by Robert T. Tuohey

Any culturally-literate person today knows that Vladimir Nabokov was one of the preeminent prose-stylists of the twentieth century.  On the other hand, to know that the man was also a composer of chess problems, you’d have to be a true aficionado of the Royal Game.

Now, if the closest you’ve gotten to Shakespeare is the Homer Simpson-esqe pun “shake-a-beer”, the first assertion given above can be easily verified in your local library or bookstore (assuming that they condescend to let you in).  If however you happen to be a beginner at chess, or an inveterate potzer, hunting down some of Nabokov’s chessic compositions can be about as tough as an undergrad trying to fathom why the Bard has so much Bacon (and that’s not the kind you fry).

Ergo, this humble article.

The compositions given below, and all remarks (unless otherwise noted) are from the long-out-of-print Poems and Problems (ISBN 0-07-045724-7) (note 1).

Nabokov on the Problemist’s Art:

It is one thing to conceive the main play of a composition and another to construct it.  The strain on the mind is formidable; the element of time drops out of one’s consciousness altogether: the building hand gropes for a pawn in the box, holds it, while the mind still ponders the need for a foil or a stopgap, and while the fist opens, a whole hour, perhaps, has gone by, has burned to ashes in the incandescent cerebration of the schemer.  The chessboard before him is a magnetic field, a system of stresses and abysses, a starry firmament.  The bishops move over it like searchlights.  This or that knight is a lever adjusted and tried, and readjusted and tried again, till the problem is tuned up to the necessary level of beauty and surprise.  How often have I struggled to bind the terrible force of White’s queen so as to avoid a dual solution!  It should be understood that competition in chess problems is not really between White and Black but between the composer and the hypothetical solver (just as in a first-rate work of fiction the real clash is not between the characters but between the author and the world), so that a great part of a problem’s value is due to the number of ‘tries’—delusive opening moves, false scents, specious lines of play, astutely and lovingly prepared to lead the would-be solver astray.  But whatever I can say about this matter of problem composing, I do not seem to convey sufficiently the ecstatic core of the process and its points of connection with various other, more overt and fruitful, operations of the creative mind, from the charting of dangerous seas to the writing of one of those incredible novels where the author, in a fit of lucid madness, has set himself certain unique rules that he observes, certain nightmare obstacles that he surmounts, with the zest of a deity building a live world from the most unlikely ingredients—rocks and carbon, and blind throbbings.  In case of problem composition, the event is accompanied by a mellow physical satisfaction, especially when the chessmen are beginning to enact adequately, in a penultimate rehearsal, the composer’s dream.  There is a feeling of snugness (which goes back to one’s childhood, to play-planning in bed, with parts of toys fitting into corners of one’s brain); there is the nice way one piece is ambushed behind another, within the comfort and warmth of an out-of-the-way square; and there is the smooth motion of a well-oiled and polished machine that runs sweetly at the touch of two forked fingers lightly lifting and lightly lowering a piece. (note 2).

(P)roblems are the poetry of chess.  They demand from the composer the same virtues that characterize all worthwhile art: originality, invention, harmony, conciseness, complexity, and splendid insincerity (note 3).

Problems

1.  Composed circa 1932, Nabokov dedicated this retractor problem to fellow ex-patriot, writer and chess master, Eugene Znosko-Borovsky (1884 – 1954) (note 4).

White to retract last move and replay to mate.

Solution:  White has just played d7 x Nc8 = R.  Replay d7 x R = N #.

2.  Composed May, 1940 (just before the Nabokovs sailed from France to the U.S.):

White to mate in two

Solution: 1.Bc2

1…Kd5 or Kd6 2.Qc5#
1…c5 or d6  2.Rf5#
1…d5 2. Qc7#
1…any N move 2.Qd4#

In Speak Memory, Nabokov writes of this composition:  I remember one particular problem I had been trying to compose for months.  There came a night when I managed at last to express that particular theme.  It was meant for the delectation of the expert solver.  The unsophisticated might miss the point of the problem entirely, and discover its fairly simple, “thetic” solution without having passed through the pleasurable torments prepared for the sophisticated one.  The latter would start by falling for an illusory pattern of play based on a fashionable avant-garde theme (exposing White’s King to checks), which the composed had taken the greatest pains to “plant” (with only one obscure little move by an inconspicuous pawn to upset it).  Having passed through this “antithetic” inferno the by now ultra-sophisticated solver would reach the simple key move (bishop to c2) as somebody on a wild goose chase might go from Albany to New York by way of Vancouver, Eurasia and the Azores.  The pleasant experience of the roundabout route (strange landscapes, gongs, tigers, exotic customs, the thrice-repeated circuit of a newly married couple around the sacred fire of an earthen brazier) would amply reward him for the misery of the deceit, and after that, his arrival at the simple key move would provide him with a synthesis of poignant artistic delight (note 5).

3.  Composed March, 1965:

White to mate in three

Solution: 1.Qh7

1…Kb8 2. Rxa3 Kc8 3. Ra8#
1…a2 2. Qb1! Ka7 3. Rxa2#

Nabokov remarks that the apparently simple solution of this miniature is redeemed by the variant play along rank and file, making the problem not as easy as it might appear on first inspection.

4.  Also composed March, 1965:

White to mate in two

Solution: 1.Qxe4

1….f4 2. Bg6#
1…Rxg5 2. Bxf5#
1…fxe4 2.Bxe4#
1…Nxe4 2. Nxf7#
1...Kxg5 2. Qe3#

Nabokov says that of the five variants, the three of particular interest are Be4-f5-g6.

5.  Composed April, 1965:

White to mate in three

Solution: 1.Kf7

1…Rxh4 2. Kxf6 Rh6+ 3. Qxh6#
1…Kxf5 3. Nxe3+ f4 3. Qf2#
1…any other 2. Ke6 Bxe3#

Note that 1.Nxe3 will not fulfill mate in three: 1…Rxh4 2.Qxh4 h5 3.Ng2+ Kxf5 4.Qxf6#

6.  Composed April, 1965

White to mate in two

Solution: 1.Ra8

1...b6; 2.B8 #
1...Rxd4; 2.Bxd4 #
1...any play of B; 2.Bc5 #
1...any play of R; 2.Qxb4 #

7.  Composed 1966

White to mate in three

Solution: 1.Rh8

1... Kxc3; 2Rh3, Kd4; 3.Qb2 #
1...Kxd3; 2.Rh3+, Kd4 (Kxc4); 3.Qf4 #
1...Ke3; 2.Rh3+, Kd4; 3.Ne2 #

Note the variant: 1.Kb3 a4+ 2.Kc2 a3 3.Qf4#

8.  Composed October, 1966

White to mate in three

Solution: 1.h3

1... Kh6; 2.h4, g5; 3.hxg5 #
1.Kh4; 2.Rxg6, gxh3; 3.Bf6 #
1.h4; 2.Rh7, hxg3; 3.h4 #

9.  Composed October, 1966

White to mate in three

Solution: 1.Nxc3

1.any play of Q; 2.Ne4+, Qxe4; 3.Bxf6 #
1.f5; 2.Nxe4+, fxe4; 3.Bf6 #
1.h4; 2.Nxe4, Kh5; 3.g4 #

Nabokov writes that the subtle solution foils the possibility of 1…h4.  To wit: 1.Kg1 is an excellent idea, assuming …Kh6, 2.h4 gxh3 3. Rxg6#.  However, 1…h4 stops this dead.

10.  Composed April, 1967

White to mate in three

Solution: 1.Nd7

1...K xe4; 2.Rf1, d4; (2... d4; 3. f4 #) 3.Nf6 #
1 dxe4; 2.Nb6, e3; 3.Rc4 #

This problem was something of a consolation prize for Nabokov: while on a butterfly hunting expedition in Italy (he was a world-renowned lepidopterist), though failing that particular day to capture any of his winged prey, this composition alighted within his mental net.

VN scoping the winged beauties.
 

11.  Composed June, 1967

White to mate in two

Solution: 1.Bd3

1... Kc5; 2. Ne3 #
1 Kc6; 2. Nb6 #
1 c6; 2. Qg5 #
1 c5; 2. Qh1 #

12.  Composed August, 1967

White to mate in three

Solution: 1.Kd4

1... Kf4; 2. Nh3+, Kg4; 3. Be6 #
1 Nb3+; 2.Ke3, (any play); 3.h3 #
1 Nc2+; 2.Ke4, (any play); 3.h3 #
1 (any other play); 2.h3+, Kf4; 3. Ne6 #

13.  Composed September, 1968

White to mate in three

Solution: 1.h3

1... Ng6; 2.Nf3, h5; 2.Ng5 #
1 Ng6; 2.Nf3, any play of N ; 2.Nxe5 #
1 h5; 2.gxh5, Ng6; 3.hxg6 #

14.  Composed 1968

White to mate in two

Solution: 1.Qa5+

1... Qb5; 2. Rf1 #
1 Qc5; 2.Ne7 #
1 Qd5; 2.Nxd4 #

15.  Composed November, 1968

White to mate in two

Solution: 1.Qf2

1... Rf3; or 1... Rxf2; 2. Rxd5 #
1...Rg4; or 1... Rxh4; or 1... Rxe4; 2.Re6 #
1...Rxf5; 2.Nd3 #
1...any pawn advance; 2.Qxf4 #

16.  Composed 1968

White to mate in three

Solution: 1.Rb1

1... cxd2; 2.Kd1, any play of N; 3.Kxd2 #
1 cxb2; 2.Kd1, Nxd2; 3.Kxd2 #
1 cxb2; 2.Kd1, Nxe3+; 3.Ke2 #
1 cxb2; 2.Kd1, Nxg3; 3.Kc2

Note carefully, Nabokov points out, the prevention of dual solutions via the knight captures of the e3 and g3 pawns.

17.  Composed February, 1969

White to mate in two

Solution: 1.Qh5

1... Be8; 2.Qxe8 #

18.  Composed August, 1970

White to mate in three

Solution: 1.Rd8

1 Bxd8; 2.Bxd7, follow with 3.Bb5 #
1 Bc7; 2.Rxd7, follow with 3.Bxb7 #
1 dxe6; 2.Rxd6, follow with 3.Nxc5 #

Notes

1.  Poems and Problems (ISBN 0-07-045724-7) was published in 1970: It contains 53 poems and 18 chess problems by Nabokov.

2.  Speak, Memory (ISBN 0375405534) was published in 1967. The quote given here is from pages 290-291.

3.  From an interview given to Alfred Appel, 1970. It can be found, with much more, here: http://lib.ru/NABOKOW/

4.  Speak, Memory p. 15

5.  Ibid. p. 291

6.  For a quick intro to VN, see: http://www.answers.com/nabokov

7.  For some interesting pix of VN: http://www.nypl.org/research/chss/epo/nabokov/russia.htm

8.  The main Nabokov site: www.libraries.psu.edu/nabokov/zembla.htm

9.  A good search-engine for “Nabokov and chess”: http://www.worldcatlibraries.org/

10.  A good review of the excellent film adaptation of “The Defense”.

11.   An EPD list of the problems:

1. 1qR1rQ2/2R1r3/3k4/3p1K2/8/8/8/8 w - - 0 1

   1qn1rQ2/2RPr3/3k4/3p1K2/8/8/8/8 w - - 0 1 (retracted position)

2. 3N3B/KP1p2r1/1Qp1N2b/4k1nR/4BR2/2p3P1/4n3/8 w - - 0 1

3. k7/8/8/4P3/8/p7/6PQ/R3K3 w Q - 0 1

4. 6KR/1Q3pPB/3n1p1k/R4pNr/4p2p/7P/8/8 w - - 0 1

5. 4K3/7p/3p1p1r/3P1P2/3B1kpP/3Pp1n1/2N1P2Q/8 w - - 0 1

6. 1R6/Bp1P3K/8/kB5R/1brP4/8/N7/1Q6 w - - 0 1

7. R7/8/2p5/p1p5/K1Pk4/2NP4/7Q/8 w - - 0 1

8. 8/6R1/6p1/4B1kp/4P1p1/6R1/7P/7K w - - 0 1

9. 8/5pK1/5ppN/3N2kp/4q3/2p3P1/8/B7 w - - 0 1

10. 5K2/5N2/5N2/3p4/3kP3/3p4/3P4/2R5 w - - 0 1

11. 1R6/2p2K2/3p4/3k1B2/2Np4/8/8/B1Q5 w - - 0 1

12. 8/1p3B2/b7/4R1N1/2p3k1/2K2p2/5B1P/n7 w - - 0 1 

13. 7n/3B1kBP/7p/4pN2/4P1PN/6K1/5P1P/8 w - - 0 1

14. 3r2N1/1pn2nR1/b1q1Np2/5k2/3rp1pK/b1Q5/B6B/3R4 w - - 0 1

15. 7K/Bp5p/1p1R3P/3pkP2/1N2Nr1R/8/8/6Q1 w - - 0 1

16. 8/B5p1/6R1/4p3/4B3/2p1P1P1/1PKP3p/4RnkN w - - 0 1

17. RB5R/1p1kpbN1/8/1P1N4/2K5/8/8/3Q4 w - - 0 1

18. 2B4R/pn1p3K/kb1pP3/p1pP4/N1P5/8/8/8 w - - 0 1

Past Pawns

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