The left winger

A meditation on left footed footballers, especially wingers, given the conventional wisdom that lefties are always useful to have in a match.

The left-footed Alvaro Recoba (second from the left) being mobbed by his Inter Milan teammates after scoring 2 goals vs Brescia in the 1997-1998 Serie A season (Photo: Wiki Commons).

It always seemed to me that the left legged player got a place in a football team for no other reason other than that he was left-legged. In the makeshift fields of my youth, the left winger occupied a forsaken part of the field, with overgrown grass and other debris tossed from the centre of the field. The right leggers had the rest — which is to say the best — of the foot-trodden pitch to themselves.

Chilean-born writer Roberto Bolaño, acting as both witness and participant, doesn’t harbor prejudice against left or right wingers. How could he? He was, after all, right-handed but left-legged, a condition known as laterality or cross-dominance.

In “Caracas Address,” a lecture he gave after being awarded the Romulo Gallegos prize, Bol­ano began: “When I was little I played soccer. My number was 11, the same number as Pepe and Zagallo in the Sweden World Cup, and I was an enthusiastic but pretty bad player, though my shooting foot was my left foot and the conventional wisdom is that lefties are always useful to have in a match.”

It doesn’t help matters much that the leftie’s right leg is, normally, dead. (“Chocolate leg,” Arsenal fans called Robin van Persie’s habitually useless right leg. Van Persie, to be sure, is an exceptional player.) But imagine the combination of a so-so left foot coupled with a comatose right one getting into the team for no other reason except that he is comfortable on his left foot.

That aside, the left-sided player has the problem of a directional nature. Let’s turn to Bolaño again: “For example, when the coach said ‘Pass to the right, Bolaño’, I didn’t know where I was supposed to pass the ball. And sometimes, playing on the left side of the field, at the coach’s hoarse voice, I even had to stop and think: left, right. Right was the soccer field, to shoot left was to kick the ball out of bounds towards the few spectators.” Try it with lefties: tell them abruptly, say, while driving to “turn right” and see how long it takes them to work out which side is their right.

And yet it is the left foot which is fetishized, the recipient of prizes, garlands that start at the ankle reaching up to the waist. In fact all the foot clichés I can readily reel are the one to do with the left foot. The first time I saw the cliché “cultured left foot” was in a piece about Uruguayan genius Alvaro Recoba. Or “trusty left foot” or this somewhat over-the-top praise poem in the Guardian rumor column about which-player-is-going-where: “Arsenal are looking at … Uruguay striker Alvaro Recoba, whose left foot is currently writing a thesis on humor as subversion in the oeuvres of Hungarian émigré poet George Faludy, just to prove exactly how cultured it is.”

Perhaps despite our veneer of acceptance, we are still primitive. It’s not too long since left-handed people were forced-beaten, even to use the right hand. So to hide our prejudice, we couch it as praise. Or perhaps like the superstitious ancients, we are still in awe of the left-legged player, an occurrence that happens once every ten times.

The last words come out of the mouth of the late African novelist, Chinua Achebe.

A passage in Achebe’s magnificent novel, Arrow of God talks about mastering something that you can even do it with your left hand. The colonial administrator has summoned the priest Ezeulu, the novel’s chief protagonist, to his compound. In one of the offices, a young white man held a pen “writing, but with his left hand. The first thought that came to Ezeulu on seeing him was to wonder whether any black man could ever achieve the same mastery over book as to write it with the left hand.”

When Ezeulu is able to go home after a few weeks in detention, he instructs his son Oduche to go the white man’s school. “When I was in Okperi I saw a young white man who was able to write his book with the left hand. From his actions I could see that he had little sense. But he had power; he could shout in my face; he could do what he liked. Why? Because he could write with his left hand. That is why I have called you. I want you to learn and master this man’s knowledge so much that if you are suddenly woken up from sleep and asked what it is you will reply. You must learn it until you can write it with your left hand.”

  • This piece is published here with kind permission from the new South African website, The Con.

Further Reading

Kenya’s vibe shift

From aesthetic cool to political confusion, a new generation in Kenya is navigating broken promises, borrowed styles, and the blurred lines between irony and ideology.

Africa and the AI race

At summits and in speeches, African leaders promise to harness AI for development. But without investment in power, connectivity, and people, the continent risks replaying old failures in new code.

After the uprising

Years into Cameroon’s Anglophone conflict, the rebellion faces internal fractures, waning support, and military pressure—raising the question of what future, if any, lies ahead for Ambazonian aspirations.

In search of Saadia

Who was Saadia, and why has she been forgotten? A search for one woman’s story opens up bigger questions about race, migration, belonging, and the gaps history leaves behind.

Binti, revisited

More than two decades after its release, Lady Jaydee’s debut album still resonates—offering a window into Tanzanian pop, gender politics, and the sound of a generation coming into its own.

The bones beneath our feet

A powerful new documentary follows Evelyn Wanjugu Kimathi’s personal and political journey to recover her father’s remains—and to reckon with Kenya’s unfinished struggle for land, justice, and historical memory.

What comes after liberation?

In this wide-ranging conversation, the freedom fighter and former Constitutional Court justice Albie Sachs reflects on law, liberation, and the unfinished work of building a just South Africa.

The cost of care

In Africa’s migration economy, women’s labor fuels households abroad while their own needs are sidelined at home. What does freedom look like when care itself becomes a form of exile?

The memory keepers

A new documentary follows two women’s mission to decolonize Nairobi’s libraries, revealing how good intentions collide with bureaucracy, donor politics, and the ghosts of colonialism.

Making films against amnesia

The director of the Oscar-nominated film ‘Soundtrack to a Coup d’Etat’ reflects on imperial violence, corporate warfare, and how cinema can disrupt the official record—and help us remember differently.