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The Nimzo-Larsen Attack move by move

Nivå B-D
Utgivelsesdato Oktober 2013
Forfatter
Pris 255 NOK
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En innholdsrik og instruktiv bok i den populære serien Move-by-move. Med Nimzo-Larsen Attack mener forfatteren først og fremst åpningen 1 b3 som han supplerer litt med 1 Sf3 og 2 b3 slik Nimzowitsch oftest spilte.

IM Cyrus Lakdawala skriver mange bøker, og det først og fremst fordi han virker å ha både stor arbeidskapasitet, stor sjakkinteresse og stor skriveglede, som leseren kan merke. Noe av det viktigste i bøkene Move-by-move er at leseren får mange spørsmål, og senere svar, en pedagogisk dialog med forfatteren.

En bok for spillere i hele ratingspekteret fra cirka 900-100 opp til 2400... som alle vil ha utbytte, men som vanlig på relativt ulik måte.

Starten av forfatterens innledning

In the Prajnaparamita Sutra, the Buddha asks : “Can you count, compare, measure, con- ceive, imagine, perceive, touch or divide the principle of space? Can you approach, reach or attain space? Can space even be described as infinite?” When you begin a chess game with 1 b3, your opponents soon discover that they go to war against a ghost and engage in battles against empty space. If the universe is infinite, then it stands to reason that every possibility – both physical and imagined – must find expression in a manifestation some- where out there. The Nimzo-Larsen Attack is an opening which fits this theory.

Chess is that strange realm where dimensions of form and that of imagination interre- late and mesh. We play 1 b3, a harmless li ttle move, allowing Black a blank canvas, with scope to set up any way he or she desires. On our very first move we challenge the forces of orthodoxy, who claim that we must enter a trendy theoretical line to claim our birthright White advantage. In fact, we cede this point and instead engage in one-on-one combat on raw chess skill, virtually circumventing the entire opening phase (well, apart from some of the super-sharp 1...e5 lines of the first three chapters in this book!). After 1 b3, prepare to enter realms where book knowledge grows vague, and where we must survive only by su- perior adaptability to the constantly shifting structures. In fact, our entire association with the opening phase (with the exception of a few forcing variations) grows so tenuous that it virtually disappears. With our first move we give license to free reign on creativity—both ours and our opponent’s. Immediately after our first move, our future appears as a vacant lot. It is actually our opponent’s response whic h tells us what to build on that lot. We make our way through strange terrain of multitudinous possibilities, diverse futures.

The Nimzo-Larsen isn’t as much an opening as it is a composite of other openings and structural possibilities. In hypermodern fashion – a necessary article of faith for our line – we often allow Black to take over the centre with ...e7-e5 and ...d7-d5, only to attack it later from the sides, and especially pressure it from the vantage point of our fianchettoed b2- bishop. Conquest of the central dark squares can be a key criterion of the Nimzo-Larsen.

We are our own Messiah

The tendency these days is to look for an open ings messiah, order his or her books and then faithfully practice the holy teachings. We di saffected Nimzo-Larseners, on the other hand, are sick and tired of waiting around. So we as sume the role of our own openings messiah. This book is meant to be a block of suggest ions and ideas, not commands to be followed. Most of us tend to play better within a famili ar structure. When you open with 1 b3!, more than likely you alone will be within the famili ar after a dozen or so moves, while your op- ponents will wander about, strangers to the al ien environments which tend to arise from the Nimzo-Larsen.

I view my books as a joint venture in which yo u, the reader, and I participate. So I never accept an opening book contract unless I am willing to play the opening myself. I expected to take a hit in rating when I first took up 1 b3. In fact in my very first game, I groaned in- wardly when I barely drew with a player rate d 450 points lower. Then, as I studied and un- derstood the opening more, events began to turn around.

In this book you are offered a host of idiosync ratic ideas and flights of fancy – over safer, more solid lines – and I encourage readers to follow their imaginations when playing 1 b3. At this writing, my score with the opening st ands at 25 wins, four draws and a loss, from an opposition rated around a 2250 average – a far higher percentage than normal scores with my main f3 or 1 d4 lines. Out of these games I achieved very few “+=” positions after the opening, and in most games my opponents equalized (and sometimes stood better!). Yet their troubles arose from the middlegame on. So what was the game changer? Opponents tended to react poorly to the bizarri fication of the positions, ate up too much time on their clocks and began to grow disoriented, which in turn, induced inexplicable errors from such strong players. Don’t underestimate the weaponization of the outlandish!

Om forfatteren Cyrus Lakdawala

Cyrus Lakdawala er en Internasjonal mester (IM) fra USA som i senere år faktisk må ha blitt verdens mest produktive sjakkforfatter. Likevel leverer han bok etter bok som er både instruktiv, poengtert og leseverdig. Han skriver så lett og vittig at det er mulig å mene at han overdriver, men en Lakdawala-bok er i alle fall langt fra tørr og kjedelig. Det er åpenbart dagens effektive analysemotorer og partibaser som gjør det mulig å levere raskt så mye sjakkstoff på et faglig bra nivå. Lakdawala har tydelig en glimrende oversikt selv og klarer å nå reelt godt fram til alminnelige sjakkspillere kanskje mest på ratingnivå cirka 1200 - 2000.
Detaljert info
Innbundet? Nei
Type Bok
Språk Engelsk
Antall sider 414

Produktet er en del av serien Move by Move åpningsbøker

En ny og annerledes serie av åpningsbøker som startet i 2011. Åpningene blir gjennomgått grundig med spørsmål og svar som engasjerer leseren mer direkte i prosesssen gjennom hvert parti. Det er i hovedsak repertoarbøker med instruktive og stor grad ferske partieksempler.

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