At the tiny hole-in-the-wall Chinese restaurant around the corner from his Point Grey house, Abraham Rogatnick needs no introduction. He is a regular, with his table, his chair. On a sunny afternoon not long ago the owner looked up as he came through the door. She smiled sweetly with a tiny bow of the head, disappeared into the back, and quietly returned with the Yellow Pages for him to sit on.
Rogatnick is an elfin man. Wearing a neatly knotted black tie and white shirt under a red sweater, he could be Billy Crystal’s dad. His face rings a bell, the way character actors’ faces do, though you can’t be sure where you’ve seen them. In Rogatnick’s case, it could have been the crime drama Just Cause, in which he played a nutty old judge on a couple of episodes. Since he broke into acting around 1998, at age 74—propelled by a love for the language of Shakespeare, and with a little more time on his hands at last—he has been steered by his agent away from the stage and into movie and TV roles, more Lear than Romeo.
“I’ve played old men,” he said. “Usually dying old men.”
It occurred to him, as he worked on his chicken soup, that he’d eaten here for four consecutive days, with a different companion each time. Though he retired from the architecture department at UBC in 1985, academics and artists and former students seek him out. Something about him invites questions.
His face registered his pleasure with the soup. “It’s so good today,” he said. “It’s better than it has been for a long time. It must be a new batch.” It was the soup of the day, the soup of the place. If you tried to take it home it wouldn’t be the same soup. He lingered over it. “I eat very slowly,” he said. “I just can’t swallow as fast as everyone else.”
There are people who visibly wield power. And then there are the people who quietly prop them up. Sometimes the backroom partners emerge with a bit of a profile of their own—Raymond Carver’s editor, Helen Keller’s teacher, George W. Bush’s pastor—but more often they don’t. Influence that isn’t particularly interested in fame can easily stay hidden. It’s a different kind of power, exerted by sitting on design panels or crafting inspirational lectures that ignite promising students or eating dinner with men who buy ink by the barrel—but it’s vital to the forward movement of the culture.
Abraham Rogatnick (“Abe” is reserved for his oldest friends) is an architect, a historian, a professor, a public intellectual. Newspaper reporters sometimes reach for goofy catchall phrases like “octogenarian livewire” to describe him because no single label captures him.
Behold Abraham Jedidiah Rogatnick. Who trained at Harvard’s Graduate School of Design under the directorship of Walter Gropius—the Bauhaus founder and one of the pioneers of modern architecture. Who popped into town in the fall of 1955 for a quick visit and was welcomed by the arts community the way a drowner welcomes a floating barrel, and just never left. Who pretty much explained modern-art to Vancouver—after opening the doors to one of the first contemporary art galleries in Canada. (This was six weeks after arriving.) Who helped create what became the Arts Club Theatre, and was parachuted in to restore stability to the Vancouver Art Gallery after its Watergate in 1974. Who invented a “studies abroad” program for architecture students, so they could live in some of the world’s great cities. (When you leave home, as the poet said, you see your own home.) Who chose a water-squeezed tourist mecca for the first platoon of outgoing UBC architecture students—and became one of the world’s foremost authorities on Venice. (That there are plenty of lessons Vancouver can learn from Venice has been one of his chief preoccupations.) Who walked its streets with Buckminster Fuller and Louis Kahn, as their interpreter. Who may have covered more of Vancouver on foot than anyone else alive. Who hiked the Chilkoot Trail with Pierre Berton. Who met Bill Reid when Reid had only recently learned he had some Haida blood in him (and so was phasing out of a career as a CBC broadcaster to explore his roots in art). Who would stand at the intersection of a sample of some of Vancouver’s most important architects and painters of the last century: the landscape architect Cornelia Oberlander, architects Arthur Erickson and Ned Pratt and Ron Thom and Barry Downs and Fred Hollingsworth, painters Bert Binning and Jack Shadbolt and Gordon Smith. Who was present at the birth of West Coast modernism—the closest we have come to an indigenous art movement—and managed to keep his eye on the ball as a new bunch of artists emerged to put Vancouver on the map again. (He remains good friends with Jeff Wall, Stan Douglas, Rodney Graham, Ken Lum, Ian Wallace, Attila Richard Lukacs.) Who is one of a very few men in this city who can get away with wearing a cape. Who tipped the last Vancouver mayoral election. And who claims to be puzzled that people think he’s worth writing about.
Can squash have an enfant terrible? Oh yeah. Meet Jonathon Power
From SATURDAY NIGHT, October 1998
In November of 1993, at the world team squash championships in Karachi, Pakistan, Canada drew Scotland in the first playoff round. But when the team bus arrived at the courts, Jonathon Power, the nineteen-year-old prodigy from Toronto, wasn’t on it. Coach Gene Turk tracked Power down at his hotel, where he was still sleeping, and brought him to the stretching area, where other players were warming up. Power was there in body but his head was far, far away. He stood, heavy-lidded, in a tearaway basketball tracksuit. “What do you want me to do?” he asked Turk. “Well, stretch!” Turk said. Power bent over to try to touch his toes. A cigarette pack fell out of one jacket pocket and a lighter fell out of the other. A few feet away, limbering up on the mat, the world champion, Jansher Khan of Pakistan, watched this little bit of vaudeville. He couldn’t believe it. He was looking at a clown.
He was looking at the future of squash.
Team members today tell that story with bemusement, partly because they know how things turned out. Four years later, Power became the first North American ever to beat the long-reigning Khan, and created the tantalizing possibility that he might one day tame his demons and become world champion.
But mostly the story circulates because it captures Jonathon Power in amber. He is not as other men. Or at least not any other elite professional athlete.
When he walked into the office of Graham Carter, a top Toronto money manager, a year ago, Power projected an oddly contradictory image: the worldly naïf. “Here was a kid who had had no real advisers for his whole career, and the guy is number three in the world, and prior to six weeks ago he’d beaten the number one six times in a row,” observed Carter. Like those eccentric math geniuses who tackle complex theorems all day but have trouble boiling an egg, Power did one thing awesomely well but was almost comically deficient in the routine demands of a professional life. He didn’t have a credit card. He didn’t even have an OHIP card. He’d plied his trade in sixty countries, logging hundreds of thousands of air miles, but had never bothered to get on a frequent-flyer program.
What kind of sponsorship deals did he have, Carter wanted to know. None, Power said. Equipment? No. Shoes? He bought his own. McDonald’s had approached him about doing some promotions, but no deals had been finished. There had almost been a racquet agreement, but that fell through after Power left the court audibly slagging the racquet that had let him down. The rep for the company happened to be in the stands watching, and the net morning, he called to say he would not be doing business with Jonathon Power, like, ever.
This wasn’t going to be easy.
WHEN most people think of squash – if they think of it at all – it’s as a pastime enjoyed by toffee-nosed Ivy League seniors, captains of industry, TV psychiatrists. Or just dorks who spend the summers of their youth bouncing balls off the garage and never outgrew the fascination.
People who actually play squash (a fairly small number), or watch it (an even smaller number), have a model in their mind of how top squash players look and act, what they stand for and where they live. The model is probably someone very like the current world number on, Peter Nicol of Scotland. Small in stature – for squash is a punishing game, and only lightweights can withstand the pounding on the joints over time. Gentlemanly – for squash’s British traditions stress fair play, and historically, exchanges between players and referees would not have sounded out of place in the Old Bailey. (“Let.” “No let.” “Appeal.” “Sustained.”) High focused – for squash, which has been likened to speed chess, is a game of infinite combinations and angles and moves and countermoves and perpetual calculation of risk. Supremely fit – for squash is a game of heavy aerobic demands. Deferential to their coaches – for squash is almost a tradesman’s pursuit, best learned at the hip of an experienced mentor who can groove you in.
Jonathan Power defeats all the stereotypes so completely you’d be tempted to conclude he was dropped into the game by some lesser god just to shake it up, the way John McEnroe landed in tennis in the seventies like a hound on the kitchen table.
He is quite a big man – six feet, 175 – and he seems, eerily, to get bigger the moment he steps on a squash court, the way some actors look bigger on stage.
On court, wearing his trademark red bandana, Power calls to mind the young Christopher Walken in the Russian-roulette scene in The Deer Hunter, where Walken sits zombified in the Saigon gambling den with a gun to his own head, somehow absolutely certain the bullet has the other guy’s name on it.
He is not the scion of some wealthy industrialist, who grew up in the shade of a single private club. He was a military brat, born in Comox, B.C., whose sports-fanatic dad was director of athletics at Canadian military bases and took a fierce interest in the physical education of his kids as he moved them from town to town.
He did not go to an Ivy League school. He didn’t go to school at all beyond grade eleven – he dropped out. Having won national junior titles since the age of ten, and having glimpsed the life that awaits an international squash celebrity when his father sent him to England to train with the coach of the great Pakistani champion Jahangir Khan, he saw no point in waiting to turn pro.
And he did not, having turned pro, instantly settle into a mature, ambassadorial role. In 1990, when he was sixteen and just breaking into the circuit, he lost in the first round of a tournament in San Francisco – an unthinkable outcome. Power wasn’t to be seen for the rest of the week. He hadn’t gone home; he’d drowned his miseries in the local rave scene, conducting private research into how many drugs and how much alcohol an athlete can ingest without its affecting his equilibrium on the dance floor. Squash seemed the last thing on his mind. But two days later he showed up for a tournament in Denver and made it to the semis.
Few players accompanied Power into the night. But everyone watched, a little bit amazed, as the bell-bottomed boy went down the rabbit hole and popped back up at match time ready to play. The night before the semifinals of the 1994 Alberta Open, Power for forty-five minutes of sleep. He won.
From the Delphic, on-court utterances (“If you choke, you’re a dead man!”) to the basketball slang that so bamboozles European umpires (“Hey, double-pump, ref!”), he earned a reputation as squash’s Yorick. Or perhaps squash’s Howie Mandel. At one tournament, Power walked past an umpire and said, by way of greeting, “Whose life are you going to ruin today?” In the Qatar Open final in 1997, after Power contested a call by the strict Irish referee Jack Allen, Allen leveled a long gaze at the Canadian. “Mr. Power, please do not talk back to me.” Power feigned surprise, raised his palms, put on his best puppy-dog face, then said, quietly, “Jack, I was only having some fun.” The crowd was in his pocket.
You’d be tempted to call Jonathon Power “anti-establishment,” but that would imply a firm position on the other side of the equation. Power isn’t anti-anything. He just is. “He doesn’t do too much to please other people,” admits his father, John, a top player himself and currently the squash coach at Dartmouth College in New Hampshire. In interviews, Power has not tended to censor his thoughts – to the delight of the media and the despair of the people looking out for him. After he publicly cut up then world champion Jansher Khan after a loss, Power’s coach, Mike Way, took him aside and said, “What, you wanna give the guy more armor?” Power didn’t particularly care. In 1997, when Power accused Khan of failing to clear back from the wall to allow Power to hit it, yet masterfully hiding the fractions from the inexperienced referees, Khan was reported to have replied: “I never block players. The referee can see everything. All players have this problem. That’s how squash is. I think it’s more of an excuse for losing.” Power figured Khan must have been misquoted, because, he said, “he can’t form the sentences that quick.”
Last fall at the Qatar International, the night before his semi-final match against Jansher Khan, a man named Ali Al Fardan took Power aside and made him a deal. Al Fardan, one of the most prominent jewelers in the Middle East, was the tournament’s chief sponsor. “If you beat Jansher tomorrow, and then go on to win this tournament,” Al Fardan said, “any ring in my store is yours.” (Power had endeared himself to Ali the year before at a party at Al Fardan’s lavish penthouse. Al Fardan had arranged for a belly dancer to perform. This caused palpable tension among the guests in the strict Muslim country. The players themselves, unsure of protocol, were keeping a dignified distance. The party was stiffing. Then Power got up and started to boogie. All those years of raving finally paid off. He faced the dancer and slowly gyrated to the rhythm she set. He languorously undid his shirt a button at a time. He was in his element. He saved the party.)
With the ring on the line, Power did beat Khan, and then beat Nicol in the final, and Ali Al Fardan honored his bargain. Power showed up at the jewelery store the next morning with a friend. Al Fardan brought out a couple of display boxes and laid them on the counter. Power conferred with his friend, who knew a little bit about jewelery appraisal. Then he pointed to a ring of white gold; he thought he saw Al Fardan flinch just a little. The ring was going, in that market, for about $12,00 (U.S.). Power paid the tax on it and took the ring home. He put it in a safety-deposit box and promptly booked a couple of airline tickets to Paris. He cooked up a story about having to play some matches there, and then he called his long-time girlfriend, Sita Schumann, and asked if she wouldn’t mind joining him. He gave her the engagement ring by the Seine. They will marry this summer.
Had he not met Sita in a Toronto bar in 1991, and had he not turned on the charm when he needed to, things might have worked out quite differently for Power. Sita’s influence has been a key plot point in his life, in the estimation of many who know them both. He’s still unlikely to be mistaken for Prince Philip, but Jonathon Power circa 1998 is a demonstrably mellower version of the Jonathon Power of even a few years ago. “He’s cleaned up his act a hell of a lot – the drugs and so on – because he knows Sita won’t tolerate that – says former national junior coach Stuart Dixon. “She’s also given him some goals, like, ‘Jon, you can be world champion.’ And he’s starting to believe it.”
After that first formal meeting with Power in Toronto, Graham Carter, the money manager, agreed to take Power on – practically pro bono, initially. He called up his friend Wade Arnott, the hockey agent. “How’d you like to try your luck with a squash player?” he asked. And so began the construction of a crude infrastructure around the young man who had somehow gotten so far without one. Carter and Power have become fast friends, with Carter assuming an additional role as a kind of financial tutor. They took out an insurance policy to save Power’s bacon in the event of a career-ending injury. Carter set up a holding company called Top Seed Inc. to catch the endorsement money, when it comes.
If corporate-sponsorship decisions were made on native ability alone, there’d be no discussion and no worries. Blank cheques would quietly be written on mahogany desks. Power is a unique talent. Even fellow players who don’t like the gamesmanship and just generally find it hard to get around his big backside when he sticks it out as an impediment, doff their hat before his skills. “He does things with a racquet that just make you want to play squash,” acknowledges Nicol.
When Power was a young boy and the family was living in Montreal, his father would pull him out of school and they’d drive to Toronto to watch the top players who were coming through for Tournaments. Thus did Jonathon watch and model and mimic – his preferred method of learning. He soaked up Australian Brett Martin and Kiwi Ross Norman and the Pakistani Jahangir Khan, but in the end developed a style all his own.
The difference between a top club player and a Jonathon Power is hard to appreciate just by watching each of them hit. Oddly, framed by a court thirty-two feet long by twenty-one feet wide, really mediocre players can seem more dynamic than the pros. The dentists and accountants – guys with barely reconstructed tennis or racquetball swings who do scary things like turn and play the ball directly at their opponent saying “Coming around!” – are obviously working out there. They skid on their own sweat and sport raspberries on their naked butts in the shower room afterwards.
The top pros, by contrast, hardly seem to be running at all. They just shark around the “T” in the middle of the court, drifting, finning, conserving energy. From some angles, they look like a couple of clever-bearing chefs hustling around each other in a kitchen. The game looks simple at this level. He ball seems peppy and the court looks small and easily coverable. Tight, compact swings drive balls off the front wall and down the side walls, making a sound like flies being swatted. The chief virtue of the best squash shots is not speed but “length,” whereby the ball is hit so that the second bounce, if you let it come, lands near the junction of the floor and back wall – and from the gallery this looks perfectly innocuous because pros take the ball early, or when they don’t they can still usually dig it out from the back, and so the point goes on and on. No flashy smashes or half-volleys or aces: just the slow, calculated working of the opponent out of position, sitting up an eventual loose ball that can, with luck, be put away.
Power has limited patience, so he’s not inclined to let points drag on. And this is what’s most remarkable about him as a squash player. In a sport in which you’re not supposed to be able to win a point quickly, he can.
“He has the remarkable ability to hit a shot more than one way,” says Mike Way. Many of Power’s strokes start off looking the same. Then, like a baseball pitcher, he directs the ball, with astonishing accuracy and touch, at the last second with a crack of the wrist. “What amazes me is when I watch him send the top players in the world in the wrong direction,” says Gene Turk. “That should never happen at that level. His short game is so good, players must feel they need to get a jump on the ball, so they make a commitment.” And the moment they commit, Power goes the other way. To avoid being cartoonishly wrong-footed, anyone playing Power must come to a complete stop, then start again when the ball is struck—an exhausting proposition over the course of a match. Unlike other top-twenty players, some of whom have crippling workout regimes, Power has never been very fit. But until recently he hasn’t needed to be because he himself reads his opponents like airplane fiction, and because, as British player Tim Garner puts it, “Normally his opponent does four times as much running as he does.”
Few squash players have ever been as dominant as Power is when he’s on. Or have self-destructed as badly as Power has when he’s off. Often he has roared through to the semis of a tournament without dropping a game, only to sink quickly in the cream of the draw with brainlock. “When he gets into trouble, he has a tendency to do one of two things,” says Colin McQuillan, who covers squash for the London Times. “He gets petulant, or he stops.” In the 1998 Commonwealth Games final – probably, because of the live BBC-TV coverage, the most widely watched squash match in history – Power seemed to be cruising to victory when a couple of calls went against him. His opponent, Peter Nicol, started playing tougher and clawing his way back into the match. Power began to cave. At a game-break, fellow Canadian Graham Ryding went over to speak to his teammate, who sat at courtside looking uninterested. “Don’t be such a dick,” Ryding urged. “Don’t let him do this to you. You’re the number-one player in the world.” Briefly reinvigorated, Power played better in the next game. But then so did Nicol, to take the match. At one point Power threw his racquet at a wall in disgust, missing Nicol’s face by inches.
He comes as a boxed set: the virtuoso and the drama queen. And in remote corners of the squash-literate world, they love it all. Next to Jansher Khan, Power may have the biggest following on the circuit. He is routinely asked for his autograph in countries where the sport is appreciated, if not necessarily played, by the masses – the Middle East, North Africa, and the Indian subcontinent.
The selling of squash at the professional level seems to be predicated on the hope that if non-players could be seduced into watching this game, they’d be bitten. Hence, exhibitions and tournaments are often held on portable courts set up in some of the strangest, most exotic, most public places in all of sport. A downtown square in Brussels. Grand Central Station. The Palladium dance club. The lower concourse of the World Financial Center. And most spectacularly, the Giza plateau, where last year players fought to keep their concentration as camels moaned in the darkness beyond. Egyptians prayed toward Mecca on courtside rugs, the pyramids loomed through the front wall as the lights went down, and 5,500 fans went nuts in the stands for the local boy, Ahmed Barada.
If he had been born in Cairo, or Karachi, there’s little doubt Power would already be a wealthy man.
The young Egyptian, Barada, to whom Power has never lost, appear on TV there more frequently than the test pattern, bombs around Cairo in a Mercedes, has seen his face on an Egyptian commemorative stamp, has reportedly received hundreds of thousands of dollars in government bonuses for good performances at home, and is one of only a handful of people to have President Mubarek’s private phone number. (Barada is, in Power’s estimation, “just a little shit.”)
Jansher Khan, as an employee of the quasi-state-run Pakistan International Airlines, draws a salary of about $1,000 (U.S.) a month – enough to support four families in Pakistan. (“You can’t be more boring than Jansher,” Power told me a year ago. “He’s no ambassador. He doesn’t really talk to anybody. He arrives at a tournament with his entourage and as soon as it’s over he wants to go home. He’s singlehandedly destroyed the game, I’d say.”)
“If Jonathan moved to England he’s be a millionaire, no question,” says Tammie Sangster, the local rep for Head racquets. Prince, the racquet and apparel company that sponsors Peter Nicol, has said it would jump to the pump if Power transplanted himself, like tennis player Greg Rusedski, to Britain – a bigger squash market. There would also be tax advantages to an offshore move. “Squash players are in an almost unique position to do it, since they’re legitimately out of the country for more than six months of the year,” Carter says. “Until now, he hasn’t really been earning enough money to justify [moving], but he will be if he keeps winning tournaments.”
Power is already a kind of de facto international citizen. He rents a flat in Amsterdam where he hangs out during the European squash season—our winter season – because it’s a convenient halfway point between tournament sites and because “I can make way more money there from exhibitions.” I once watched him trying to settle a hotel bill in Cairo in American currency. He thumbed through his wallet: Dutch guilders, pounds, sterling, Canadian dollars, Egyptian pounds – no U.S. bucks. But Power appears to have no intention of grounding himself outside Canada for good. “I like Toronto,” he says, simply.
Carter believes there is money to be made in North American – by exploiting the U.S. corporate market, doing exhibition matches, speaking engagements, clinics, and so on. Whether there’s serious money here remains to be seen. The powerful American sports-marketing reflex has been unresponsive to squash. McDonald’s did come through with a smallish deal requiring that Power wear the golden arches on that red bandana for every professional match he plays, and a couple of equipment companies now give him free gear, but you won’t see Power announcing plans to go to Disneyland, or slaking his thirst with Gatorade on TV. Big squash tournaments in North America tend to be underwritten by the likes of Rolex or Mercedes-Benz. Power seems a better fit with Airwalk or Jones Soda. Recently, Carter and Arnott sat down with John Nimick, head of the Professional Squash Association in Boston, and raised the question: How can we leverage Jonathon to grow the game while at the same time doing what’s best for Jon?
Carter and Arnott could well make the argument – and no doubt they have – that Jonathon Power is the best thing to have happened to squash since a couple of British public-school boys (or so a prevailing theory holds) invented the modern game when they punctured the ball they were hitting against the school wall and dampened its bounce. Squash needs Power. It has tended to be a boom-and-bust game, enjoying robust health in the seventies and early eighties, then tumbling into a recessionary decade or so when key promoters left the sport, as Power puts it, “people got tired of seeing the same Pakistani guy winning year after year.”
Indeed, you can count the dominant players of the last thirty-five years – Khan, Khan, Hunt, Barrington – on one hand. Squash is desperate for some juicy competition at the top. Now, in the Scot and the Canadian, it has it. The polite, straight, indefatigable little steam engine versus the charismatic shot-maker. Peter Nicol and Jonathon Power, stewards of a rivalry that seems destined to hold and deepen until one of them blows a knee or knocks the other’s block off.
At this year’s U.S. Open at Boston’s genteel Harvard Club, Power roared through to the finals and ran into a confident Nicol, who was feeling he had finally solved Power’s game. In a glass count incongruously plunked down in the middle of a room where heads of state sometimes dine, Power was on (for him) his most excellent behavior. Whether for the benefit of his backers in the crowd – Carter, Arnott, John Power, untold would-be sponsors – or just to see what would happen if he bridled his id, he was practically a gentleman out there. Of course he couldn’t resist a few theatrics. After one questionable call, he straightened up, in mock anguish, with a sharp intake of breath, as if he’d taken a gutshot from the calvaryman on the mesa. The crowd was on Nicol’s side. “Stop wining!” someone snapped when Power queried another call, and the remark drew a little splash of applause. “I was hoping the Scotch boy would win,” one distinguished member told an acquaintance in the locker room after the match,” because the other boy was a pain in the ass.”
Being the “bad boy of squash” is a little like being the bad boy of the philharmonic wind section. The refugees from the arena-rock crowd are going to love you, but you can’t expect the long-time subscribers who came for The Nutcracker to roll over easily. In that Commonwealth Games final, Nicol beat Power in four games. The first three were epic. The fourth was over in twelve minutes. “The one thing that gets me about Jonathon is, I don’t think he has respect for anyone,” Nicol told me last fall. “I see him as being so close to the finished article, and yet so far away because of that. He could be fantastic for the sport, practically the savior of the sport. But in the end he always fucks it up.”
LAST summer, I watched Power on court at the Toronto Athletic Club. He had come to do drills and spar with Graham Ryding, the number two Canadian He was coming off a disappointing showing in a major tournament, having been forced yet again to pull out with an injury. A little square ball machine sat in the front corner of the court puffing out squash balls to Power’s backhand, and Power put down drop shot after drop shot. “Two years ago there’s no way he’d have done this for thirty minutes,” his coach Mike Way said quietly, referring to the tedious drill. Power overheard this remark. “Two years ago I wouldn’t have been in the club for thirty minutes,” he said.
Power was considered pretty much uncoachable for much of his career. Buddha himself – teacher of those who cannot be taught – could not have taught him. “Do you think anybody off the court can tell you what you might be doing wrong?” Way asked Power once. “No,” Power replied.
Way has described his past coaching style as “eggshell coaching” – volunteering suggestions only at opportune times,” waiting until the exact right moment and then planting the seed. He has compared his charge to Andre Agassi, which would make Way Nick Bollettieri, Agassi’s long-time coach. “Nick made Agassi’s practice sessions shorter and shorter to keep the boredom factor down,” Way told me. But now Way was being more directive. Almost stern. And Power was paying attention to every word – as if he had suddenly clued in to what’s at stake.
For years, Power was far and away the best Canadian player. Now, slowly, Graham Ryding is closing the gap between them. “Graham always worried Jonathon,” John Power told me last year. Jonathon is a better athlete, but in some ways Graham is a better squash player. Technically, Jonathon can compensate with strength and imagination.” Ryding knows Power’s game better than anyone. If Ryding has been good for Power, to push him, and Power has been good for Ryding, to pull him, Power and Ryding have been good for the five or six players who are drafting behind both of them and coming up fast.
Peter Nicol is clearly improving. Having lost to Power six straight times, Nicol then won their next three meetings. Shots that Power used to hit for winners are now coming back with interest.
Arnott and Carter have made clear what’s expected of Jonathon Power. “You have marketing value first of all by winning, and secondly by having a presence on and off the court,” Carter says. “We’ve told Jonathon, your job is to win. If you keep winning and you aren’t financially comfortable in the end, then we’re not doing our job. The last couple of years, Power has averaged close to $100,000 in total income. He has always understood that figure could more than double if he were to rise to world number one overall or, especially, become world champion. To leverage the boy to sell the sport, “Number two isn’t good enough,” says Arnott.
Strange as it seems to say about a twenty-four-year-old, time is running out. Squash takes its measure on the human body in invisible increments. The relentless joint-compression and subtle body contact of this “non-contact” sport grind down the knees, lower vertebrae, and especially hips. With few exceptions, the top squash player’s body gives out in the early thirties. There are no Baryshnikovs.
Even more than most players, Power has been struck by injuries, which have tended to come in bunches and always at the worst possible times – a bizarre golfing accident here, an unlucky basketball injury there. At last year’s world team championships in Kuala Lumpur, Power disappeared into the bathroom just minutes before Canada was to play England in the final and somehow send his back into spasms on the throne. I once asked him about the condition of his knees, which had been giving him grief from overstress during the Professional squash Association’s demanding fall schedule.” They wake up sore,” he said, “but once they get going, they’re good.”
Back in juniors, Power had created future trouble for himself by failing to work out. At the world junior championships in Hong Kong, the Canadian team coach, Stuart Dixon, had a couple of experts check out Power’s aching back. “What they discovered is that he was physically very, very unbalanced,” Dixon says. “He hadn’t done the weight training or the strength development. These people told him, ‘Unless you do something about this upper-body imbalance, your life span in this sport will be five years, max.”
And so he had had to catch up as if his life, or at least his career, depended on it. “I hadn’t seen Jonathon in three or four years,” recalls Alex Pogrebinsky, the Edmonton massage therapist who has worked with bobsledder Pierre Leuders and figure skater Kurt Browning, among others. “Then in 1996 he had some exhibition games in Edmonton and he came to me for a massage. His body had changed. He had these big legs. He had done so much training, I didn’t recognize him.” That October, Power chewed through the pack unseeded to win the Tournament of Champions in New York City – his first major victory on the tour. He started stringing some wins together: Hamburg, Budapest, Hong Kong. He shot into the top twenty for the first time debuting in the top ten at number six.
He has since experimented with exercise routines he once would have scoffed at: plyometrics – a system of explosive muscle development. (It gave him shin splints, initially.) Under the guidance of his new trainer, Chris Broadhurst, he recently found himself face down in a dressing room at Maple Leaf Gardens with five acupuncture needles in his naked butt. Broadhurst went upstairs to attend to business, and some Leafs players came in and shuffled past with no idea who the skinny guy was or how he hoped to make the squad looking like that.
Power had taken an enormous gamble on squash. “The problem with you Americans is, you go to college,” he told a family friend from New Hampshire. “These are your prime squash-playing years.” It was a joke, but at the same time no joke at all. Without an education, he has, as they say, little to fall back on, but Power has never thought about falling back. This is it. He must make as much as he can now – otherwise, he understands, he’ll be forty-four years old and wearing that McDonald’s bandana under a little headset at the drive-thru window. He must earn back what his parents to painstakingly invested. For twenty years, since Jonathon was old enough to hold a racquet, the Powers lived on a complicated system of debt juggling – continually borrowing, working credit-card floats, taking out loans to pay off interest on other loans, all to finance the development of their kids’ squash. IN the spring of 1997, Power returned from a tournament in which he’d done well. He approached his dad with something to say but not quite the tools to say it. “Here, I’d like you to have this,” Power said. “He gave us $8,000,” his father told me last summer. “In cash. He just pulled out this big wad of bills. His mother put it in an RRSP, and set up a plan to pay it all back.”
But there remained one more thing to deliver.
“I guarantee you Jonathon is not going to keep losing to Peter Nicol,” national-team member Kelly Patrick told me this fall, after Power had dropped his third straight match to the Scot. “He’s too competitive. If this keeps up, he’ll either explode, implode, or play the best squash ever.”
NOVEMBER 29, 1998. Doha, Qatar. Jonathon Power has just come off the court after his quarterfinal match at the Mahindra World Open in the Middle Eastern oil state: the world championships. To his huge relief, he is still alive. He met the man he has most feared meeting, compatriot Ryding. And crushed him in three quick games.
Back in Canada, the squash world is abuzz. Squash Canada’s web site racks up a record number of hits as players and coaches log on to follow Power’s progress. A question mark hangs in the air. Everyone has wondered what a health Power might be able to do if he were able to perfectly focus the beam.
In the quarterfinals, Power plays the Egyptian, Barada, who has somehow squeaked ahead of him in the world rankings. It is all over in twenty-nine minutes. Power, the assassin, decamps quickly. Seven hundred stunned Egyptians, who have turned out to lend their usual raucous support, look for a lightning rod for their rage. A small group of them rush the umpire’s section and are restrained by security.
IN the semis Power meets his friend, Australian Anthony Hill, the only player acknowledged to be as wild as Power. “I’ve been trying to keep out of trouble all week, but it doesn’t seem to have worked,” Hill remarks after losing. He pronounces Power “unbelievable.”
The final is almost anticlimactic. Peter Nicol takes the first game, but then Power, who has ripped off his ankle brace to play unencumbered, cannot be stopped. This time it’s Nicol who gets tired on the fast glass court, and Power who gets stronger as the match goes on.
It takes seventy-two minutes for Jonathon Power to become what the London Daily Telegraph calls “the first World Champion from the New World.” “What was your game plan in the final?’ he is asked by reporters. “I don’t usually have a game plan,” he shrugs. “I just wing it.” In Toronto, Wade Arnott is already fielding calls. The kid who a couple of years ago couldn’t buy a sponsor has just become a poster boy for Dunlop, the world’s leading squash brand. He will endorse a new racquet line, and his autograph will appear on every boxed squash ball that rolls out of the factor in the new year.
On a Qatar Airways flight to London, the pilot makes an announcement: the new world squash champion is on board, and he will be receiving free drinks. A flight attendant cruises down the aisle, past the suddenly anonymous Peter Nicol, and serves champagne to the beaming man in the row behind him.
Bottle this. Exploit it for all its symbolic value. For in a strange way, the appearance of the feral boy, Jonathon Power, actually does honor the game he now seems ready to rule. Squash, as the distinguished squash writer Rex Bellamy observed, was conceived in a prison (the famous Fleet debtor’s prison). Power’s ascension reminds us that squash, like opera, belonged to everyone before the elites kidnapped it. The blood of rebels runs through its deepest plumbing.