American Golf Writing, 1950–1970

Overview

Three institutional forces defined the era: Herbert Warren Wind's literary-historical authority at The New Yorker and Sports Illustrated; the founding of Sports Illustrated (August 16, 1954) and its rivals (Golf Digest, 1950; Golf Magazine, 1959); and the rise of Arnold Palmer–era television golf. It ran in three modes of writing: weekly tournament reportage; the technical instruction book (perfected in Hogan/Wind/Ravielli's "Five Lessons," 1957); and a new participatory, comic belles-lettres tradition culminating in Plimpton's "The Bogey Man" (1968) and Jenkins's "The Dogged Victims of Inexorable Fate" (1970).

The single most important text of the period is "Ben Hogan's Five Lessons: The Modern Fundamentals of Golf" (Sports Illustrated serialization, March 11–April 8, 1957; book, A. S. Barnes, September 1957). Herbert Warren Wind ghosted it; Anthony Ravielli illustrated it. Its current publisher Simon & Schuster describes it as "the bestselling golf book of all time," with millions of copies in print over more than sixty-five years.

The bridge from the hickory era to the modern game is Wind himself (1916–2005). His "Story of American Golf" (1948; expanded 1956) anchored the period; his April 21, 1958 Sports Illustrated Masters piece coined "Amen Corner"; and he ghosted both Bobby Jones's late-career reflections ("Bobby Jones on Golf," 1966) and Jack Nicklaus's first autobiography ("The Greatest Game of All," 1969). Around him an irreverent younger generation—Dan Jenkins at SI from 1962, George Plimpton in the New Journalism mode, John Updike in The New Yorker—broadened the genre's literary range.

Key Figures and Forces

The 1950–1970 period carries golf from its hickory era into its modern one, in print as much as on the course. The dominant figure throughout is Herbert Warren Wind, whose career bridged The New Yorker (1947–1953), Sports Illustrated (golf editor from its founding in 1954 through 1960), and The New Yorker again (1960–1990). Wind is the period's central figure: he authored, co-authored, or ghosted nearly every canonical book of the era—"The Story of American Golf" (Farrar, Straus, 1948, expanded edition 1956), Hogan's "Five Lessons" (1957), Bobby Jones's reflective collection "Bobby Jones on Golf" (Doubleday, 1966), and Nicklaus's "The Greatest Game of All" (Simon & Schuster, 1969)—and he provided the period's most enduring coinage with "Amen Corner" in the April 21, 1958 Sports Illustrated.

Three other forces surrounded Wind. Sports Illustrated, launched August 16, 1954 (its first cover featured Eddie Mathews of the Milwaukee Braves), made weekly long-form golf reportage a national habit; after Wind, Alfred Wright and especially Dan Jenkins (hired 1962 from the Dallas Times Herald) took over the beat—TCU Magazine has noted that Jenkins "would write a record 500 stories for the magazine, most focusing on college football and golf." Golf Digest (founded 1950 in Chicago) and Golf Magazine (founded 1959) created a second channel for instructional and feature writing, drawing on touring pros and a stable of teaching writers. And golf on network television, accelerating from CBS's coverage of the Masters in 1956 and then exploding with Arnold Palmer's 1958 Masters victory, created the celebrity-pro market that fueled the autobiographies and "as told to" books that proliferate in this period.

A new mode emerges in the 1960s. George Plimpton's "The Bogey Man: A Month on the PGA Tour" (Harper & Row, 1968) brought participatory journalism to golf; Frank Beard's diary "Pro: Frank Beard on the Golf Tour" (with Dick Schaap, World, 1970) carried the locker-room candor of Jim Bouton's "Ball Four" to the tour; and Jenkins's "The Glory Game at Goat Hills" (Sports Illustrated, August 16, 1965), collected in "The Dogged Victims of Inexorable Fate" (Little, Brown, 1970), gave magazine prose a Texan vernacular humor that proved hugely influential.

The Three Modes

Newspaper and Magazine Reportage

The presiding figure is Herbert Warren Wind (1916–2005), a Brockton, Massachusetts native, Yale College and Cambridge-trained, who joined The New Yorker in 1947, moved to Sports Illustrated at its founding in August 1954 as golf editor, and returned to The New Yorker in 1960 (or 1962, by some accounts; sources differ) as its golf and tennis writer until his retirement in 1990. Wind modeled his prose on Bernard Darwin's and brought to American golf a deliberate, Anglo-essayistic pace.

His April 21, 1958 Sports Illustrated piece on Palmer's first Masters opens with the sentence that fixed the name "Amen Corner" on the stretch where Rae's Creek crosses the 13th, skirts the 12th green, and runs past the 11th. Wind drew the phrase, he later wrote in a 1984 Golf Digest essay, from an old Bluebird record, "Shoutin' in that Amen Corner," that he had heard as a student.

His New Yorker "Sporting Scene" columns through the 1960s are the period's most ambitious tournament essays. Many are collected in "Following Through" (Ticknor & Fields, 1985) and "The Story of American Golf" (1948, expanded editions 1956 and 1975, Farrar, Straus and Knopf). His books are easy to find secondhand; the New Yorker pieces are in the magazine's archive.

Dan Jenkins (1928–2019), Fort Worth–born and Texas Christian University–educated, was the era's other essential magazine voice. After working at the Fort Worth Press and Dallas Times Herald, Jenkins joined Sports Illustrated in 1962 and wrote a record 500 stories for the magazine over the next two decades.

His golf reporting combined Texas vernacular, irreverence, and a deep knowledge of the game. "The Glory Game at Goat Hills" (Sports Illustrated, August 16, 1965) is the canonical piece, a memoir of Fort Worth's Goat Hills muny that turns into an elegy. Jenkins's pieces of the 1960s—on Hogan, on the British Open, on the tour's eccentrics—are collected in "The Dogged Victims of Inexorable Fate" (Little, Brown / Sports Illustrated Book, 1970), with foreword by Wind and afterword by Dave Marr. The SI vault at SI.com archives the original pieces.

Charles Price (1925–1994) wrote across all three modes. As a journalist he was at Golf magazine and Golf Digest; as a historian he produced "The World of Golf: A Panorama of Six Centuries of the Game's History" (Random House, 1962, 307 pp., with foreword by Bobby Jones); as an editor he assembled "The American Golfer" (Random House, 1964), a 75-piece anthology drawn from Grantland Rice's old Condé Nast magazine, with a foreword by Wind. Price was, in one Golf Digest formulation, "the third player" with Wind and Jenkins in "American golf writing's Great Triumvirate." His books are common secondhand.

Al Laney (1895–1988), born Albert Gillis Laney, wrote golf and tennis for the European edition of the New York Herald and then for the New York Herald Tribune until that paper folded in April 1966. His golf book "Following the Leaders: A Reminiscence" was written in the late 1970s and first published posthumously by Classics of Golf in 1991 (with a foreword by Wind); his 1968 book "Covering the Court" was a tennis memoir. Laney's Herald Tribune golf coverage of the 1950s and early 1960s is preserved primarily in newspaper archives; William Zinsser's recollection ("Laney, who covered golf and tennis, never took off his hat") captures the man's old-school formality.

Lincoln Werden was the New York Times's golf writer through the 1950s and 1960s, president of the Golf Writers Association of America 1952–1955, and the namesake of the Metropolitan Golf Writers Association's Lincoln Werden Golf Journalism Award (its highest honor). His daily Times coverage of the Masters, U.S. Open, and PGA Championship is accessible through ProQuest historical newspapers and the Times's TimesMachine.

Will Grimsley (1914–1992) was the Associated Press's senior golf writer through the period, eventually elevated to AP Special Correspondent in 1969. His syndicated coverage reached every American daily. He ghost-wrote Arnold Palmer's first-person Saturday Evening Post article "I Want That Grand Slam" (June 18, 1960), one of the founding texts of the modern Grand Slam idea. His book "Golf: Its History, People & Events" (Prentice-Hall, 1966, 331 pp.) is a usable one-volume history that includes a special section on golf course design by Robert Trent Jones with foldout maps of Pinehurst No. 2, the Old Course, and Firestone.

Bob Drum (1918–1996), Pittsburgh Press golf writer and later a CBS commentator, is inseparable from Arnold Palmer's emergence. He covered Palmer from boyhood at Latrobe Country Club. He and Palmer, on a trans-Atlantic flight to St Andrews in June 1960 after Palmer's win at Cherry Hills, codified the idea of the "modern" professional Grand Slam (Masters, U.S. Open, British Open, PGA Championship)—though Drum and Grimsley had separately publicized the concept earlier that month. Drum's June 3, 1960 Pittsburgh Press feature, headlined "Palmer Hops From Plane To Tee," is one of the founding documents. Jenkins, in a Golf Digest retrospective, wrote that "Drummer was the first to recognize Arnold's greatness." Drum's columns are accessible through the Pittsburgh Press archive at Newspapers.com.

Red Smith (Walter Wellesley Smith, 1905–1982) was primarily a baseball and racing columnist but wrote frequently on golf from the New York Herald Tribune (his "Views of Sport" column, 1945–1966) and later the New York Times (1971–1982); he won the 1976 Pulitzer Prize for Commentary. His syndicated columns from the era are collected in "Views of Sport" (Knopf, 1954) and "The Best of Red Smith" (Watts, 1963). Smith's golf writing is courtly, ironic, and economical; he is often associated with the much-quoted line about writing as opening a vein, a remark Quote Investigator traces to a 1949 Walter Winchell column.

Grantland Rice's death on July 13, 1954, and O. B. Keeler's on October 16, 1950, mark the period's opening boundary: the hickory era's two preeminent voices are gone before SI publishes its first issue. Henry Longhurst's columns reached American readers through Golf Digest and Sports Illustrated reprints, but he is properly a British writer. The era also includes Frank Boggs of the Daily Oklahoman, a longtime regional golf columnist (named Oklahoma Sportswriter of the Year ten times; inducted into the Oklahoma Journalism Hall of Fame in 1987) who mentored a generation including the young Skip Bayless. Pat Ward-Thomas (1913–1982), British but widely read in America via reprints, anthologized his Country Life and Guardian pieces in "The Long Green Fairway" (Heinemann, 1966).

Instructional and Technical Writing

The period's masterpiece is Ben Hogan's "Five Lessons: The Modern Fundamentals of Golf," first serialized in Sports Illustrated in five installments (March 11, March 18, March 25, April 1, and April 8, 1957), then published as a book by A. S. Barnes in September 1957. Herbert Warren Wind supplied Hogan's prose, and Anthony Ravielli drew the scratch-board illustrations, whose technique transformed pencil sketches into "uniquely vivid" anatomical diagrams. The book opens with the assertion, in bold capitals, that "THE AVERAGE GOLFER IS ENTIRELY CAPABLE OF BUILDING A REPEATING SWING AND BREAKING 80." Simon & Schuster's official publisher page for the current Definitive Edition describes it flatly as "the bestselling golf book of all time," with the magazine series (in Wind's later recollection) having "sold like hotcakes." The book is widely available.

Tommy Armour's "How to Play Your Best Golf All the Time" (Simon & Schuster, 1953, 152 pp., illustrated by Lealand Gustavson, co-written with Herb Graffis) was an instant best-seller—per the Wikipedia entry on Armour, "for many years was the biggest-selling book ever authored on golf"—and remains in print. Armour's voice is direct ("This book is, frankly, a textbook and as such requires intelligent study"), and his strategic counsel ("Play the shot you've got the greatest chance of playing well, and play the shot that makes the next shot easy") is widely quoted.

Sam Snead's "The Education of a Golfer" (Simon & Schuster, 1962, 248 pp., illustrated by Burt Silverman), with Al Stump, blends autobiography with instruction in a folksy register that suited Snead's public persona; his advice to one struggling amateur—"You've got just one problem. You stand too close to the ball after you've hit it"—circulated widely.

Cary Middlecoff (1921–1998), per the Tennessee Golf Foundation "the leading money winner for the decade of the 1950s" with 28 PGA Tour wins (the most of any player that decade), wrote "Advanced Golf" (Prentice-Hall, 1957, 230 pp.), an encyclopedic single-volume manual covering tee shots, putting, sand play, foul-weather golf, and uneven lies, and later the syndicated newspaper column "The Golf Doctor."

Julius Boros's "Swing Easy, Hit Hard" (Harper & Row, 1965, 158 pp., illustrated by Lealand Gustavson, introduction by George Bayer) distilled the two-time U.S. Open champion's effortless tempo into a concise method, and it remains a cult favorite. Doug Ford's "Getting Started in Golf" (1964), Doug Sanders's tour-pro instruction in Golf Digest, and a wave of "as told to" books from middle-tier touring professionals filled out the shelves.

Bobby Jones (1902–1971), debilitated by syringomyelia and confined increasingly to his cottage at Augusta, produced two late instructional and reflective works: "Golf Is My Game" (Doubleday, 1960, 255 pp., foreword by Bernard Darwin) and "Bobby Jones on Golf" (Doubleday, 1966), the latter compiled by Charles Price from Jones's syndicated newspaper columns and Saturday Evening Post pieces of the 1920s–30s, with Wind editing the typescript. His third late book, "Bobby Jones on the Basic Golf Swing" (Doubleday, 1968), illustrated by Anthony Ravielli, was dictated because Jones could no longer write. Price recalled in Golf Digest that the project gave Jones "a new purpose in life."

The Palmer-Nicklaus-Player triumvirate generated a steady flow of titles. Arnold Palmer's "Arnold Palmer's Golf Book: Hit It Hard!" (Ronald Press, 1961, 142 pp.) was his first book; "My Game and Yours" (Simon & Schuster, 1965, 158 pp., jacket design by Paul Bacon), assembled with Bob Drum, presented golf as simple. Jack Nicklaus's first book, "My 55 Ways to Lower Your Golf Score" (Simon & Schuster, 1964, 125 pp., drawings by Francis Golden), was followed by the major "The Greatest Game of All: My Life in Golf" (Simon & Schuster, 1969, 416 pp., foreword by Bobby Jones) with Herbert Warren Wind, a hybrid memoir-and-instruction that runs to six full chapters of technique. Gary Player's "Grand Slam Golf" (Cassell, 1966) reached American readers through U.S. distribution. Tony Lema's "Champagne Tony's Golf Tips" (1964) and Billy Casper's books with various collaborators rounded out the championship-player instructional shelf.

Two older works dominated the teacher-author tradition. Ernest Jones (1887–1965), the one-legged English-born professional who taught at Women's National Golf and Tennis Club on Long Island, published "Swing the Clubhead" with David Eisenberg (Dodd, Mead, 1952, 126 pp.), the distillation of his single-thought method ("Swing the clubhead with your hands and allow your shoulders to look on impassively"). Percy Boomer's "On Learning Golf," originally a 1942 Hodder & Stoughton title, was issued in the U.S. by Alfred A. Knopf on June 27, 1946 (272 pp., introduction by the Duke of Windsor) and remained in continuous American print through the 1950s and 1960s; its language of "feel" and "controls" was foundational for the era's club professionals. Harvey Penick taught in Austin throughout the period but did not publish until 1992; John Jacobs, the British teaching pro, became known to American readers chiefly through magazine work.

Golf course architecture entered the literary scene principally through Robert Trent Jones, Sr. (1906–2000), whose 1951 remodeling of Oakland Hills for the U.S. Open—Hogan called it a "monster"—was profiled by Wind in The New Yorker and made Jones the era's most famous architect. He contributed a special section on course design to Will Grimsley's "Golf" (1966) and essays to Wind's anthology "The Complete Golfer" (Simon & Schuster, 1954); his single-volume "Golf's Magnificent Challenge" did not appear until 1988. The era's most-quoted architectural maxim—that a course should offer a "hard par, easy bogey"—is Jones's.

Essays, Belles-lettres, Humor, and Fiction

The period's literary high point is George Plimpton's "The Bogey Man: A Month on the PGA Tour" (Harper & Row, 1968, dedicated to Sidney James, Plimpton's editor at Sports Illustrated; reprinted by Lyons Press with foreword by Rick Reilly). A spin-off of Plimpton's earlier "Paper Lion" (1966), the book chronicles his attempt to compete in three California pro-am events alongside Palmer, Dow Finsterwald, and others. Newsweek called it "a book about a kind of madness with rules"; Life praised Plimpton for catching golf's "mad comedy and bizarre effects on people." Plimpton's signature image of the golfer's mind as "an unsteady group of Japanese navymen" captures the book's tone.

Dan Jenkins's "The Glory Game at Goat Hills" (Sports Illustrated, August 16, 1965; reprinted in "The Dogged Victims of Inexorable Fate," 1970) is the comic masterpiece of the period—a memoir of the lost Fort Worth municipal course on which Jenkins came up, alive with characters named Cecil and Foot. The collection also includes Jenkins's account of his first trip to Scotland for the Open and pieces on Hogan, Snead, Palmer, and assorted Hollywood golf at Riviera CC. The pieces remain accessible through the SI vault.

John Updike began writing about golf in his Talk of the Town pieces and parodies for The New Yorker in the late 1950s. His parody of golf instruction manuals, "Drinking from a Cup Made Cinchy," appeared in his first essay collection "Assorted Prose" (Knopf, 1965). The 1996 collection "Golf Dreams: Writings on Golf" (Knopf) gathers pieces ranging from 1959 to 1995 and is the most accessible way to read Updike's early golf writing; the New Yorker archive holds the originals. The 1960s pieces are tonally distinct from his later "Farrell's Caddie" fiction: drier, more parodic.

Tony Lema's "Golfers' Gold: An Inside View of the Pro Tour," with Gwilym S. Brown (Little, Brown, 1964, 248 pp.; foreword by Wind in the 1987 Classics of Golf reprint), is the era's best inside-the-tour memoir, written by the 1964 Open champion before his death in a plane crash near Lansing, Illinois on July 24, 1966 at age 32. Brown was an SI staff writer, and the prose has the magazine's polish; Wind himself praised it as an "in-depth study" of "a purely American phenomenon: the professional golf tour."

Ken Venturi's "Comeback: The Ken Venturi Story" (Coward-McCann, 1966, with Don Wade) chronicles his improbable 1964 U.S. Open victory at Congressional in 100-degree heat—one of the era's iconic narratives, in which Venturi swallowed 18 salt tablets between rounds. Frank Beard's "Pro: Frank Beard on the Golf Tour" (World, 1970, 329 pp., edited by Dick Schaap) is the post-Jim-Bouton tour diary—published just months after "Ball Four" and self-consciously in its tradition. Beard, per Wikipedia, "topped the PGA Tour money list in 1969 with earnings of $175,223," and he wrote with unusual candor about a tour that "needed a superstar, somebody colorful." Tommy Bolt's autobiographical pieces, especially "The Hole Truth" (with Jimmy Mann, Lippincott, 1971, at the edge of the period), trade on the same candor.

Charles Price's editorial work—"The World of Golf" (1962), "The American Golfer" (1964), and his Golf magazine columns—gave the period its primary literary-historical voice apart from Wind. Other anthologists pulled together period collections of older material: Wind's own "The Complete Golfer" (Simon & Schuster, 1954) and Tom Scott's compilations supplied much of the era's reading.

The Sports Illustrated golf coverage as a whole, beyond Wind and Jenkins, included Alfred Wright, Gwilym Brown, and (later in the period) Mark Mulvoy. Esquire ran occasional long-form golf pieces—including a 1963 profile of Palmer that helped fix his iconography—and The New Yorker, beyond Wind, carried pieces by E. J. Kahn Jr. and others. Golf Digest and Golf Magazine published essays alongside their instruction, building the stable of writers (Nick Seitz, Charles Price, later Peter Dobereiner) who would dominate the 1970s.

Henry Longhurst's columns from the London Sunday Times were reprinted in American outlets and are essential, but Longhurst is British. Pat Ward-Thomas of the Guardian wrote occasionally for American readers; his "The Long Green Fairway" (1966) is a Country Life and Guardian anthology. Bernard Darwin's late essays, collected in "Out of the Rough" (1932) and reprinted through the period, remained a touchstone for Wind. Frank Hannigan, later USGA executive director, wrote for the USGA Journal and Golf Journal through the 1960s. The death of Walter Hagen on October 6, 1969 and the looming death of Bobby Jones (December 18, 1971, just outside the period) provided occasions for retrospective writing across all three modes.

A Working Library

For a working library, build outward from a core of five books and three magazine archives. The five books: Wind's "Story of American Golf" (Farrar, Straus, 1956 expanded edition; readily found used for $20–$50); Hogan/Wind/Ravielli's "Five Lessons" (any printing—Simon & Schuster paperbacks $10–$20, first editions $200+); Price's "The World of Golf" (Random House, 1962; $25–$60 used); Plimpton's "The Bogey Man" (Harper & Row, 1968; Little, Brown reprint widely available); and Jenkins's "The Dogged Victims of Inexorable Fate" (Little, Brown, 1970; first editions $50–$200, reprints under $20). The three archives: the Sports Illustrated vault at SI.com (free, full text through the era); The New Yorker archive (subscription, but indispensable for Wind); and ProQuest historical newspapers via a university library (Times, Tribune, Pittsburgh Press, Daily Oklahoman).

For deeper instructional history, add Armour (1953), Snead/Stump (1962), Boros (1965), Middlecoff (1957), Ernest Jones (1952), Boomer's Knopf edition (1946), and the three Bobby Jones late books (1960, 1966, 1968). For the player-as-author tradition, Palmer's "My Game and Yours" (1965), Nicklaus/Wind's "The Greatest Game of All" (1969), Lema/Brown's "Golfers' Gold" (1964), Venturi's "Comeback" (1966), and Beard/Schaap's "Pro" (1970) suffice.

For belles-lettres specifically, supplement Plimpton and Jenkins with Updike's "Assorted Prose" (1965) and the later "Golf Dreams" anthology, and read Wind's New Yorker pieces in sequence rather than in his book collections, which suppress some context. Move from Wind's "Following Through" (1985, but covering 1962–1984) back into the originals.

Benchmarks that would change these recommendations: if a complete digitized run of Golf Digest 1950–1970 becomes available (it is not currently freely accessible), it would replace Sports Illustrated as the central instructional archive. Unpublished material in the Wind papers at Yale's Beinecke or the Plimpton papers (Paris Review Foundation) would reshape the canon. If the Bob Drum and Frank Boggs newspaper runs are fully digitized, the regional-journalism dimension of the era would expand substantially.

Corrections and Boundary Cases

O. B. Keeler died October 16, 1950, and Grantland Rice died July 13, 1954—both fall inside the period only at its opening edge; their major work belongs to the hickory survey. Bobby Jones lived through the period but died December 18, 1971, just outside it; his three late books (1960, 1966, 1968) properly belong to this survey though his great writing was earlier. Henry Longhurst, Pat Ward-Thomas, Bernard Darwin, and John Jacobs are British; they reached American readers via reprints but are not properly part of an American survey. Harvey Penick taught throughout the period but did not publish his "Little Red Book" until 1992. Lee Trevino's "I Can Help Your Game" (1971) falls just outside the period.

Two specific bibliographic corrections to popularly circulated dates: Al Laney's "Following the Leaders" is often listed as a 1968 book, but it was written in the late 1970s and first published in 1991 by Classics of Golf (with a foreword by Wind); the 1968 Laney book was the tennis memoir "Covering the Court" (Simon & Schuster). And Jack Nicklaus's "My 55 Ways to Lower Your Golf Score" (1964) is sometimes attributed to Wind as co-author; the published credit is to Nicklaus alone (with illustrator Francis Golden). Wind's Nicklaus collaboration was "The Greatest Game of All" in 1969.

The "Amen Corner" story has been retold so many times that variant versions circulate; Wind's own 1984 Golf Digest account ("the title of a song on an old Bluebird record I first heard back in my college days—'Shoutin' in that Amen Corner'") should be the controlling source. The "modern Grand Slam" origin story is similarly contested: Palmer's autobiography and Drum's later recollections place its coinage on a trans-Atlantic flight in June 1960, but contemporary newspaper evidence shows that Drum, Will Grimsley, and Palmer himself had been publicizing the concept in print before the flight, so the airborne story is better understood as crystallizing rather than originating the idea.

The famous "open a vein and bleed" line frequently attributed to Red Smith was, per Quote Investigator, first reported by Walter Winchell in his April 1949 column; Smith's own version was: "You simply sit down at the typewriter, open your veins, and bleed."

Al Laney's birth year is given as 1895 in Bill Shannon's New York Sports Dictionary and on the MGA honors page but as 1896 in Wikipedia and the International Tennis Hall of Fame; the prompt's 1895 is consistent with one credible source strand. Lincoln Werden's precise life dates were not locatable in open sources during research; his career is best documented through his GWAA presidency (1952–1955) and the eponymous MGWA award. Bob Drum's precise birth date is consistently given as 1918, with death in May 1996 at age 78 in Pinehurst, N.C.

Finally, this survey deliberately treats the period 1950–1970 as bounded by publication dates; many of the books cited (Wind's collected New Yorker essays in "Following Through," the Classics of Golf reprints of Laney, Lema, and others) are post-1970 publications of pre-1970 work, and they are included on that basis. Anything labeled "Classics of Golf" is a 1980s–1990s reprint—useful for access but secondary to first editions for textual purposes.