When they make a movie about Earlene Brown, and surely someone must, the opening scene would be in a bowling alley, July 1964. Two immense women, one dark-skinned and the other pale-skinned, stand at the head of a lane, each gesturing at the ball and the pins. Both are laughing helplessly with wide, gap-toothed smiles; neither speaks the other’s language. Another older woman, small but wiry, comes up, speaking rapid Russian to her compatriot. She turns frequently to the other, asking in thick, broken English, “Here? Fingers in here?”
They all hold bowling balls as if they were oranges, tossing them abstractedly from palm to palm, seemingly weightless. The black woman explains and points. “Yeauh, yo thumb and these two heeah…” Her accent is a little Texas, a little southern Californian. She winds back and whizzes the ball down the lane; it slices through the ten pins, sweeping them up like dust off a broom.
The other tall one, Tamara Press of the U.S.S.R., awkwardly holds the twelve-pound ball downward, letting it hang from her fingers. Her wind-up looks the same, but when she lets the ball fly, it spins hard off the lane into the gutter, then into the wall, leaving a dent.
Of course, no record exists of this scene, when Olympic medalist Earlene Brown escorted her Soviet competitors from Tokyo through the Bowlarama in Compton. Yet a quartet of the world’s best shot putters at a bowling alley is fun to visualize, particularly if three are Soviet and the tour guide is African-American and speaks no Russian. Can’t you see the bowling alley owner, a grizzled little fella chomping a cigar, come out to protest the ding in his wall, only to run into the Soviet handlers–*coff KGB*? After all, Wikipedia notes out that Earlene’s tour of her Russian friends was “unsanctioned.”