Bobby Fischer started off each game with a great advantage: after the opening he had used less time than his opponent and thus had more time available later on. The major reason why he never had serious time pressure was that his rapid opening play simply left sufficient time for the middlegame.
Nowadays, a 13-year-old would probably know more than Bobby Fischer knew when he retired. They analyse all the moves and prepare themselves on their computers. But that doesn’t mean they are special.
I see my own style as being a symbiosis of the styles of Alekhine, Tal and Fischer.
How do you beat Bobby Fischer? You play him at any game but chess. I try to stay in games where I have an edge.
While it is a cause for regret that Fischer did not continue to produce scintillating games, he perhaps had a greater impact on chess than any other twentieth century player
Being a friend of Fischer obviously is no undivided pleasure, though being Fischer seems sadder.
Fischer was a good kid but very unsophisticated about anything but chess. It was all chess for him, every waking moment. We'd go down to the Four Continents bookstore and he'd buy any Russian chess material he could get his hands on. He'd learned enough Russian to get the gist of prose and he just absorbed the chess part.
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.
Fischer does not merely outplay opponents; he leaves them bodily and mentally glutted. Fisher himself speaks of the exultant instant in which he feels the 'ego of the other player crumbling.'
As with Steinitz, Fischer's genius has often been concealed by controversies away from the board. Like Lasker, Fischer has raised chess to new financial heights despite frequent retreats from serious play. And, like Capablanca, Fischer is recognized by millions of non-players and has won the game many new enthusiasts.
Boris Vasilievich was the only top-class player of his generation who played gambits regularly and without fear ... Over a period of 30 years he did not lose a single game with the King's Gambit, and among those defeated were numerous strong players of all generations, from Averbakh, Bronstein and Fischer, to Seirawan.
The life of a chess master is much more difficult than that of an artist - much more depressing. An artist knows that someday there'll be recognition and monetary reward, but for the chess master there is little public recognition and absolutely no hope of supporting himself by his endeavors. If Bobby Fischer came to me for advice, I certainly would not discourage him - as if anyone could - but I would try to make it positively clear that he will never have any money from chess, live a monk-like existence and know more rejection than any artist ever has, struggling to be known and accepted.
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