™ American Chess Quarterly — wax 8 PRICE 75 CENTS Austria, 1956, Larry Evans on good will tour under au the United States State Department. SUMMER 1961o—~ Statement of Policy\*— > The AMERICAN CHESS QUARTERLY provides a forum for readers’ well as a workshop for theoretical ideas. It is the first chess magazine in this jews as country dedicated fo the interests of the professional chess player. While recog: nizing that the popularity of chess rests on a broad base, we see no reascn why is is incompatible with the welfare of the talented few who have given of their blood to the game. Our avowed goal is to provide financial security for present and future Bobby Fischers. We believe this end can be accomplished within the framework of ing organizations—American Chess Foundation and United States Chess Fed- on. Our goals derive their inspiration and roots from the life and work of ex-World Champion Emanuel Lasker: 1 =A game of chess is a work of art representing a joint creative composition. We advocate an international copyright to cover every master game, with a royalty to be divided upon publication of the same (in percentages to be fixed) among the winner, the loser, and the chess federation of the nation which sponsored the event. 2—We advocate the formation of a society or federation of chessmasters which will be empowered to establish the minimum financial conditions to be met before @ professional may perticipate in a chess event. 3—We advocate scheduled nati -wide lecture and exhibition tours, arranged through existing chess clubs ond organizations, to help provide the professional player with adequate compensation and income to enable him to devote his time, energy and talent to chess. The lecture and ex hibition tours to be allocated on an alternating basis to qualified chess- masters. Contributing Editors LARRY EVANS BOBBY FISCHER EDWARD LASKER JOSEPH E, PECKOVERA Bust To The King’s Gambit By U. S. Champion BOBBY FISCHER INTERNATIONAL GRANDMASTER Biographical Sketch of Bobby Fischer In the winter of 1957 a bombshell burst upon the horizon of the chess world when 15-year-old Bobby Fischer wrested the United States National Title from defending Champion Arthur Bisquicr and Grand- master Samuel Reshevsky. True, he had previously shown tremen- dous talent. He had tied with Bisquier and nosed him out on a tie- break for the “Open” Title at Cleveland, but many considered this a “fluke.” No flash-in-the-pan, Bobby roundly consolidated his position as the world’s youngest Grandmaster by winning the United States Title again in 1958 and again in 1959-60. Bobby's international achievements are equally spectacular. They include a solid second (to World Champion Tal) at the powerful Zurich Tournament, 1959, and some notable victories over Keres, Smyslov, Gligorich, Euwe, and Unzicker, to name but a few out- standing European Grandmasters. At Mar Del Plata, 1960, Bobby tied for first with Russia's Boris Spassky—again ahead of a strong field. At this time of writing, Bobby has set off to lead the United States Team in the Olympics at Leipzig, Germany, and he has re- captured the U, S. title for the 4th time! “Bobby Fischer's Best Games of Chess,” published by Simon & Schuster, contains a collection of some fine chess gems by the youth- ful author. A Bust to the King’s Gambit The King’s Gambit has lost popularity, but not sympathy. Ana- lysts treat ic with kid gloves and seem reluctant to demonstrate an 3outright refuracion. “The Chessplayers Manual” by Gossip and Lip- schutz, published in 1874, devotes 237 pages to this gambit without arriving ar a conclusion. To this day the opening has been analyzed romantically—nor scientifically. Moderns seem to share the same unconscious artitude that caused the old-timers to curse stubborn Steinitz: "he took che beaucy out of chess.” To the public, the player of the King’s Gambic exhibies courage and decring-do, The gambic has been making a comeback with the younger Soviet mascers, notably Spassky (who defeated Bronstein, ‘Averbach and myself with ic). His victories rarely ceflecced the merits of the opening since his opponents wene wrong in the mid-game. It is often the case, also, as with Sancasiere and Bronstein, that the King’s Gambic is played wich a view to a favorable endgame. Spassky told me himself che gambic doesn't give White much, but he plays ic be- cause neither does the Ruy Lopez nor the Gioucco Piano, The refucation of any gambic begins with accepting ic. In my opinion the King's Gambit is busted. Ic loses by force. 1 P—K4 P—K4 2 PKB4 Px P 3 N—KB3 P—Q3! Diogrom Position offer 3 saeco PHOSThis is che key to a troublesome position, a high-class “waiting move.” Ac Mar Del Placa, 1959, I played 3 ............ PA-IKN4 againse Spassky, bur chis is inexace because ic gives Whice drawing chances in the ensuing ending: e.g, 4 P—KR4, P—N5; 5 N—K5, N—KB3; 6 P—Q4, P—Q3; 7 N—Q3, Nx P; 8 Bx P, B—N2; and now 9 P—B3! (ceplacing Spassky’s 9 N—B3), Q—~K2; 10 Q—K2, B- B4; 11 N—Q2 leads to an ending where Black's extra Pawn is neuccatized by White’s stranglehold on the dark squares, especially KB4. Another good try, buc also inexact, is the Berlin Defense: 3 P—KR3, 4 P—Q4, P—KN4; 5 P—KR4, B—N2; 6 P— KN3, P—NS (also playable is 6 wa... P-Q3;7 P x BP, P— N5); 7 N—R2,P xP; &NxP(8Qx P loses to Px N; 9 Qx B, Qx P+; 10 K—Q1, Q—B3), P—Q4; 9 P—KS5, B—B4; 10 B— KB4, where Black cannot demonstcate any advantage. OF course 3 ........... P—Q4 equalizes easily, but that's all. 4 B—B4 4 P—Q4 transposes, che only difference if White tries co force matters after 4 ............ P—KN4; 5 P—KR4, P—N5; 6 N—N5 (White also gets no compensation after 6 Bx P, Px N; 7 Q x P, N—QB3; or 6 N—N1, B—R3;) P—KB3!; 7 N—-KR3, Px N; 8 Q—RS+, K—Q2; 9BxP,Q—KI!; 10 Q—B3, K—QI; and with King and Queen reversed, Black wins easily. 4 P—KR3! This in conjunction with Black's previous move I would like to call the Berlin Defense Deferced. By this subtle transposition Black knocks out the possibility open to White in the Jase nore (co move 3). 5 P—Q4 P—KN4 See Diagram B7 N—QB3 Here chere is disagreement as co Black's best move. Puc and Rabar, Euwe, Keres, and most analysts give the text as the main line and mention 7 ....u N-K2(!) in passing. T think 7 jc... N —K2 is best because there is no reason why Black should nor strive to castle K-side: e.g, 8 P—KN3, P—Q4!; 9 Px QP, Px NP; 10 P xP (if 10 N—KS, Px P+!; 11 K—R1, O—O; 12 P—Q6, QxP wins), O—O; 11 Q—N3, Q—Q3; 12 K—N2, N—B4 wins. There is little praccical experience with this sub-variacion. 8 Q-N3 If 8 P—KN3, P—N5; 9 N—R4, P—B6; 10 N—Q2, Euwe and other analyses becray cheir soft-mindedness toward this opening by giving the inferior B—B3(?); 11 N(2) x P, Px N; 12Qx P— “unclear’!! This is yet another example of sentimental evaluation— after 12 .. Q—K2 followed by B—R6 and O—O—O Black wins easily. ¢ Pawn on KB6 is a bone in White's throat so why force him to sacrifice when he must anyway? 10 ... QUK2 is the stcongest move. In this Jase variation (instead of 10 N—Q2) White can vary with }0 Q—N3, but then comes Nimzovicch’s beauciful winning Line: 10 cesses Q—K2; 11 N—BS, Bx N; 12 Px B (if 12Q xP, R~ NL, 13. Qx N+, Q—Q2; 14 Q x Qt, B x Q and Black has a winning endgame), O—O—O; 13 B x P, Q—K7; 14 Q-K6+ Gé 14 R—B2,N x QP!; 15 Rx Q, Px R wins), R—Q2!; 15 R— B2, Q—Q8+; 16 R—B1, Q—B7; 17 N—Q2, N—B3 (threaten- ing N—Qt); 18 B—NG (if 18 Q—N3, QxQ; 19 Bx Q, P—Q4 with a winning endgame), P—~Q4 followed by N—K2 wich a winning game for Black. Bs behinds nas Q-k2 9 P—KR4 N—B3 Again theoretical disagreement. Perfeccly good is 9 ............ P— N3!; 10 B x P (forced, not 10 KN—Q2, Nx QP!; 1LP x N, Bx P+ ec), Px N; 11 Rx P— given by analysts agaio as “unclear,” but after N—B3 followed by O—O White has nothing for the piece. 10 PxP Px P a sNxP N x KP A wild posicion, buc Black is still master,Diagram 12 Bx PH nse The game is cife with possibilities. If 12 Nx N,QxN; 13R x P,Q—K8+; 14R—BI, QRS; 15 Bx P+, K-—Q1; 16 Q— Q5, N—K4!; 17 Px N, Bx P (threatening B—R7 and mace); 18 R—QL, Q—N6 wins, owing to the threat of R—RS+. WD eMac kK—QI Bb NxN cei Not 13 N—K64+, Bx N; 14QxB,QxQ 15 BxQ N x QP! 1s 2a QxN 14 R x P also loses to Q—K8+; 15 R—B!, R—R8+, 16 KxR, QxR+; 17 K—R2, Q x QB, etc. 14 And Black wins... . NxPDiagram Position after 14 .. Of course White can always play differently, in which case he merely loses differently. (Thank you, Weaver Adams! )Comments By LARRY EVANS INTERNATIONAL GRANDMASTER “Heard melodies are sweet, but those unheard are sweeter.” (KEATS) Santasiere writing on Reshevsky (Chess Life, Sept. 20, 1960) represents a subscancial school of chought whose atticude cowards chess may be summacized as anti-professional and “romantic.” The gist of his acgumenc is thar Reshevsky is ulura-materialistic and places his family and self above that vague abstraction, the Arc of Chess. When Reshevsky writes, “Never again wil] I permic chess to interfere wich the more important business of caring for my family,” Sancasiere re- plies by quoting Schopenhauer: "A married philosopher is ridiculous.” Santasiere then launches into a devastating and well-formulated criticism of Reshevsky’s style: “. . . Reshevsky—for all his phenomenal talent—is (in chess) a failuce on che level of Love.” (This capital “L" apparendy means Reshevsky is long on technique and short on creativity. Now Sanrasiere goes on to pose the old chestnut of “would Dempsey have bearen Joe Louis in his prime?”) “To judge—if I dace so atcempt—Reshevsky as a chess master is not so easy. A phenomenal prodigy, his genius was and is obvious. Yet in comparison with other geniuses, he does nor shine too brilliancly. When we compare his cceative ourput with chat of an Alekhine, or even of a Reci or Nimzo- vitsch, his inferiority is manifest, Why? Because they were lovers cceat- ing ouc of love; he was a genius using his talent not so much to create bur to conquer. Ir was not the beaury of the idea chac macteced, buc the point. He broke no paths—no opening bears the name Reshevsky 10—no, nor even a humble variation. He travelled che road of ultra- refinement. Reshevsky is a peak of classicism. Io tactics he is su- perb and precise. His cechnique in endgame play is superlative. But this argues only for a virtuoso,... Any humble poet is far superior. He may not score points, but he colors che contest with love . . . des- pises security in order to cese his dreams.” Since style és the man, ic is difficule co assess one wichouc che other. First, let us consider Sancasiere—nor the philosopher o¢ critic— che chessmaster. He neither scores points, nor creates, nor risks, nor strives for “beauty.” His games are characcerized by plodding, cimidicy, and opening repetition. He encers even the “romantic debuts” such as the Vienna and King’s Gambit with ceams of prepared analysis, scrives constantly co keep the draw in hand and prevent compticacions from getting away from him over-the-board. Where are the glorious games which qualify Santasiere as the darling spokesman of romanticism? Like many who wail for demon lovers and second comings, Santasiere yeacns fos the perfection of which he himself is incapable—and which probably doesn’t exist. So he pits the image of Alekhine the hero against Reshevsky che mechanic. This is merely the old battle of romanticism vs. classicism in a diffecent guise—Ingres vs. Delacroix or Hemingway vs. Henry James. Naturally chess seems dullec when players are closely matched. Naturally che brilliancies of yore are impossible when an opponent refuses to stumble into the silly pitfalls which made them possible. It is more difficult to win at chess now because sophisticated technical skill is in che hands of the many rather chan che few. Artists progress wich their arc—Morphy was head and shoulders above his age, the gap becween Alekhine and his age was considerably narrower, and today merely a shaded superiority exists berween Tal and his genera- tion. To scorn Reshevsky as a technician and to dismiss his games as colorless is not necessarily an indicement of him, but perhaps of our- selves. Perhaps the aesthetic grasp of the average player does not extend beyond the crude smochered mate, the cawdry brilliancy, or the announced mate in five. This is compacable co the jazz buff saying Bach bores him. To most of us who work in chess many of Morphy’s games are downright ugly—through no fault of Morphy’s, merely because his opponents’ hideous defenses allowed combinations which a modern grandmaster would be ashamed to include even in the notes to his own games. We are weary of secing Capablanca and Steinitz and Reshevsky maligned because their styles and sense of justice forbade their pursuing wild attacks just to create beaucy—a beauty which owes an}its existence to an opponent's blunder. Fight is the product of cwo equals hammering a¢ each othec with the naked will co win. So we are weary of self-professed romantics scornfully placing themselves above the “colorless technicians” who have nothing to contribute but victory, even if they do travel the road of ulcra-refinemenc. Unfor- tunately for these Santasieres a game of chess operates on the reality principle, and ic is poincs which win prizes and pay che reat for the professional. Above all, chess is a competitive struggle. Alekhine and Reshevsky both shared one attitude in common: the will to win— no matter how! They both used che weapons available co them in their age. This brings us to the next point, that Reshevsky should starve for his act, or is somehow unpatriotic for demanding “substantial money guarancees” before representing che United States abroad. Let us ask frst how many years Reshevsky gave to the game? How slim his return had he displayed an equal genius in baseball or business? And yet as @ professional who places a value on his services, Reshevsky is begrudged even chac bare minimum. Reshevsky's effores, ic is true, have been selfish. He never recognized chat communicy of interest which binds him to lesser chessmasters; but then he is not severely to be censored because the close spirit of unity has yet to be forged in chess. It is also a notorious facr that Reshevsky plays becter the more money there is involved. Let us ask ratber moc how one treats his art, but how one’s art treats him. (PS. We are really quite fond of Tony Santasiere, and he is herewith invited to reply in chis space.) Biographical sketch of Larry Evans In 1951, at the age of 19, Larry became the youngest player in chess history (co that time) to capture the United States National Championship title. In the same year he won the U.S, “Open,” which he repeated in 1952 and 1954. He has held the Marshal} Chess Club Championship three times (1947-1950), the New York State Trophy (1948), and several cimes the National Speed Title, In 1955 he was awarded the title of Internacional Grandmaster by the International Chess Federation. He has represented the United States successfully in countless events, beginning as high-scorer (90%) in the Olympics at Yugoslavia (1950). He played ac the Helsinki Olympics (1952) and was U.S. high-scorer at the Munich Olympics (1958). He was a member of the hand-picked team which faced the Soviets in New York (1954), and once again at Moscow (1955). 12Tn 1956 he capured the Canadian Open Title and shaced Ist prize ahead of Reshevsky in New York at the 2nd Rosenwald Trophy Tour- nament. His latest showing was a strong tie for 4ch, in a field of 20 famous masters, at the Buenos Aires International Tournament (1960). Evans has written some fine books on chess: "Chess In Ten Les- sons,” “New Ideas in Chess,” “Vienna International Tournament, 1922,” “David Bronscein’s Best Games of Chess, 1944-49,” and Cham- pionship Chess and Checkers for All” (with Tom Wiswell). King’s Indian Reversed White plays inaccurately in che opening and allows the initiative to pass to Black, Black relaxes his grip. Afcer a bloody time scramble an endgame suddenly blooms which is teeming with excitement. WHITE: Kurt Brasket BLACK: Larry Evans St. Louis “Open” 1960 K's Indian Reversed (Annotations by Larry Evans) 1 PHK4 P—QB4 2 N—KB3 P—Q3 3 P—B3 Inferior—not because it is unorthodox, but tame. White pre- pares to occupy the center with P—Q4. Prepares, there's the rub. 3 N—KB3 This counterattack on che KP is sharp and defeats White’s at- tempt to control the center. 4 P—Q3 The cext leads to a reverse K's Indian, which was White's idea all along. If instead 4 Q—B2 (to enforce P—Q4), Q—B2! For after 5 P—Q4,P x P! White must recapture with 6 N x P, thus ending forever the possibility of Pawn-scorming the center-—branding 3 P— B3 a wasted move. A veces P—KN3 5 P—KN3 B—N2 6 QN—Q2 o—o 7 BLN2 P—K4 See Diagram F 13Diagram E Position after 7 . PKs This is the best system at Black’s disposal against the reverse K's Indian. Black has freer development and White's formation is sterile. 8 O—O N—B3 9 P—QR4 aa Thematic. The object is to secure an outpost for the Knight at QB4 so that it cannot be driven away by P—QN4. Des settee P—KR3 A commonplace maneuver. Black prepares to develop his Bishop on K3 where it will be immune from harassment by N—NS. 10 N—R4 vs Better is 10 N—K1, as in Evans-Najdorf, Dallas, 1957. White wants to break with P—KB4. 10° rants, P—Q4 11 P—KB4 ai This looks promising at firse blush but actually relinquishes the initiative. 11 P x P, Nx P; 12 N—N3, P—N3; 13 P—R5 is better. TL regenera, P x BP 12 Px BP Pix P 23: (Pee NxP 14This simplification leads to the better game. If 13 KR4; 14 Q—KL is satisfactory. 14 NxN QxN 15 NxP Q-—K2 Even material, but Black has better Pawn Structure. Now follows a jockeying for position where Black tries to maneuver against the weak squares (notably Q6). 16 N—K4 R—QI 17 Q-B3 B—K3 18 Q-B2 P—B4 19 N—Bs B-Q4 20 R—KI QUKB2 21 BHK3 P—N3 Inexact because it allows White to retreat his Knight back into play. Stronger is 21 ............ K—-R2 immediately. 22 N-—N3! K—R2 23 N-Q2 R—Q2 24 PR3 QR—Qi 25 K-R2 B—B3 26 R—KNI R-K1 27 Q-N3 BxB 28 RxB R—Q6 At long last Black dominates this key square. 29 R—K1 N—K2 Clearly Black has the better game, but a forced win is still out of the question. 30 N—B3 NU 31 BQ2 RxR 32 BxR BURS See Diagram GDiagram Position after 32 cases The point. Not 32 ........ N—K2?; 33 N—NS-+, winning the exchange. Black now brings about a position where he can maneuver against White's weak Pawns. 33 QxB RxN 34 B+Q2 A sharper try perhaps is 34 R—Q2, R x KBP?; 35 Q—Q8, N—B3; 36 R—Q6, K—N2; 37 R x N!, Qx R; 38 Q—B7+, any; 39 Q x R and wins. Stronger for Black is 34 ............ N x KBP; 35 Q—Q8, Rx P+; 36 K—NI, N—K3; 37 Q—QB8, Q—B3; 38 R—Q7+, N—N?. BAe Gece Q-B3 Short of time, Black gets squeamish. He originally intended 34 venue Q—B2; 35 R—K2, PKN4!, 36 Q—RS! (not 36 QUKI, P x P! followed by N—K6), Nx P; 37 Qx R, Nx R+; 38 K—N2, Q—K4; 39 Q—N7+ and White draws by perpetual check. 35 Q-KDP White gives his opponent toc much credit, Correct is 35 Q x Q, NxQ; 36 R—K2, N—KS; 37 B—K3, RBS; 38 PRS, Px 16P; 39 K—N2, R—any; 40 B x P with good drawing prospects in the ending. 35 N x KBP 36 BxN RxB 37 R—K2 Position after 37 R—-K2 A critical position, Despite his extra Pawn, Black has to meet a variety of threats to his exposed King. 37 P—KR4 Black throws away winning chances. After the game Brasket said he feared 37 ........ Q—Q3! allowing 38 R—K7+, K—NI1. ‘This line calls for steel nerves on Black’s part, but in chess there is no compromise: one must follow the truth. 38 R—K6 QURS 39 RXK7+ K—R3 40 QxQ RxQ 41 RxP R—KS 42 P—N4 R-K7+ 43 K-NI R—K644 R—QN7 R x BP 45 RxP RxP 46 P—RS R—R6 47 P—RG K—N4! 48 P—NS5 P—RS An exciting race until the time-control on move 50. Black's extra Pawn is negligible because his Pawns are not far enough ad- vanced. In Rook and Pawn endings speed counts more than material. Better practical chances were afforded by 48 ........... P—B5; for if White then makes the mistake of continuing with the automatic 49 R—N7, K—N5; 50 P—R7?, K—NG6!; 51 K—B1, P—B6!; 52 R—K7 (forced), R—R8+ ; 53 R—K1, R x P wins. The star move to draw is 50 R—KN7! (instead of P—R7), P—N4; 51 P— R7, and Black cannot play K—N6 because his NP is under fire. 49 R—N7 K—NS5 50 P—R7 K—N6 Diagram t Position efter 50... K-N6 Here the game was adjourned. Black was almost certain he could win but upon closer examination (midnight oil) he realized he 18had to fight for the draw! Brasket refused the offer of a draw and play was resumed. 51 K—BL P—B5 52 P—N6 P—R6 If Black yields to temptation and tries to win with 52 . P—B6, he loses unless he is careful: eg, 53 R—K7, R—R8+ (53) . P—B7 loses to R—KB7 followed by P—N7 and the Pawn itens with check); 54 R—K1, R—R7! (54 .......... Rx R+ loses to 55 K x R, K—N7; 56 P—R8 = Q); 55 P—N7, R—B7+; 56 K—N1, R—N7+ — draw by perpetual check. Black would have selected this simple drawing line, but in the heat of battle overlooked it and chose an intricately wild variation. 53 R—R7 P—N4 A curious waiting move at a tense moment. 53 P—B6 is dangerous after 54 R x P+, K x R; 55 P—N7, Rx P; 56 P— N8 = Q with winning chances because of Black’s uncoordinated position. ‘A simple draw (which again Black has overlooked) is to be had by 53 ............ P—R7; 54 P—N7, R x P; 55 P—N8 = Q P—R8 = Qt!; 56 Rx Q R—-RS+; 57 K—K2,R xR. 54 R—R8 White is still trying to win and comes very close. Also drawn is 54P—R7,Rx P;55RxP+,KxR; 56P—N8=Q. 54 R—R8+ A simpler draw is 54 . P—R7; 55 P—N7, Rx P; 56 P—N8 = Q, P—R8 = Q+; 57 Rx Q, R—R8+; 58 K—K2, RxR. 55 K—K2 P—B6+ 56 K—Q2 P—B7 57 R—KB8 P—R7 8 F—NZ sides What a position! No less than 4 Pawns are poised to queen, Black is on move, yet it appears he must lose! The obvious 58 P—R8 Q? loses to 59 P—N8 = Q+, K—NS5 (forced, not 59 . K—N7; 60 P—R8 = Q+, or on 59 .. ... K to the Rook file; 60 R—R8+ followed by R x Q wins); 60 Q—N4+, K—N6; 61 Q—B3+, K—N5; 62 Q—Q4+, K—N6; 63 Q x P+ wins! 58 R—QS+!!! 9DRAW !! A curious perpetual check. On 59 K—B2, R—B8+; if 59 K x R?, P—R8 = Q+; 60 K—any, Q x P; 61 P—R8 = Q, QxQ 62 Rx Q P—BS = Q wins for Black, 20Endgame Section By J. E. PECKOVER INTERNATIONAL ENDGAME COMPOSER Biographical sketch of J. E. Peckover Joseph Edmund Peckover, endgame editor of the American Chess Quarterly was born in London on November 15th, 1896. After at- tending schools in England, France and Switzerland he served with the British army during the first World War in Egypt and Palestine. He emigrated to Canada in 1919 and while living in Regina, Sask., served as chess editor (endgames) of the Regina Daily Leader. He also co- founded the Regina Chess Club. Early in 1921 he established per- manent residence in the United States. He served in the U.S. army (1942—1943) and was then discharged with the “overagers” to en- gage in civilian war work. Mr. Peckover has so far won three first prizes in international endgame composing tournaments. 1st prize “Szachy” 1957-58 1—2 “Szachy” 1958-59 (co-winner G, Kasparian) Ist prize “Problem” 1958-59 Mr. Peckover’s major occupation over a period of more than forty years has been as a free-lance portrait artist. In recent years he has specialized in rendering colored pencil portraits of children, Endgame Composition No. 1 Neglect of the art of endgame composition in the United States of America has long been a cause for wonder in chess circles abroad. Indeed, it does seem rather odd that a nation whose many contribu- tions to chess have been altogther superb should at the same time be found wanting in the endgame composition department, Make no mistake: endgame composition may justly be termed a 21valid art form. It is an are that calls for a most absorbing apprentice- ship: solving, the appraisal of master compositions, the study of themes, and finally research aimed at avoiding duplication of effort. The subject of composition methodology cannot be adequately treated here. However, this much can be said: novel ideas are often hit upon by chance rather than by design. These unexpected dis- coveries nevertheless do have their genesis in protracted analysis, and they should be regarded as a legitimate reward for sustained effort. Sidestepping the formidable hurdles that confront the potential endgame composer in the United States we put the following pertinent question: “Could a school of endgame composition be developed in the United States—a team of composers whose efforts would be com- parable to those of the Russian and Western European experts?” For our own part we answer: “Of course; given, that is, time, know-how and cooperative efforts.” Mr. G. M. Kasparian, (USSR) construction engineer, internation- al chessmaster and composer, enjoys the distinction of being one of the greatest endgame artists of all time, Over a period of many years (1926-1960) he has won no less than 17 first prizes and is still going strong, Only last year he won first prize in the Gunst Memorial Tourney and 1-2 in the Szachy Tourney. The ending by Kasparian presented for appraisal is in the nature of a chess comedy. The solution, embracing 14 moves, brings to light a most intriguing plot. Endgame Diagram No.1 « By Kasporian 221 BONT+ K—KS 2 N—Q?2+ K—Q6 ‘Act I—The Bishop checks on KN7. The Knight checks on Q2. Now White must sacrifice a Knight—temporarily. 3. N—N3 BxN 4 K—B7! K—B5! 5 N—RS+ K—N4 6 N—B6 BRS 7 N—Ns! K—R4 8 B—B3+ K—N4 9 BQ2! Diagram L Position after 9 B—Q2! Act II—In the wake of White’s 9th move a preposterous near-zug- zwang position is brought about wherein with the Knight on QN8 and with White’s King on QB7, Black’s Bishop is im- prisoned on QR3. Black’s King, occupied with defending the Bishop, is rendered al] but impotent. Act III—Black is now obliged to advance his Pawn. This Pawn, 23formerly a liability since it hemmed in the Bishop, now looms as Black's main asset. Artful Bishop tempos by White lead to the capture of this Pawn on the sixth rank, The finale in- volves two Bishop moves, a check—and a tempo. A minia- ture masterpiece well worth memorizing. Ds P—K4 10 B—KI P—KS5 11 B—Q2 P—K6 12 BaP K—R4 13, B—Q2+ K—N4 14 B—K1 wins.= American Chess Quarterly — ws: PRICE 75 CENTS Geandmasers FALL 1961 Monica, Calif ADVANCED COMBINATIONS & RUY LOPEZ by LARRY EVANS THE ROSSOLIMO VARIATION by WILLIAM LOMBARDY AN INTERESTING PORTRAIT OF HERR WILHELM STEINITZ AUTOMATIC ELECTRONIC CHESS-PLAYING MACHINES by EDWARD LASKER ENDGAME SECTION — by J. E. Peckover Selected Prize Winning Studies of Sarichev and Georgeiv Studies by Peckover * Gurvich * Herbstman ANTICIPATION — BETE NOIRE OF THE CONTEMPORARY COMPOSER™ American Chess Quarterly — ev NUMBER THREE in Two parts + Part 1 PRICE 75 CENTS Special Tournament Issue Bled, Yugoslavia The 20 Contenders WINTER 1961 SPECIAL TOURNAMENT ISSUE — Bled, Yugoslavia 30 games with diagrams. Reported with “scuttle-butt” by Harold M. Lommer at the scene of action, and remarks by Fred M. Wren. ENDGAME SECTION by J. E. PECKOVERa4 ™= American Chess Quarterly — ox NUMBER THREE Part 2 ¢ PRICE 75 CENTS Supplement Abracadabra Chess The first of © series of modern chets lessons for absolve beginners by LARRY EVANS \ Ny. Daily News Photo ABRACADABRA CHESS by LARRY EVANS The first of a series of modern chess lessons for absolute beginners. Lessons 1 to 4~How to Get Started, Chess Notation, Checkmate, How Games Are Drawn. This is an ideal gift for youngsters or oldsters. Simply, forcefully, with simple diagrams and startling “animated-movies,” the author leads step-by-step through the fundamentals at a glance. Can be studied on a train, plane, boat, anywhere—even without a chess set in hand—it's just like watching a movie or TV episode!From The Publisher Rubles and Prestige — The Key to Soviet Chess Supremacy? Do you realize that chess has been woefully neglected in the United States? In Russia, ten million Russians are registered mem- bers of chess clubs; and two million participate each year in national championships! This may explain why the Russians are ahead of the world in chess. When Mikhail Botvinnik, chess champion of the world, and Mikhail Tal, former chess champion of the world, appear anywhere in the vast expanses of the Soviet Union, they are greeted as famous celebrities and mobbed by excited fans. In 1960, when Tal won the world championship title from Botvinnik, the U.S.S.R. had a special train at his disposal which rode him home to Riga, where crowds were waiting, cheering him like a conquering hero. The U.S.S.R. also had a film made of the entire match between Botvinnik and Tal, and as a reward for winning the title, Tal was elected a member of the Riga Soviet, one of the highest honors that can be bestowed on a Soviet citizen! Chess in Russia has always been a national game, even priot to the Kerensky revolution, and it received added impetus when it became known to the populace that Lenin was an avid chess player. Unlike chess in these United States, the top Soviet chess masters have an entourage of capable seconds to assist them in planning tournament tactics, and to assist them in physical training before chess matches. Excellent physical condition means also endurance and meatal coordination in gruelling chess contests, where the slightest error means a minus score. Unlike American chess masters, who are compelled to earn their living independent from the emoluments of chess tournaments, the Soviets give special paid leave to their top chess masters, so that they can prepare for international matches, like boxers going into intensive training. Soviet Russia is extremely jealous of its chess pres- tige and uses it as international propaganda to prove the superiority of its cultural attainments. Also, some 30-odd of the best Soviet players receive a monthly state pension! This is just one of the many reasons why Russians are good at chess, It means rubles and prestige! Tal, when he won the world championship at the incredible age of 21, was awarded a state pension for life. We are not agitating for government pensions for our master chess players, but we do believe that as a nation we should take more ptide in the chess greats in America today. We believe, in order to enhance American chess prestige in international circles, that we should strive for public support and official consideration. In BobbySpecial Announcement To encourage and promote Native American chess talent and enhance the prestige of American chess at home and abroad, future Supplements of ABRACADABRA CHESS by the talented young International Chess Grandmaster, Lorry Evans, will be included without additional charge with your subscription to THE AMERICAN CHESS QUARTERLY SUBSCRIPTION FORM. Date: ..... To: Nature Food Centres, Inc. 292 Main Street Cambridge 42, Mass. Enclosed herewith please find remittance in he amount of $2.00 for one year's subscription to The AMERICAN CHESS QUARTER- LY, a new publication devoted to the development of native American chess talent. Name: ..... Address: ...NOTES AMERICAN CHESS QUARTERLY is published quarterly by Nature Food Centres, Inc., 292 Main Street, Cambridge 42, Mass. Printed in U.S.A. Application for second-class mail privileges is pending at Boston, Mass. Subscription Rate: One year $2.00. Unsolicited manuscripts and photographs will not be returned unless postage and self-addressed envelope accompanies same. Copyright 1961 by NATURE FOOD CENTRES, INC.