Some authors have an ability to connect with their audience, and in this book Neil McDonald focuses his attention on strategic elements interspersed with just enough hard theory (and tactics!) to provide a sufficient overview of an often amorphous opening.

The English arises after 1.c4 and, in most databases, trails only 1.d4 and 1.e4 in frequency of play. Flexibility is its hallmark – while often staying true to form as a flank opening that eschews the advance of other center pawns, it also affords white many opportunities to transpose into 1.d4 openings. This allows the white player options on using 1.c4 to avoid certain 1.d4 set-ups while allowing others.

At the same time, white’s slower development allows black the choice of many counter set-ups. The author does a nice job of dealing with each of these in turn, and the reader seldom feels overwhelmed by these multiple choices.

McDonald, as with other authors, uses similar pawn formations (rather than strict move orders) as a method for grouping material within chapters. As an example, in the discussion of the Symmetrical Variation after 1.c4 c5 the author puts in one chapter all lines that lead to early action in the center (such as after 2.Nf3 Nf6 3.d4 cxd4 4.Nxd4 as well as 3.Nc3 d5 4.cxd5 Nxd5). He also groups all the lines where both sides pursue a kingside fianchetto. Finally, he concludes his coverage of the Symmetrical with those lines where black essays a hedgehog formation.

I generally found this a useful way to approach the material, and this is the method used throughout the book. For example, in the Four Knights (1.c4 e5 2.Nc3 Nf6 3.Nf3 Nc6), the normal course would be to split the material based on white’s next move. However, the author breaks it down by whether or not black subsequently plays …d5. While this means that coverage for white variations are split among different chapters, this pawn advance tends to define the sorts of positions that arise.

McDonald packs this book with explanation of key plans for both sides. In a strategic opening, that is very important. I’ve played 1.c4 for over 25 years, and the author made several telling points that expanded my understanding – not only of this opening but also of chess in general. In that respect, this reminds me of efforts by John Watson – this isn’t simply a book about a chess opening, it is a book about chess.

As an example, after 1.c4 c5 2.Nf3 Nf6 3.d4 cxd4 4.Nxd4 e6 5.Nc3 Nc6 6.a3 Nxd4 7.Qxd4 b6 8.e4 McDonald writes:

“To become a good chess player you have to learn all the principles of positional play. Then, having learnt them all thoroughly, you have to train yourself to be extremely skeptical about their value during an individual game. Principles are at best approximations to the truth – sometimes they can be entirely wrong. This is just as well for if it were not the case it wouldn’t be possible to win a game against a player who knew all the principles as he could draw on his knowledge to make one decent move after another. Here, for example, White plays an entirely natural sixth move, preventing …Bb4, so what could be more consistent than gaining space with 8.e4? In fact there was a better plan, but it depends on a subtle appreciation of the position. It is no wonder it was discovered by Victor Korchnoi, one of the most creative chess minds of all time. He found 8.Qf4!, placing the queen on an active and safe square before playing e2-e4. Then 8…Bb7 9.e4 (only now!) 9…d6 10.Bd3 Be7 11.Qg3! 0-0 12.Bh6 Ne8 13.Bd2 Rc8 14.0-0 gave White a slight but pleasant space advantage in Korchnoi-Sax, Wijk aan Zee 1991.

“We often read in books that ‘gaining space with e2-e4 is a good idea’ but never that ‘Qf4 and Qg3 is a good maneuver’ – so learn to look at the position in front of you.”

The book is full of this sort of insight, and it helps that the illustrative game format allows the author to comment on all aspects of the play that arises from this opening. This is as much an exposition of middlegame and endgame play in the English as it is an opening textbook.

In fact, using this solely as an opening text may lead to trouble. While the English is not nearly as sharp as some other openings, it has its crazy moments. I was surprised to see, from looking at the bibliography, that the author had not consulted several fairly recent books on the opening. For example, both David Cummings and Carsten Hansen have written books on the Symmetrical English (the former by Everyman Chess, the latter by Gambit); Hansen has also written a Gambit book on 1.c4 e5. None of these were listed in the bibliography.

As an example, in the symmetrical after 1.c4 c5 2.Nc3 Nc6 3.g3 g6 4.Bg2 Bg7 5.Nf3 e6 6.d4 is a sharp line that’s been played by many top players. After 6…Nxd4 7.Nxd4 cxd4 McDonald adequately covers the variation after 8.Nb5, which seems to work out fine for black. However, the more recent white try, 8.Ne4, is not mentioned. Both of the previously mentioned books on the Symmetrical variation cover this line, and John Watson’s brilliant CHESS STRATEGY IN ACTION also spends a fair amount of time on the line. In short, it is a dangerous line that black should know something about if he wishes to venture this line in tournament player.

There are a few curious choices as well. In the Keres Defense, after 1.c4 e5 2.Nc3 Nf6 3.g3 c6 White’s best (and most popular) move has generally been considered to be 4.Nf3. Hansen goes so far as to award it an exclam. McDonald, however, chooses to spend his example game on 4.d4 and analyze a 1993 team game where Kasparov simply steamrolls an over-matched opponent.

These are not, however, the norm. In the vast majority of lines, McDonald has done a pretty good job of representing mainstream theory in a balanced way. While white wins about two out of three of the illustrative games, the author is quick to point out equalizing methods for the second player as well as white tries for an advantage.

In some places, there is some interesting coverage that updates the earlier referenced work. For example, after 1.c4 Nf6 2.Nc3 e6 3.Nf3 Bb4 4.g4!? is a typically dynamic modern interpretation of wing pawn play. Other standard English works, such as Bagirov’s ENGLISH OPENING Classical and Indian do not cover this aggressive thrust.

The real strength of the book, however, is the strategic discussion. At its basic level, this series uses a variety of visual cues to help the reader pick up on key points. There are symbols for tips, notes, and warnings. While many in this book are specific to the English, some are generalized chess instruction. Generally, they are helpful and provide a handy list of do’s and don’ts.

Beyond these, McDonald frequently goes out of his way to provide deeper discussion of the finer points of the variations from this opening. The English can lead to an exceptionally broad array of structures – everything from slow motion blocked centers with flank play (the Botvinnik system), flank play with a fluid center, central play with a fluid center, and flank play with no center! Throughout it all, the author approaches the methods for both players with useful examples, discussion, and analysis.

An example is his discussion of move orders related to lines that often arise from a variation of the Reti (1.Nf3 d5 2.c4). In explaining the ins and outs, McDonald notes that:

“In contrast to 1.Nf3 Nf6, after 1.c4 c6 2.Nf3 d5 Black hasn’t committed his knight to f6 immediately. This becomes important after 1.c4 c6 2.Nf3 d5 3.g3 Bg4 4.Bg2. Black can play 4…Nd7! cutting out the variation 4…Nf6 5.Ne5 Bh5 6.cxd5 cxd5. Consequently, I suggest that White should also be crafty with his move order and open with 1.c4 c6 2.g3! d5 3.Bg2, waiting for Black to commit his knight to f6.

“Now 3…Bg4 is simply bad after 4.cxd5 cxd5 5.Qb3 hitting b7 and d5, while the risky 3…dxc4 is analyzed below. Therefore Black has nothing better than 3…Nf6, when 4.Nf3 follows and we are back in familiar territory.”

This is the sort of practical move order commentary that other authors gloss over, but it will likely be of great value to the book’s audience.

It’s always nice to know that an author actually plays the material he writes about, and there are a couple of illustrative games featuring McDonald as white. Interestingly, one of the two was a pretty gory loss, but that’s probably part of the book’s appeal – if a strong grandmaster can go down in flames in the opening he espouses, then we too should have the courage to persevere when things don’t go exactly right.

This is a larger book than others in the Starting Out series, and that is evident in its overall presentation. At 191 pages, it has about 15 more pages than its counterparts on the King’s Indian, Sicilian, French, and Nimzo-Indian, and about 50 more than on the Ruy Lopez and Queen’s Gambit. It is also helpful that there is a rudimentary index of variations, which is found in some but not all the books in this series.

Everyman Chess puts out solid books with decent production values. The book’s overall dimensions, font size, and uses of bold print make it very user friendly. While I generally prefer a double column layout (this series uses the single column approach), the white space on the page seems acceptable. My one concern is the method for using diagrams. Because of the one-column format, on most pages there are two diagrams put side by side, generally covering an early starting point in the variation and another from further along in the game. Unfortunately, often that second diagram comes at a point so far along that it is on another page. It is very distracting to have to flip back and forth between pages to consider a diagrammed position – in many instances, the value of the diagram is entirely lost.

In conclusion, STARTING OUT: THE ENGLISH is another good blend of a basic look at the theory of an important opening with an explanation of the key ideas and themes for both sides. While some lines may require consulting other recent works to be totally in sync with modern theory, most players will benefit from the author’s insight and analysis.

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