Devon Division 1 (Bremridge) winners (2016-17, 2017-18, 2018-19)
Devon Team Quickplay Thomas Trophy winners (2016, 2017, 2018, 2019)
The best club in Devon, fast or slow!


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  • Tal himself expressed his creative credo as follows: ‘What do you do, when you need to win? Try to give mate? But your opponent will anticipate the attack already at birth and will take all necessary measures. Exploit positional weaknesses? Your opponent will not even drink of creating them! Therefore nowadays the two players often deliberately deviate from the generally recognised laws, turning into a “dense forest’" of unexplored variations, onto a narrow mountain path, where there is room for only one. Too many players now know very well not only the chess multiplication
  • This is one of my favourite books and though rather dated (the last game cited is from 1948) it's also extremely instructive.

    In 100 annotated games, Konig discusses the opening theory of four openings: the Ruy Lopez, Queen's Gambit, English Opening and King's Gambit.

    It takes an evolutionary approach to chess theory, and instead of jumping in to contemporary theory, tells the story of how that theory came about. So we trace the English Opening from Staunton's new(!) approach in 1843 to Golombek's ideas in 1939.

  • I have just read, with enormous pleasure, Jan Timman's volume of his best games, Timman's Triumphs. The range of openings is very broad, the tactics pleasing and sometimes brilliant, the strategy revealing, the endgame play subtle; the annotations do justice to a Grandmaster's play but remain accessible; the stories between the games are engaging and warm.


    Timman's repertoire is very broad and includes every style.

    [Event "Bugojno"]
    [Site "Bugojno"]
    [Date "1984.??.??"]
    [Round "?"]
  • Lessons from...  *  Morphy  *  Steinitz  *  Lasker  *  Capablanca  *  Rubinstein  *  Alekhin
  • John Nunn was a top ten player in his prime, but was and is a champion as a chess author. His first substantial book, Secrets of Grandmaster Play with Peter Griffiths, was an instant classic, and he has written many volumes aimed at the improving player. He has been particularly concerned to reflect the richness and complexity of modern chess in his books, and has striven to do so in uncluttered prose, leavened with a bit of dry wit.

  • Euwe was always an amateur player, not a professional; he taught mathematics in a girls' school in the Netherland for much of his active playing career, then was employed by a computer firm. He devoted much of his life to teaching chess, through books and articles. My favourite among his writings is a collection of articles about the middlegame with Hans Kramer, later published in two volumes. He collected and organised opening theory, he wrote books for beginners and masters, and he took the Presidency of FIDE.

  • Botvinnik's disciplined research and iron logic was a strange parallel of the era of Stalin, the man of steel; Smyslov's chess was something altogether lighter and more intuitive.

    Smyslov could often distil something clear and attractive from a game in ferment, and bring a fresh eye to familiar settings.

    In the 1980s, he had a remarkable second wind, playing his elegant, modern chess all the way to the Candidate's Matches, where he was stopped by Kasparov.


  • Almost any game by Lasker or Capablanca could be studied with profit, in the hope of playing a little more like our heroes. Their games are full of common sense. But the modernists and hypermodernists like Alekhin are not so easy to learn from; they thrive on a different style of chess, being less interested in the elegant harmony of principles and more interested in complexity, conflict and contradiction.

    When John Nunn first came across the games of Alekhin, he said "How can anyone play like this?"(!). Alekhin's chess can be admired, but it is not easily imitated!

  • "This little man," said Adolf Schwarz, "taught us all to play chess".

    Steinitz started as a dashing attacking player, in the style common at the time, and claimed the World Championship after defeating Anderssen in a match (although the official beginning of the lineal championship began with his match with Zukertort many years later). By the time he played Zukertort, he was playing in a completely different style, and in the development of Steinitz' style we can see the beginnings of modern chess.

  • Anyone can hang a piece, but a good blunder requires thought.

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