Waitzkin, Josh. Attacking Chess (Fireside: New York, NY, 1995).

Many of the rules and principles I discuss here were not taught to me but came intuitively through absorbing hard knocks in early games. In the beginning I
did not understand these ideas concretely, but I played them. Somehow I felt their essential correctness. I had a strange connection to the chessboard and its
men, one that I will never truly understand. (pg. 11)
Having to explain what comes intuitively was infuriating and made me want to give up these words and go back to playing moves. (pg. 11)
Based on what you have learned in the preceding pages, you will feel the moves and ideas much in the way that a strong player intuits critical moves in a
beautiful game. (pg. 12)
The feel of the fork and the feel of the movements of the knight, will come with time (and work). There are hundreds of books crammed with tactical
exercises, including knight forks. The students of chess must invest some time studying such examples. (pg. 41)
Sometimes the position has been too complex to understand in the allotted time. In a very dangerous position, it is sometimes better to find the right move
than to worry about the clock. . . . At the end of each of [Ivanovs] games, a group of fans gathers . . . while [he is] reeling off twelve or fifteen or even
twenty-five moves without an instant to think. (pg. 47)
Why 1.f5? This brings us to one of the most beautiful and mysterious elements of chess: feeling. In the game I felt that the position required this move and
trusted my instincts. (pg. 78)
Not emotion, or passion: What did we learn from this example? First, and perhaps most importantly, we learned how necessary it is to control anger
we may feel toward an opponent. (pg. 66)
Make this move on your chessboard. Your first reaction might be that the position is just too complicated for you to calculate. This might very well be true
and I probably didnt see all the possible consequences of the move when I played it. Positions involving this type of pawn tension are tremendously difficult
to calculate, as the whole board seems to be on the verge of exploding. . . . This brings us to one of the most beautiful and mysterious elements of chess:
feeling. In the game I felt that the position required this move and I trusted my instincts. Lets look at factors that might have guided my intuition. (pgs. 77-8)
At the critical moment victory often comes to the player who trusts his calculation, and more, who heeds his intuition when the position is impossible to
calculate fully. (pg. 113)
It is impossible to see all possibilities in a chess game even if you are a fantastic tactician. . . . One very useful method [to deal with this] is to identify move
candidates. (pgs. 130-1) . . . I had seen 4.Kb1 and had calculated all the variations far enough to see that I could not lose and that I probably could win. . . . I
saw enough lines to be comfortable with my decision, went for it, and was rewarded. (pg. 131)
Pandolfini, Bruce. Every Move Must Have a Purpose (Hyperion: New York, NY, 2003).
Definition from Glossary:
Intuition: Problem-solving based on pattern recognition and experience. (pg. 110)
Pandolfini, Bruce. Pandolfinis Ultimate Guide to Chess (Simon & Schuster: New York, NY, 2002).

Analysis is the process of determining by careful examination the best moves in a variation or position. The ability to analyze is an essential tool in a
chessplayers arsenal. The art of problem-solving itself involves two types of reasoning: specific calculation and general judgment. Chessplayers use specific
calculation to consider particular moves and variations, evaluating them, weighing their strengths, weaknesses, and consequences. They make general
judgments to decide which types of moves or plans, rather than what specific ones, they wish to consider. . . . In many places you should go with your
intuition, but not before you analyze. You should rely on intuition when analysis doesnt seem to be working. . . . So first you analyze the situation, and then
you choose a plan that is consistent with it. In other words, as with any problem-solving situation, you determine what is given, decide what your goal is, and
then develop a plan of action that seems to bring you to that goal. And as Ive said, if analysis doesnt get you where you want to be, you can always fall
back on intuition. (pgs. 252-4) [Pandolfini goes on to a short discussion of Kotov and Socrates!]
You need not ask only these questions, nor do you have to phrase them this way. But your questions should direct your attention to whats important. If
theyre appropriate for the immediate situation, they will more or less suggest the answer or at least a way to get at it. In this sense they serve the same
purpose as principles. They do no more and no less than activate and direct the thinking process. (pg. 255)
Waitzkin, Fred. Searching for Bobby Fischer (Penguin: New York, NY, 1993).
Players such as Boris Spassky and David Bronstein often describe chess lyrically in terms of intuition, fantasy and romanticism. (pg. 59-60)
Therefore I gave Yusupov exercises to develop his sense of intuition. (pg. 61, quoting Mark Dvoretsky, greatest chess coach of all time)
Pandolfini, Bruce. Principles of the New Chess (Simon & Schuster: New York, NY, 1986).
Harkening to the methods of Mark Dvoretsky, the great Soviet trainer, I use these pretend situations to develop a student profile, and then I inundate
him with corrective exercises and problems based on his failure to spot my purposeful mistakes. (pg. 41)
But perhaps this stubbornness was a vital component of Joshs fighting spirit and chess intuition. (pg. 139)
Korchnoi, Viktor. Chess is My Life (Batsford: London, England, UK, 1978).
On the other hand, we observe among chess players a number of representatives of the arts Alekhine, Tal, and others. Evidently chess players of high class
must possess a versatile brain, where logical thinking is combined with creative imagination. But the exact sciences demand an exact approach and require
time for them to be seriously and correctly assimilated, whereas the arts are not so demanding. It is sufficient to know the principles in general, but not
necessarily specific, terms. (pg. 15)
But Spassky thought that with his expertise in defence, and his ability to lead an opponent into a sharp, intuitive struggle, he had nothing to fear. (pg. 56)
Reinfeld, Fred. 1001 Ways to Checkmate (Bell Publishing Co.: New York, NY, USA, 1955).
And so it goes. Time and again you will find very similar patterns leading to very similar refutations. When you have reached the point where a set-up in one
diagram reminds you irresistibly of a similar pattern in an earlier diagram, you will have made progress. For that will mean that the pattern is firmly fixed in
your mind, and that you can apply it with devastating effect in your own games. (pg., 5)
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Dvoretsky, Mark. Secrets of Chess Training (Macmillan: Toronto, Ontario, Canada, 1990).
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Flores Rios, Mauricio. Chess Structures: A Grandmaster Guide (Quality Chess: Glasgow, Scotland, UK, 2015).
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Kotov, Alexander. Think Like a Grandmaster
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Henkin, Victor. 1000 Checkmate Combinations (Batsford: London, England, UK, 2011).
[An expansion of: Tal, Mikhail. Tals Winning Chess Combinations (Simon & Schuster: New York, NY, 1979)]
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