ability,
beyond which you cannot progress, even after decades of lessons and work, but
beyond which some 8-year-old girls can go and indeed beyond which they were
born. It’s the tyranny of talent. Watching this little girl do it, watching her have it, that lays it bare, undeniably
evident, extracted from the game like the Higgs
boson from those
protons. 

I asked Venus about
this tape, if she remembered it at all. She did, she said (vaguely, I sensed),
but in general she tries not to look back, preferring to remain “at a continuum
of moving forward.” 

If Braden ever watched
the tape, there survives no mention of it. He must have had parents trying to
sell him on their little prodigies every day, and even if he had noticed — as
he could not have failed to — that the girls, especially the older one,
possessed the proverbial “thing that can’t be taught,” there was plenty else in
the tape to put him off. The father’s boasting (relatively subdued, for this
performance) has about it the whiff of slight insanity. The way he keeps
mentioning the “famous by Friday” business, the way he talks about the girls
not as promising youngsters but as celebrities, as princesses, as if he
worships his own creation. His Southern accent verges at times on the
unintelligible. “Stay in touch with us,” spoken pathetically, hopefully, toward
the end of the tape, sounds like, “Stain touch widders.” 

 

Although he has been the subject of excellent profile writing (notably in
Sports Illustrated, by S. L. Price and L. Jon Wertheim),
Richard Williams remains an eternally elusive and evasive figure. I find him
powerfully and movingly American somehow. His whole personality seems to have
evolved as a complex reaction-structure to an insecurity so profound that it
must remain secret, especially from him. Throughout his daughters’ careers, he
has gone about fanning a splendor of boxing-promoter language, of lies,
half-truths, boasts, misstatements, non sequiturs, buffoonery, needless
exaggerations, megalomania, paranoia — as well as here and there genuinely
wise, amusing lines — all of which, you begin to feel, are designed
(subconsciously, yes, but no less shrewdly) to deflect attention away from a
still, small center, the place where he dwells and operates. It’s there that he
is who he is, whoever he is. 

He came from a part of
Shreveport,
Lurr-zeeana, as he pronounces it, in a neighborhood whose school was called,
amazingly, Little Hope. At various times he has told reporters or anyone who
listened that he was a sports star there in his youth — and certainly it seems
plausible, given his height (6-4-ish) and what we realize to have been present
at least in a nascent way in the genes — but there are no records of these
exploits, if they occurred. Perhaps he dreamed them. Perhaps he assigned them
to himself the way a great novelist might give them to a character, as a
necessary past for the Father of the Williams Sisters. Perhaps (most likely) he
needed them in order to be the girls’ father, to carry the necessary authority
in their eyes. Listen to me, now. I was like you. I was a great
athlete, too.
 That
may have been useful. 

The source that brings
us closest to him, precisely because of its complete lack of objectivity, is an
extraordinary documentary made just over a decade ago, “Raising Tennis Aces:
The Williams Story, by a black Englishman named Terry
Jervis, who himself possesses, from what can be gauged, self-promotional
instincts downright Richard Williams-like in aspect. The film is about Richard
Williams, mainly, but also done in collusion with him. 

Most of it takes place
on the grounds of a Florida compound, near where the Williams family relocated
in the mid-’90s to hide from the junior playing circuit (Richard’s great stroke
of genius — when the other girls were burning themselves out playing the Young
Ladies Lipton Cup or what have, his girls were hiding, practicing). In the
film, Venus and Serena sit for interviews, under a patio awning, saying their
half-meant teenage-athlete phrases, as Richard sits beside them, grim-faced,
gripping his thighs, controlling the narrative. 

Mainly he is the narrative. We watch him riding
around the place on a clay-court-cleaning machine. We meet others — the family
lawyer, the family adviser — who speak of Richard and his integrity and
foresight. We meet, curiously, another man named Richard Williams, a tennis
teacher back in Compton,
who gave the sisters some of their first extrafamilial lessons. Williams
generously acknowledges his influence. A civil rights activist appears,
testifying to how hard Richard had it growing up. 

We follow him back to Shreveport, where he pays
a visit to his childhood home, the place he shared with his sisters and their
mother, Julia Mae Williams. His shock at its dilapidation is such that he sits
down and cries. He tells the story of his closest childhood friend, killed by a
car that was driven by a white woman who barely stopped to see what she’d done.
“She went on her way, gracefully,” Richard says. 

It’s not that the
story is at all implausible for the South in the ’50s. No reason to doubt it.
But there’s something about Richard’s manner. We see him weaving the physical
objects of his immediate surroundings into the tale. He puts his hand on a tree
in the front yard and says that he planted it after his friend died, because in
the wake of that loss, he needed something “solid.” But wouldn’t the tree have
been only a sapling at that time? He says the mere idea of its future growth
gave him that solid feeling. But those don’t sound like a boy’s thoughts.
Richard’s drive to self-mythologize is total. All must be included, even the
trees; all must contribute inevitably to what came later. The trauma of the
black Southern past is recast by force of will and audacity, becoming prelude
to the glory of the Williams present. “Venus was born in ’80,” he says, with
cryptic syntax, “but she was . . . taught like a child who was being brought up
in the ’40s and the ’50s, and that’s why today if you see Venus and Serena, and
we’re at a tennis tournament, and you boo us, it doesn’t hurt us, because we
was taught for things like that many, many years ago, we came up in the ’40s
and the ’50s.” 

The mention of “you
boo us” isn’t random. Richard was referring, without mentioning it explicitly,
to the notorious incident at Indian Wells, Calif., in 2001, still a recent memory when
“Raising Tennis Aces” was shot. People argue about exactly what went down that day,
but the flash point was that Venus withdrew from a semifinal match against
Serena. She didn’t feel well enough to play. Tendinitis. It’s often reported
that she did this with only minutes to go before the match, but in her book
(“On the Line,” a better-than-average entry in the genre of the co-written
sports memoir), Serena wrote that Venus had been telling the trainer for hours
she didn’t think she could do it. That was the protocol: you were supposed to
tell the trainer first. But the trainer kept stalling, no doubt hoping she
would recover and change her mind. At one point during the day, Venus
approached Serena in the locker room and said: “I really don’t know why they’re
not making some kind of announcement. I told them I couldn’t play two hours ago.”
This game of chicken went on until, in the end, the stadium was full. A
tournament official came on the loudspeakers and informed the crowd that the
match had been canceled. Rumors of match-fixing began to swirl. A day before,
the Russian player Elena Dementieva had joked-not-joked that Richard would
decide which of his girls went on to the final. 

(Just as an aside,
I’ve never bought any of the match-fixing accusations regarding the sisters:
yes, their matchups could be weird to watch, sort of hesitating, but is there
any mystery to that? They’ve been playing together, more as practice partners
than as opponents, practically since they were babies. Their style of play was
about feeding each other, testing each other’s strokes, not winning. That
dynamic couldn’t be changed overnight. Their matches grew in intensity and
passion as their careers advanced, just as you would expect. Also, and perhaps
most compellingly, the whole idea of Richard asking one of his daughters to
lose to the other goes entirely against his style. It would have been more like
him to set them against each other to strengthen them.) 

Two days later, when
the family returned to the court for Serena’s match against the big-hitting
Belgian Kim Clijsters, the crowd began to boo. Both Richard and Serena assert
that they heard the word “nigger.” The booing continued throughout the match,
which Serena won in a display of all but inexplicable poise — or really
something more like fearsomeness, when you witness it. But the most astonishing
and little-remarked moment occurred before the match even started, when Richard
and Venus walked down to their seats in the players’ box. The booing
intensified — it was Venus, after all, who committed the sin, and Richard whom
many despised for his frequently asinine Svengali persona (and darker
tendencies too — reportedly, a couple of years before the Indian Wells fiasco,
he hurt his wife, Oracene, the girls’ mother and co-trainer, badly enough to
break a few of her ribs; Oracene later confirmed the reports; he denied them;
either way, the marriage was crumbling just as the girls were making it). He
turned and faced the crowd, as if to show them his lack of fear. He said a few
things back, you can’t hear what. And then he raised his left fist in the air,
like John Carlos at the ’68 Olympics. He held it there for a few seconds. The
look in his face suggests that he did it almost with a kind of irony. Still,
the boldness of the gesture stuns. Tennis had never seen anything like that. 

In her postmatch
remarks, Serena thanked her father for giving her strength, after first
thanking, as she almost invariably does, Jehovah God. “I want to thank those
who supported me,” she added. “And if you didn’t, I love you guys anyway.” But
not so much, as it turned out. It has been more than a decade since that day,
and the Williams sisters have never returned to Indian Wells, one of the tour’s
bigger tournaments. 

Richard Williams often
receives an undue share of attention in discussions of the Williams sisters,
their game and how they got started. Partly this is appropriate: he’s their
coach. Partly it’s because, for many years, he demanded, or at least commanded,
that attention with his bizarre pronouncements and antics. But all of this has
led to a persistent distortion in the telling of the Williams story, which is,
after all, a story of powerful women — not just Venus and Serena, but the
household of women who surrounded and nurtured them. 

In the beginning,
there were three sisters, none of whose names you may have heard: Yetunde, Isha
and Lyndrea. They were Oracene Price’s daughters from her first marriage.
Oracene became Richard’s second wife when they married in 1980. So Richard
lived in the house in Compton with four women —
three girls and their mother — just as he had grown up in Shreveport with three sisters and Julia Mae.
He had recreated the dynamic of his childhood home. 

When he and Oracene
first began to talk and dream about founding some kind of tennis dynasty — in
the oft-heard tale, it happened after Richard watched a women’s match on TV and
heard that the victor, Virginia Ruzici of Romania, would receive $30,000 for
her efforts, just for smacking a ball, as they say — Richard first taught
Oracene to play. He himself had taken up the game not long before, and he
quickly became quite good. But Oracene, too, was an athlete. In her youth she
played volleyball and played basketball with her brothers (“Till they got
bigger than me”). 

“It was like a family
recreation early on,” she told me. “I myself learned to play in a year. I
always wanted to learn and to learn the right way, like a professional. And
Richard would show everyone my backhand.” 

She explained that
because she was pregnant with Venus when they first started hitting together,
the traditional way of hitting a backhand — turning to the side and twisting
your torso — didn’t feel comfortable for her. “I would hit the backhand open,”
she said. At the time, the shot was rare and barely existed at all in the
women’s game. “I made it into a comfortable stroke. I knew I’d feel better if I
was low, and then I’d just whack it.” 

At first they began
with Oracene’s three children. Yetunde, the oldest — who was shot and killed in
2003 in Compton
— wasn’t especially athletic. But Isha, many people believe, could have been
the third Williams sister, if not for her back problems, and Lyndrea went on to
play at the college level. But although the two girls were good, they weren’t
great — perhaps they hadn’t been exposed early enough. 

With Venus and Serena,
Oracene said, “it’s almost like they were raised on the court.” She remembers
Serena as a toddler, off to the side while they played. Oracene noticed early
that something was different about their game. “They still weren’t as athletic
as me,” she said — a thing you learn quickly about Oracene is that she says
exactly what she means and never says anything she doesn’t mean, to a degree
that can be intimidating and even seem aggressive until you realize that it
isn’t negatively charged, she’s just very unto herself — “but I did notice one
thing: they had a natural swing. That’s what I looked for first.” She didn’t
elaborate on that, but I knew what she meant — the pop. It was the
unquantifiable kinesiology of the pop. These two new daughters had it. (Richard
would later claim that they were engineered for it, by an express and all but
eugenical logic — he saw Oracene’s long, powerful gams and thought they would
make great legs for a tennis player. Jehovah God knows if these things are
true, but unlike the sturdy-tree story, it feels like something he might have
thought.) 

Richard and Oracene
had become uncannily expert, if unavoidably eccentric, tennis coaches and
analysts by the time Venus and Serena started hitting. Indeed, behind the minor
miracle of there being two tennis virtuosos in this single family with no
previous tennis background, there had been the previous miracle of both
parents’ understanding the game well enough to teach and guide the girls. “I
don’t honestly know how that happened,” Venus told me in Cincinnati. “It’s interesting. I don’t know
how my parents were able to learn the game so well.” 

Damon Winter/The New York Times
The story has been told so many times, of these early years, when Compton got
used to the sight of the little girls who would always be playing tennis at the
public park — or riding around in their faded yellow VW bus with the middle
seat taken out to accommodate the grocery cart full of balls — but somehow the
strangeness and drama of it retain a power to fascinate. The idea of this
African-American family organizing itself, as a unit, in order to lay siege to
perhaps the whitest sport in the world and pulling it off somehow. “I remember
even talking to my sisters and brothers,” Oracene said, recalling a time before
anyone had ever heard of the Williams sisters, “and telling them: ‘The girls
are going to be professional. We’re going to need a lawyer, and we’re going to
need an accountant.’ ” 

Isha, the middle
daughter — sharply funny and practical, fiercely loyal to the family — told me:
“Life was get up, 6 o’clock in the morning, go to the tennis court, before
school. After school, go to tennis. But it was consistency. I hate to put it
[like this], but it’s like training an animal. You can’t just be sometimey with
it.” She still can’t sleep past 6. 

“For the most part,”
she said, “Venus would be on my dad’s court, Serena would be on my mom’s court,
and we’d jump. It was like this rotating system.” All the sisters agree that
Oracene’s court was the toughest. Richard liked to play games and goof, but
their mother was all business and was matter-of-fact in her criticisms. “Even
now,” Serena wrote in her book, Oracene is “one of the best at helping to break
down my game.” In conversation, Isha points out that it’s always her mother who
goes with Serena to the Australian Open, not her father. “And she’s won the
Australian five times.” 

Oracene did not grow
up a Jehovah’s Witness. She belonged to a religious family in Michigan
but lacked a church to attend in L.A.
Some Witnesses came to her door one day, and she liked their message, with its
emphasis on their strict interpretation of the Bible. In 1984, just as Venus
and Serena were picking up rackets for the first time, Oracene was baptized and
began raising her girls in the faith. Richard never did convert. He read some
of the teachings, but he was not and is not a Witness. As much power as he
possessed in the family, there remained a kind of inner circle — of women and
faith — of which he remained outside, which may go some way toward explaining
how the girls can both revere him and roll their eyes at him. He’s their
father, but he’s other. Among themselves, the women in the family maintain what
Oracene, quoting Colossians, calls “a perfect bond of union.” When I spoke with
Lyndrea, the youngest of the three older girls (and perhaps the most unforcedly
sweet of all the sisters; about Lyn, as they call her, there was nothing
forbidding or closed), she was in the car on her way to the Kingdom Hall in Los Angeles to give a
talk. And when I asked Isha if the girls ever went around house to house, the
way Jehovah’s Witnesses do, she said yes, she had been “out in service” with
Venus and Serena. “It’s a trip, too,” she said, “people be blown away.” 

It’s impossible not to
feel that this fierce closeness of the Williams women — strengthened by their
shared faith, with its emphasis on separation from the world — has had not a
little to do with the tremendous psychological stability Venus and Serena have
demonstrated over the nearly 17 years of their careers. It’s amazing to think,
but when this article was first in the planning stages, only a few months ago,
it was conceived as a story that would mark the decline of their careers, the
beginning of a conversation about their legacy. The word “retirement” had begun
to appear in discussions of both sisters. This wasn’t writing them off; it just
seemed like an accurate read of the situation. Venus found out she had
Sjogren’s syndrome, an autoimmune disorder that often causes severe joint pain,
among other symptoms. She’d fallen quite far back in the rankings, because of a
lack of match play. The illness dogged her for years, until the doctors finally
figured out what was wrong. It had been hard for her to accept that she was
sick. “I spent my whole life playing sports and training and pushing myself to
the limits,” she told me. “When you get told that you have a disease, it’s
like: ‘Really? Nah, it’s all right. I don’t believe that. It must be something
else, I’m just making an excuse, let me push harder.’ ” Serena, meanwhile, had
cut a tendon in her foot with a piece of glass, requiring several operations,
which led to a pulmonary embolism. She also suffered a giant hematoma, caused
by one of the shots she took to prevent another embolism. Naturally their
fitness suffered. It seemed, frankly, physically impossible that the sisters
would ever regain the tip of the tennis pyramid. A good time to talk about what
they had meant to the game, how they had changed it and been changed by it. 

But last month, Serena
won Wimbledon again. Then she won the Olympic
gold medal in women’s singles. Then she and Venus (Venus actually playing
slightly better than Serena, according to Serena) won gold in women’s doubles.
The whole thing was a joke, a comedy. The Williams sisters were dominating
tennis again. Serena, in her final match, machine-gunned her onetime rival
Sharapova off the court so brusquely and efficiently, it looked as if she had
an urgent appointment somewhere that she couldn’t miss. Venus, in closing out
the gold-medal doubles match, hit what she felt was the best shot of her
career. Her description of it in Cincinnati
was beautiful (it can be hard to get tennis players to talk about their game in
an analytical way). “I did a play that I normally don’t do,” she said.
“Something moved my body. 

“Serena was serving
from the ad court, and I don’t really like to cross, to poach on the ad court,
because I usually like to poach when I have a forehand. I’m thinking: I gotta
help Serena out, because she always helps me on my serve. I’m not helping her enough. 

All this is going
through my head. So my plan is like, I’m gonna go over, but I’m not gonna go
too early; I don’t want [the other player] to see me. But this is all
subconscious almost. The next thing I know, I’ve left. I don’t remember making
my body move. I’m just hitting the shot. Now, I have a great one-handed
backhand volley. But I hit it two-handed! I don’t know what happened. It was
like watching myself from above when that happened, and like I feel like, this
is the best shot of my whole life.” 

I asked Oracene what
she felt, watching her daughters reclaim the heights after what they’d been
through. “Honestly?” she said. “I reflected on the fact that in the United States,
you don’t have many players that are doing well. And then you have these two
old, black girls, up in age now, and they’re still holding up America. That
to me was remarkable.” I thought about it. She was right. There isn’t another
American right now who’s capable of really penetrating at a major. Or maybe, in
fairness to Andy Roddick and a couple of other people, it’s better to say that
there isn’t another player whose penetration at a Slam would not make your
eyebrows jump. It’s just these two girls, these two sisters. They’re what America has
right now. 

I met Serena a couple of weeks ago in Paris, where she spends several months of
each year. She lives in a quiet, pretty part of the Seventh Arrondissement, in
a beautiful but not ostentatious apartment that she described as “humble.” It
had black floors and big airy windows that let in the sound of children playing
on the sidewalk below. Most of the furniture and art pieces were things she
picked up at the outdoor markets in Paris.
She showed me a binder full of her plans for the interior design. 

There had been some
mix-up about the time. I’d stood there buzzing for about 10 minutes. Suddenly
the door bolted open. The assistant, I thought, maybe coming down to
explain.But it was Serena. In purple spandex workout pants, a white top and
sunglasses, her hair natural and a little wild, the way she’s wearing it these
days. 

“You’re early,” she
said. 

“Really? I thought it
was 7.” 

“I thought 7:30.” 

“I’m happy to hang out
for a while.” 

“No,” she said. “Walk
with me.” She needed something from the pharmacy. 

As we walked, she
moved back and forth between French and English. Her French was good. Even very
good. I had always heard this about the Williams sisters, that they were into
languages. But you know how it is with some people — they take a Berlitz course
and tell you they can speak Russian. She was expressing herself in the
language, charming the Greek guys in the little takeout joint where we stopped,
where she seemed to order one of every dish they had. They couldn’t hold sample
spoons out to her fast enough. I thought what I’d been thinking for months:
that I knew more or less nothing about the Williams sisters. They like it that
way, you get the sense. Not many people get very close. This of course warps
the perception of them by the public and the media. It feeds the idea to many
people that there’s something weird and aggressively off-putting about them.
They both seem conscious of the trade-off and O.K. with it. 

When we returned to
her apartment, she asked, “Do you want a drink drink?”
She had just flown in, and there was nothing in the place but Jack Daniels,
which she poured for me on the rocks, showing a nonshowy graciousness I didn’t
expect. “That oughta get you going,” she said with a laugh. She didn’t have any
herself. (Jehovah’s Witnesses are allowed to drink in moderation, but whiskey
wasn’t part of her training regimen.) 

After I moved through
the congratulations and the how-are-you-feeling (she showed me the locations of
her various scars, including a long and nasty one on her shin), I asked her
about Indian Wells. “I’m not going to ask you if you’ll ever go back,” I said,
“because I know you won’t. I just want to know if that’s your personal decision
or a family decision.” 

“It was my decision,”
she said, sounding not so much annoyed as saddened by the subject. The rest of
her answer, reproduced here in its entirety, surprised me both with its
eloquence and its confidence. It was a woman’s answer, not a girl’s. And not a
diva’s. She wasn’t trying to be provocative. She was letting her yes be yes and
her no be no, the way Oracene had taught her. 

“I don’t know if my
dad said something. But I don’t need to go back there. They don’t like me. I
don’t need to be there. If you can boo a teenager, and you can be white and 60
years old, you know what? I’m cool on
you. I can understand maybe if they were 20, 15. But like at the French
Open, the crowd boos you, but they’re young, they’re kids, they’re a
younger crowd. It is what it is. You just know every time you go to Paris, you get booed, but
you see so many kids in the crowd. At Indian Wells, everybody goes there when
they’re retired. It’s like Palm Beach.
I thought, People like Martin Luther King Jr. boycotted things. And this is
nothing on that level. Look at Muhammad Ali, he didn’t even play, he went to
jail because he didn’t want to go to war. The least I can do is stand up for my
people and not go there. That’s the very least I can do. It’s not even that hard
of a decision. I get a vacation on those two weeks. It’s like the easiest
decision of my career. They can penalize me to death, I’m never going back.” 

She gave me a bit of a
look, as if she were peering over the rims of her glasses, though she wasn’t
wearing glasses. Something along the lines of, “Does that answer your
question?” She had a row of books on her shelf, the kind of beige, 19th-century
books you find in the stalls along the Seine (which turned out to be where she found them). I asked if she read any of them.
“No, I just bought them for show,” she said. They were beautiful; they made
good décor. One faced out, on the end. It was a biography of Toussaint
Louverture, the former slave who led the Haitian revolution near the end of the
18th century. The book’s cover had a great old color illustration of him on
horseback, brandishing a sword. His blue-and-red coat and gray-black face. 

Because she seemed to
be handling uncomfortable topics surprisingly well, I moved on to maybe the
second-biggest oncourt scandal of her career — her notorious outburst at a
lineswoman who had made a questionable foot-fault call against her during the
2009 U. S. Open. To be fair, the call looked bogus in replay, and Serena has
suffered enough bad calls at that tournament — some that were almost surreally
so, including one in a 2004 match against Jennifer Capriati — to justify a
little paranoia. Even so, she went over the line and said things that would
have scared the living hell out of me if I’d been in that chair. 

“How do you feel about
that now?” I asked. 

“I was definitely
stressed, and I was angry,” she said. “I don’t foot-fault. Like, I have in the
past, but this woman should never make a call in the semifinals of a Grand Slam
on a person who doesn’t foot-fault. She was totally wrong. I’m sorry. I’m not sorry. I looked at her like — I tried
to warn her. And then she did it again. And I’m thinking, This is ridiculous.” 

“But you admit you
went over the top?” I said. 

“What bothered me most
was that I was representing my religion. I just felt like anyone who knew I was
a Witness was stumbled. And I really don’t want to stumble anybody.” Indeed,
Oracene had told me that the Witnesses called Serena in for a dressing-down.
“They had to have a talk with me,” Serena said. “And I knew it was coming. I
just felt really bad, though, because it’s like, that’s not who I am.” 

“How does that work?”
I asked. “Were you summoned by a minister?” 

“They just talk to
you,” she said. “They show you Scriptures. Not ministers, they call them elders.
It’s almost like a reprimand, but it’s not bad, because in the Bible it says
God loves you, and if someone reprimands you, they love you.” 

She went on, talking
about how “every year at the Open something happens. Like last year I got a
point penalty because of a grunt. Meanwhile, I can name five girls who grunt
way louder than I do, and the umpire didn’t even give them a warning. And then
I had the ball called out that was this far in. It’s always something. I’m
thinking, already, something’s gonna happen this year at the Open. I’m just
thinking, Serena, say your prayers, fall on your knees. It’s frustrating,
because it’s my home country, you’re playing for the home, but it’s like, the
way the umpires have been makes me not want to play there. I’d rather play inAustralia, or I’d rather play atWimbledon.” 

The window behind us
had an exquisite view of Paris
in the twilight. Looking past me, she said: “I love how the city’s all even. I
love how you can see the sky. You can’t have too many tall buildings. I mean,
there are a few, but for the most part, it’s Old World.
I like it.” 

Something about her
life there, the little I glimpsed of it — she had told me how she liked being
alone in this place, how she would “come here just to be around nobody” and how
she liked the way people in this neighborhood didn’t make a big deal out of her
— it gave me the sense that she was hiding there. From what, though? From America,
probably, a country that couldn’t decide if she was a goddess or a threat. And
from her father. In the latter case, at least, she had been successful. His
energy was nowhere in that apartment. This was what I was seeing, I realized,
in meeting both Venus and Serena. They have quietly absconded from his shadow. 

Venus had even joked
about him in Cincinnati,
when I asked her if he was still their coach. She rolled her eyes. “Sometimes
he’ll send lengthy e-mails,” she said. “Sometimes they’re really long, and I don’t read them. I get the
gist. He’s very, very into it. I think he loves it most. Out of all of us, I
think he loves tennis most.” 

In fact, not even
Oracene accompanied the girls to Cincinnati.
“They’re probably tired,” Venus said. “They say, ‘We’re over it, we’ll stay at
home.’ ” Her smile had levels I wasn’t equipped to explore. It had coyness in it,
it had irony in it, it even had some melancholy in it. “We’re on our own,” she
said. 

By John Jeremiah Sullivan

Page optimized by WP Minify WordPress Plugin

UA-34972506-1