White to Play

Pete Tamburro on Jun 9, 2026

By clicking submit, I authorize Arcamax and its affiliates to: (1) use, sell, and share my information for marketing purposes, including cross-context behavioral advertising, as described in our Privacy Policy , (2) add to information that I provide with other information like interests inferred from web page views, or data lawfully obtained from data brokers, such as past purchase or location data, or publicly available data, (3) contact me or enable others to contact me by email or other means with offers for different types of goods and services, and (4) retain my information while I am engaging with marketing messages that I receive and for a reasonable amount of time thereafter. I understand I can opt out at any time through an email that I receive, or by clicking here

This is a mate in two from the 1870s. Theop key first move becomes the precursor for a good many other problems. To solve it, you have to look at the Black king position. Look at where he can and can’t go. When you look at where he can go, then look at the reason the bishop and knights are where they are and what squares they’re attacking. One last clue: Why is that Black pawn on a3 important to the problem?

The answer to the pawn on a3 is that if it weren’t there, the problem would have two solutions, which you can’t have in compositions. 1.Qg1 Kf6 2.Qd4 mate The idea of moving a powerful piece backwards to create a zugzwang (compulsion to move) becomes popular. It teaches us that sometimes moving backwards is a way of going forward.

Send questions and comments to PTamburro@aol.com.