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Part One
Genesis Book
01. Teaching
02. Golf + Senses
03. The Swing
04. Golf Bogey
05. Golfing Health
06. Concentration
Part Two
Learning + Teaching
07. Controlled Swing
08. Preparatory
09. What we Mean
10. Wrist Action
11. Eye on the Ball
12. Must Learn
13. Feeling
14. Force Center
15. Monologue
16. Rhythm
17. Dancer
18. Power
19. Mathematician
20. Temperament
21. The Waggle
22. Putting
23. Reminiscence
24. Golf Analysis
25. Inverse Functioning
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PLAN OF THE COURSE
This is not a book on the science of golf, but about learning it. Everything on the science of the game has been written, little on how to learn it. So I outline a method of learning and stress certain points about the golf swing. And please remember that long experience has told me what to emphasize when teaching. Some of the points which you will find me making a fuss about are considered minor details in the science of the game, but they are important to me because they relate to feel rather than to mechanics—and it is through feel that I play and teach.
I believe that the mechanical details, like the ball, should become incidental. They are of course of ex* traordinary interest and if this book arouses interest in the fundamental sensations of the golf swing I shall be tempted to write another (and much more extensive one) on its detail. But that is another matter.
In brief, the plan of this book is that in the six chapters of Part One I outline my theory of golf, and explain how I came by it and why I hold it; while Part Two consists of chapters which elaborate the various technical points, interspersed with Interludes for Instruction and Reminiscence which enable certain very essential points to be emphasized as well as providing a little light relief from the more solid matter.
Finally, this book could not possibly be complete without the magnificent photographs which my friends Val Doone have been at such generous pains to make for me. In the course of my golfing life (a grand one!) I have seen thousands of golfing photographs, and they were mostly all just the usual and rather useless pictures; they did not, as do these, reproduce most faithfully those subtleties of grip and stance, of the play of essential muscles, and of the poise of limb and club in motion—which are, in the end, the grail we seek.
PERCY BOOMER
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