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Let Us Now Praise Amen Corner

A first-hand account of how that devilish stretch of holes Augusta came to be named

Herb Wind's Amen Corner

Herb Wind's Amen Corner: The second shot to the 11th, the par-3 12th and the tee shot at the 13th.

Illustration By Jayson Lee

April 1984

This article originally appeared in the April 1984 issue of Golf Digest.

As one of the older folks in the press tent, I am approached from time to time at the major championships by writers who have taken to covering golf in relatively recent years and who wonder if I might be able to provide some information on an earlier champion or championship. It is a pleasant role to be put in, especially when you can supply the particulars your colleagues are after. However, at the 1981 Masters, I found myself in an extremely embarrassing position. Two young writers came up to me, separately, and asked if I knew how the Amen Corner -- which is composed of the second half of the 11th hole, the short 12th, and the first half of the 13th -- came to be called the Amen Corner. First, I found it exceedingly awkward to tell them that I thought that I had given that famous stretch of course its appellation. And second, neither of the young writers was especially taken with my explanation, since the key to it was the title of an old Southern shout that I had first heard on an obscure recording back in my college days.

Later on at that Masters, I ran into Ross Goodner, one of my best and oldest friends in golf. We share -- as do many people -- an enthusiastic interest in sports and popular music. Ross, I think, is the only person I had previously told about coming up with the name of the Amen Corner. I thought he would get a kick out of it, which he did. During our conversation at the 1981 Masters -- where else but on that marvelous press stand that juts out on the right side of the 12th fairway -- I told him about being asked about the Amen Corner by the young writers and how my explanation had clearly disappointed both of them. "Well, I suppose that's to be expected," Ross said comfortingly. "Outside of Hugues Panassie and all those other old European jazz writers, how many people have heard of the number?"

Let me go back a little. When I was growing up, the era of the typewriter hadn't quite arrived. In high school, one wrote his themes and other homework in longhand. In college a small minority had moved on to the typewriter, but I continued to write in longhand. When I wrote for the college newspaper or, later on, for the newspaper in my hometown, after finishing my piece, I copied it neatly in the very legible hand I had acquired, and then handed it in. Even when I moved on to the typewriter, I found that, except for letters and other informal chaff, I preferred to do my first draft by hand and then, after emending things, to type it up. As a result, I was anything but a speed merchant, but since I wanted to be a magazine writer, this wasn't all that critical until 1954 when I went with the newly founded weekly, Sports Illustrated, as its golf editor. On most pieces, I had sufficient time to proceed at the semi-reflective pace I had become accustomed to, but there was one considerable problem: if a major championship finished on a Sunday, the coverage of the tournament had to be in early on Monday.

For writers habituated to meeting a fast deadline -- a considerable talent -- this would have been no trouble at all. For me it presented a problem. I felt that I could not begin the article until the tournament was completed. Only then would I know what had been the significant shots. My regular regimen at the Masters, for example, was to retreat quickly to my motel room, work till about two in the morning getting the piece in shape, rise at six, reread the piece, type it, and take it to the Western Union office. In an effort to find a less strenuous process, one year I asked the editor if I could do a day-by-day diary-type account of the tournament. The result was that I spent each night of that Masters working in my room, and missed all the fun of getting together with old friends. In 1958 I asked the editor if it would be OK if the magazine ran a block of text along with a photograph of the winner in the issue directly after the tournament and then follow this up in the next issue with a long, detailed piece on the tournament. He was kind enough to agree to try this.

That 1958 Masters was a memorable one. It hinged on how Arnold Palmer, paired with Ken Venturi, played the 12th and 13th on the final day. Since the course had been thoroughly soaked by rains the night before and during the morning, a local rule had been invoked: a player whose ball was embedded in the fairway or rough was allowed to lift and drop it without penalty. On the 12th, a 155-yard par 3 across Rae's Creek, Palmer's iron carried over the green and embedded itself in the steep bank of rough behind it. The official on the hole evidently was not aware of the local rule, and he instructed Palmer to play the ball as it lay. When Palmer did this, he holed out in 5, after missing a short putt. Then, politely but pertinaciously, Palmer went back to the pitch mark of his tee shot. He obviously felt that the official's ruling was not correct, and elected to play an "alternate" ball. After dropping the ball over his shoulder, he ran a delicate chip three feet from the cup and made the putt for a 3.

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