The Old Tropes Again

Bobby Fischer in 1962 (credit: Wikipedia)

Edward Winter had noted, for example, in his 'once' article, many cases of unsubstantiated chess stories and rumors. A common target for these rumors is Bobby Fischer. His notorious behavior and, later in life, apparent insanity, made him a common target. 

The following web page, for example, has both suggestions that Fischer's antisemitism was due to his discovery that his presumed father, Hans-Gerhart Fischer, who divorced his mother and abandoned the family, was Jewish. (It is now known that Fischer's biological father was probably Paul Nemenyi. Nemenyi was also Jewish but he took interest in Fischer and helped his mother financially.) This is done without any evidence, apparently on general "Freudian" grounds. 

To add to this, the web page also repeats the story about Bernstein facing being rescued at the last minute from execution after playing a game of chess for his life against the officer in charge, a story that is also doubtful.

This would be understandable if the web page in question was that of a private person or a hobbyist, but the web page belongs to no less than the Museum of the Jewish People, perhaps the most important museum for Jewish history in the world.

Chess Book Covers, Redux

Credit: see here.

We discussed art and chess in Science Fiction before, for example here, but here is an interesting example of a futurist non-fiction chess theme. The work is by the well-known computer technology artist Robert Tinney, best known for his cover art for Byte magazine. This cover is from October 1978. 

Chess, the Musical

 

Image credit: CHESS | Official Broadway Site

Chess - the musical - is enjoying a revival on Broadway right now. Reviews seem mixed. The New Criterion's review (February 2026, by Karl Smith) notes that "its story has always been a clunker despite many attempts at reworking it over the past forty years. And yet it continues to thrive because of its many top-notch songs." Certainly the songs, as Edward Winter notes in his review, are the high point.  

Smith considers the lyrics themselves "flat" because the story is a clunker, but "Ulvaeus and Andersson exhibited a thrilling breadth, saluting Italian opera in “Merano” and devising the appropriately soaring and well-titled “Anthem.”" 

Not knowing much about chess history, Smith misses much of the subtlety of the lyrics, with their many ironic references to chess history, fables about its origin, famous players, and so on. But while such knowledge is necessary for fully appreciating the songs, the lyrics are not obscure or insulting - or "flat" - to the general audience. Rice, after all, was not writing the musical for the exclusive enjoyment of chess historians! 

Smith's bottom line? "In an era when most Broadway shows fail to deliver even one memorable number, Chess offers easily half a dozen. Intermingled with the soggy drama is an enthralling concert." Agreed about the memorable songs; as for the "soggy drama," I quote Winter again for the defense: Chess is "no less ‘fun’ than earlier musicals about such rib-tickling subjects as Argentine dictators and crucifixions." 

Perhaps it's significant that it is just these two musicals (Evita and Jesus Christ Superstar) that Smith compares to Chess in his review. He thinks that in all three the plot is a mere excuse for the musical numbers. But even if they are, all three also deserve their success for their memorable songs alone.