| Often
people ask me about openings and about lines
that end with "=" (equal) or "+=" (White is slightly
better). For White they seem to want something
huge, and for Black they can't understand why
anyone would play a variation if it ends with
some edge for their opponent. These opening hopefuls
seem surprised when I tell them that equality
or just a small plus is fine for White, while
equality or even a slight disadvantage is fine
for Black IF they feel comfortable with the positions
reached. In other words, it's not the theoretical
status of an opening that makes it attractive,
but rather if the positions that are commonly
achieved through this system are right for your
style and temperament. For me, two defenses that illustrate this very
well are the King's Indian and the French. The
KID is very dynamic, and can be used against
everything but 1.e4 (which means that your study
work load is significantly lessened). The French
is a scrappy, theoretically attractive system
that is feared by many 1.e4 players. Here both
openings are excellent choices and have been
embraced by many of the greatest players in history,
yet both have pretty much been avoided by me
(as Black) throughout my career. Why? Because
I don't find pleasure in playing them - my personal
style just isn't conducive to the creative demands
both lines insist on. This unfortunate state of affairs has often
left me lusting to try both the KID and the French,
though I always resist the urge to do so because
I know from experience that my results with them
would be sub-par. Watson's first two editions
of his magnificent PLAY THE FRENCH repertoire
books have both created periods of "French-lust," and
this new 3rd edition's Siren-call
is more enticing than ever. International Master John Watson is considered
one of the world's greatest French Defense authorities.
He not only writes copiously on the subject,
but also has played the French for decades with
magnificent results. This battle tested experience,
combined with his obvious love for this opening
and joy in sharing reams of original analysis
with the reader, makes any book or article on
the French Defense penned by him a significant
affair. And that rare combination of plusses
in an opening book always makes me take close
notice. Though PLAY THE FRENCH is a repertoire book
and thus avoids a "complete" look at this deeply
studied opening, John makes a point to give an
alternative choice (sometimes choices!) for Black
in case a variation doesn't "wow" a particular
player or a recommendation is eventually discredited.
He also knows his audience. No diagrams and discussion
of basic plans here - the variation-rich format
can be rather daunting and players under 1900
really shouldn't study this book. The rest of
us, though, right up to grandmaster, will find
it a must own if they play or intend to play
the French Defense. I, as stated earlier, don't play this opening.
However, I looked longingly at every page of
PLAY THE FRENCH (the analysis is often so deep
and detailed that it struck me that PLY THE FRENCH
might be a fun alternate-universe title) and,
as always, I felt an uncontrollable desire to
study it and use it. Indeed, how can one resist?
Thorough research, new and often experimental
analysis (very few writers have the courage or
the inclination to share the results of so many
countless hours of home cooking), incredibly
deep and honest looks into the Advanced Variation
(after 1.e4 e6 2.d4 d5 3.e5 c5 4.c3 [he also
gives White's 4th move alternatives]
4.Nc6 5.Nf3 John gives all relevant information
on both 5.Bd7 and 5.Qb6), the Tarrasch (3.Nd2
is met by both 3.c5 and 3.Be7), the Classical
Variation (3.Nc3 Nf6), his beloved Winawer Variation
(3.Nc3 Bb4), the King's Indian Attack, the Exchange
Variation, etc. makes this the kind of book I
absolutely dream of finding on the openings I
myself play. Sadly, they simply don't exist (John,
wake up to the joys of the Caro-Kann and then
write about it!). The fact is, nobody can put together an advanced
opening book quite like Watson does, and this
makes all his work pure gold. Yes, Nunn and Burgess
and a few others are great at finding every pertinent
game on a line and presenting it in palatable
fashion. But how often do they look closely at
(and often change) every shopworn assessment,
and how often do they challenge every bit of
published analysis? Apparently, only Watson is
insane enough to devote such a vast amount of
time and energy on his books; and only Watson
is "odd" enough to hand out his private analysis
as if were gumdrops bought at the local store. I give PLAY THE FRENCH my highest recommendation.
But be warned! It's an advanced book, filled
with highly complex variations, murky strategic
situations, and ultra-complicated tactical themes.
The analysis is dense and I suspect this book
would be more or less useless for any over the
board player who is less than strong "A" (1900)
strength. PLAY THE FRENCH is another masterpiece by, in
my opinion, the greatest theoretical chess writer
in the world today. |
