Readers who intend to include this system into their repertoire should recognise that it is tricky to play for both sides. The ... ._,b6 line is suited to practical players familiar with Si
cilian themes and for those ready both to take risks and prepare thoroughly.
If you want to avoid complications, this system is not for you.
A few years ago this line could be improvised over the board, without fear that one would enter prepared analyses. However, times have changed and even in this relatively rare system it's necessary to be fa
miliar with a Jot of particular lines.
Having said all that, it is an extremely useful surprise weapon, particularly in open tournaments.
When deciding how to implement the systems discussed in this book, the reader should take into account ques
tions of taste - for example, the choice between 2 ... e6 and 2 ... ll::lc6 -as well -as the theoretical state of the actual variations to be adopted. Three (inter-related) repertoires may be dis
tinguished, highlighting critical lines where further analysis is advisable.
After 1 e4 c5 2 ll:lf3 ll:lc6 3 d4 cxd4 4 ll:lxd4 I recommend the move order 4 ... ._,b6 because it avoids the critical continuation 6 .i.e3 in the
w
case of 4 ... ll:lf6 5 ll:lc3 'ti'b6, as ex
plained on page 1 36. Matters are far more favourable for Black in the vari
ation 4 ... 'Wb6 5 .i.e3 ._,xb2 (Chap
ter 1 2, line A).
After 4 . . .• b6 5 ll:lb3 ll::lf6 6 ll:lc3 e6 (D) Black must be prepared for two main continuations from the dia
gram: 7 �e3 and 7 �d3.
The early pin by ... Ab4
A solid system for Black, when White allows it, is the pin by ... �b4 as seen in the twin variations 7 .i.e3 Wic7 8 f4 �b4 (Chapter 7), which in case of the usual 9 .i.d3 can arise by transposition from Chapter 6, and 7
�e3 ._,c7 8 .i.d3 .i.b4 (Chapter 9, note b to Black's 8lh move) which can transpose to a relatively non-critical line in Chapter 6. The line recom
mended for White in BTSJ can be
improved on for Black, as shown in Chapter 7, line A - in particular, Istratescu-Atalik should be studied.
Playing 8 ... ii.b4 in these lines, after the early ii.e3, has the advantage that it stops White's dangerous plan of castling long and playing g4 which seems to give White the advantage.
White can prevent the pin by means of 7 ii.e3 'fll c7 8 3.3 (Chapter 8) or the immediate 7 a3 (Chapter 1 0, D). In the former case, Black has lit
tle to fear because if White plays the main line of Part 1 (with 0-0) then a2-a3 slows up his attack, usually giving Black the tempo required to advance ... b5 without fearing e4-e5 in reply. Moreover, the a-pawn ad
vance does not fit in at all well with plans based on 0-0-0, as it makes it easier for Black to open lines against the white king. In the case of 7 a3, by playing 7 .. ."'¥1c7 or 7 ... d6 Black reaches viable lines of the Schev
eningen or Paulsen variations.
It is hard to recommend 7 ... .i.b4 immediately against 7 ii.d3 (Chap
ter 6) since White has not yet com
mitted his dark-squared bishop. Still, in this variation too White can easily go astray. If he doesn't manage to seriously endanger the Black king at an early stage, in a long-term battle his positional weaknesses on the queenside become obvious.
Black should note the sequence 7 ii.d3 a6 8 ii.e3 Wic7 9 f4 .i.b4 trans
posing to Arencibia-Anastasian, Lu
cerne 1993, in Chapter 7 (second note to Black's 9th in main line A). White
can avoid this by 8 0-0 but then Black has achieved his first objective of ruling out White's 0-0-0 option.
Scheveningen-style with ... Ae7 If Black prefers the lines where his dark-squared bishop goes to e7, White's attacking plan with 0-0-0 should be avoided if possible. If by 7
�e3 f!lc7 8 Ad3 or 8 f4, White sig
cussed in Part One, Chapters 1-5.
Generally speaking, the lines with a4 (Chapter 1 ), as Akopian has shown, are not bad for Black although there is one game where White com
bined a4 with g4 (Kolker-Nadanian, page 30) that requires home analysis to find an improvement, which should be sought by analogy with Akopian's treatment of other a4 lines.
The system with Ad2 is more dangerous for Black if White avoids the move a2-a3 (which would make it easier to obtain counterplay on the queenside ). The attacking plan of 'i!ff3-h3 and l:tael obliges Black to tread a narrow path and above all to avoid superficial play. The very simi
lar White plan with Ag5 instead of ii.d2 (which can also arise via the Rauzer Variation) is sharper but, once more, with accurate play down the main lines a satisfactory position can be reached.
In Chapter 4, the line B2
(high-lighted by ECO)is somewhat favour
able for White according to current theory, in particular Matulovic
Martinovic, but the positions arising are sufficiently complex for improve
ments to be available, giving plenty of scope to outplay opponents in the middlegame. Much the same is true of the lines in Chapter 5.
In the classical attack with �e3 (Chapters 2-3), it is apparent that af
ter 12 :ael the once-favoured reply
12 . . . b5 is dubious. Generally speak
ing, the ... b5, ... Ab7 plan is only vi
able in analogous positions arising by transposition from the Sozin Varia
tion where Black has an extra tempo.
Equally, ... l:tb8 is not good for Black unless White has already played
a2-a3, as it just represents a loss of tempo if White goes for the g2-g4 plan.
The flexible 12 ... lCid7! looks the best reply to 1 2 l:he 1 . Then Black can transpose to viable lines whether or not White continues g2-g4. White may also show his hand directly with 12 g4 when after 1 2 ... b5 a worrying line for Black is Knezevic's idea of 1 3 'i¥h3!? in Chapter 3, A2 (note to White's 15'h move). Nevertheless, a remedy based on ... CUd7 is available which has the merit that Black may be able to adopt a consistent scheme of defence against both forms of the classical attack.
On that basis, he can approach his task with some confidence, despite the variety and complexity of the positions that can arise.
If Black prefers not to use the
... .i.b4 option, then he must direct his home preparation chiefly to White's often-played attacking plan with 0-0-0, as seen in Chapter 9, line C (though lines A and B are also criti
cal). The little-known 1 3 ... 'Ub6 (line C2) shows that there is still life for Black in this variation.
However, it is advisable for play
ers who are learning the ... '1Wb6 sys
tem to avoid the variations in Chapter 9 until they become familiar with its nuances.
Line with 2 ... e6
With 2 . . . e6 and 4 ... 'ffb6 Black usually aims to transpose, via 5 lCib3 'ffc7, to the fashionable Enhanced Kveinys Variation (Chapter 1 5) which has stood up well to high-level competition in 1996-8.
White's other principal reply, 5 fCic3, usually leads after 5 ..• fCic6 to main lines of the 2 ... 'Uc6, 4 ... 'il!Yb6 system. However, 5 ... �c5 (Chapter 1 3, line B 1 ) is definitely worthy of more study.
An important option for White af
ter 4 ... 'ltb6 5 liJb3 e6 is 6 c4 (Chap
ter 14, B2) where Nunn-J.Polgar, and accompanying analysis, suggests that Black will have to switch to a Hedge
hog fomation which is largely out
side the scope of this book.
Finally, Black, by starting with 2 ... e6, can successfully transpose into the 2 ... 'Uc6 system by playing ... 'Uc6 at an appropriate moment - for ex
ample, when White commits himself with 'ife2 and/or .i..e3.
Main System (Parts 1-3):
1 e4 c5 2 �f3 �c6 3 d4 cxd4 4
�xd4 1Jb6 5 �b3 Part Three:
Chapter 1 2. Deviations on White's
Fifth Move 103
A: 5 Ji.e3 (5 l2Jxc6) 103 B: 5 l2Jb5 104
B l : 5 ... a6 6 Ji.e3 104 B 1 1 : 6 ... 11fa5+ 104 B 1 2: 6 ... 11fd8 105 B2: 5 ... l2Jf6 (6 lLl 1 c3) 106
5 �f6
6 �c3
Chapter 11. Deviations on White's
Sixth Move lOO
6 Ji.d3 100 A: 6 ... e6 100 B: 6 ... d5 101
w
6 e6 (D)
For 7 �d3, See be/ow (Part 1).
For 7 �e3, See below (Part 2).
Chapter 10. White's Alternatives at Move 7 90
A: 7 g3 (7 ... .tb4 8 .tg2 d5 9 0-0 .txc3) 90
A1: 10 bxc3 92 A2: 10 exd5 92
B: 7 "ti'e2 (7 .. . .tb4 8 Ad2 0-0 9 a3) 92
B 1 : 9 ... .te7 94 B2: 9 ... Axc3 95 C: 7 .tg5 96 D: 7 a3 97 Part One:
7 Jld3 a6
7 ... .i..e7 (7 ... d5, 7 ... d6) 10
Chapter 6. 7 ... Ab4 (8 0-0 Ji.xc3 9 bxc3 0-0 10 Ag5 l2Je8) 60
A: 1 1 "ti'h5 63 B: 1 1 e5 64
8 0-0
8 Ae3 1!t'c7 see Part Two.
8 Jle7
8 ... 1!Vc7 (8 ... d6) 11 9 .*.e3 9 a4 12
Chapter 4. 44
9 �hl d6 10 f4 "ti'c7 1 1 Ad2 o-o 44 A: 12 1We2 45 B: 12 "ti'f3 b5 46
B l : 1 3 a3 �b7 47 B l l : 14 l:lae1 47 B 1 2: 14 'it'h3 48 B2: 1 3 l:.ael 50
B21 : 1 3 ... �b7 50 B22: 1 3 ... b4 52
Chapter 5. 53
9 �g5 d6 1 0 'it'e2 53 1 0 a4 54
A: 1 0 'ifi>hl 0-0 55 B: 10 'ifi>hl Wc7 56
9 1Wc7
10 f4 d6
11 en
Others: 17, 30
11 0-0
12 Aael
12 a4 (by transposition) 15 1 2 a3 without g4 19
with g4 31 Chapter 2. 17
12 ttJd4 19 1 2 'ifi>hl 20 Chapter 3. 30
1 2 g4 31
A l : 1 2 ... '2Jb4 32 A2: 12 ... b5
( 1 3 g5 ttJd7 14 'it'h5) 32 A21 : 14 ... l:teS 34 A22: 14 ... g6 35 A23: 14 ... '2Jb4 37
12 b5?! (D)
12 ... '2Jd7 22 C l : 1 2 ... l:lb8 23 C2: 1 2 ... '2Jb4 23
13 g4
Others, Chapter 2 25-28
13 Jlb7
w
1 3 ... ttJd7 42 14 g5 15 1Wh5 B l : 15 ... '2Jb4 41 B2: 1 5 ... l:lfe8 42 Part Two:
7 Jle3 Chapter 7.
8 f4 66 A: 8 ... �b4 66 B: 8 ... d6 69 Chapter 8.
�d7
flc7 (D)
8 a3 a6 9 f4 d6 71 A: 10 g4 71
B: I 0 '@'f3 72 C: 1 0 �e2 72 D: 1 0 �d3 74 Chapter 9.
White Castles Queenside 8 �d3 a6 9 f4 d6 75 A: 1 0 g4 75
B: 10 'We2 76
C: 1 0 '1Wf3 (10 ... £e7 1 1 g4 b5 12 g5 ttJd7 13 0-0-0) 82
Cl : 1 3 ... '2Jb4 85 C2: 1 3 ... '2Jb6 88
Part Four:
Kveinys Variation 1 e4 c5 2 lQn e6 3 d4 cxd4 4 lQxd4 Wb6
w
5 lQb3 Chapter 13.
White Plays 5 lQc3 108
A: 5 ... lt::lf6 6 e5 �c5 7 �e3 lt::ld5 8 lt::lxd5 exd5 109
A l : 9 lt::lf5 110 A2: 9 .i.e2 111 B: 5 ... �c5 112
B l : 6 Ae3 lt::lc6 112 B 1 1 : 7 lt::ldb5 112 Bl2: 7 l2Jcb5 113 Bl3: 7 l2Ja4 114 B2: 6 lt::la4 115 Chapter 16:
Various Deviations after 2 ... e6, 4 ... tlb6 130 A: 5 c3 130
B: 5 lba3 131 C: 5 �e3 131
Cl : 5 ... �xb2 132 C2: 5 ... �c5 132 D: 5 lt::lb5 133
5 . . . flc7
5 ... lt::lf6 118 5 ... a6 119 6 lQc3 6 g3 119 6 c4 120 6 �d3 121
6 . . . a6
7 Ad3 b5 (D)
7 ... lt::lf6 122
{OR 1 e4 c5 2 lQf3 e6 3 d4 cxd4 4 lQxd4 a6 5 lQc3 b5 6 Ad3 1Vb6 7 lQb3 (Others: 124) 1 ... 'Y!Ic1}
Chapter 15. Enhanced Kveinys Variation 124
8 �e3 125 8 f4 126 8 0-0 127