Endgame (21 page)

In addition to the rating disparity between mentor and student, Bobby didn’t like that Collins was getting publicity from being his teacher, and that other young players were flocking to him for lessons, eager to become the next Bobby Fischer. Bobby, perhaps because of the indigence of his childhood, hated the idea of people making money off his name. As New York master Asa Hoffmann once put it: “
If someone was willing to pay $50 for a Bobby Fischer autograph, and you were going to make $5 for introducing the autograph seeker to him, Fischer would want that $5 too, or else he was willing to forfeit the $50.”

M
IKHAIL
T
AL’S STARE
was infamous, and to some ominous. With his deep brown, almost black eyes, he’d glare so intently at his opponents that some said he was attempting to hypnotize them into making a vapid move. The Hungarian-American player Pal Benko actually donned sunglasses once when he played Tal, just to avoid the penetrating stare.

Not that Tal needed an edge. The twenty-three-year-old Latvian native was a brilliant player. Twice champion of the USSR, he’d won the 1958 Portorož Interzonal, becoming a front runner to play the incumbent title-holder, Mikhail Botvinnik, for the World Championship in 1960. Tal’s style was filled with wild, inspired combinations, intuitive sacrifices, and pyrotechnics. Handsome, erudite, and a packet of energy, the Latvian was a crowd-pleaser and the darling of the chess world. His right hand was deformed, but it didn’t seem to diminish his self-assurance.

Fischer was growing more self-assured, but his style was strikingly different: lucid, crystal-clear, economical, concrete, rational.
J. H. Donner, the gigantic Dutch grandmaster, noted the contrast: “Fischer is the pragmatic, technical one. He makes almost no mistakes. His positional judgment is dispassionate; nearly pessimistic. Tal is more imaginative. For him, overconfidence is a danger that he must constantly guard against.”

The European crowds who were watching preparations begin for the Candidates tournament liked Bobby too, but for different reasons: Americans weren’t supposed to play as
well
as he did. And at sixteen! He was a curiosity in Yugoslavia, a chess-obsessed country, and was continually pestered for
autographs and interviews. Lanky, with a loping gait, and dressed in what some Europeans thought was Western or Texan clothing, he was described as being “
laconic as the hero of an old cowboy movie.”

Bobby had tolerated Tal’s stare when they first met over the board in Portorož. That game had ended in a draw. More recently, in Zurich, three months before this Candidates showdown, they’d drawn once again, with Bobby coming in third, a point behind the first-place Tal. But now the stakes were much higher—the Candidates results would determine who played for the World Championship—and Fischer wasn’t going to let an obnoxious eye-jinx keep him from his destiny.

The Candidates tournament, spread throughout three Yugoslavian cities—under the beneficence of the dictator Marshal Josip Tito, an avid amateur chess player—was a quadruple round-robin among the world’s best eight players, meaning that each would have to play everyone else four games, alternating the black and white pieces. It was a grueling schedule and would last more than six weeks. Four of the players—Mikhail Tal, Paul Keres, Tigran Petrosian, and Vasily Smyslov—were from the Soviet Union. Three others—Gligoric, Olafsson, and Benko—were indisputably among the world’s best.
Fischer was the only American, and to many he was the tournament’s dark knight. In a moment of youthful bravado, though, he declared in an interview that he was counting on winning. Leonard Barden, a British chess journalist, claimed that Fischer was asked so often what his result would be that
he learned the Serbo-Croatian word for “first”:
prvi
.

During the contest, Fischer habitually dressed in a ski sweater and un-pressed pants, and left his hair matted as if unwashed, while the other players donned suits, shirts, and ties, and were scrupulous about their grooming. With thousands of spectators appraising each player’s sartorial—as well as strategic—style, the match moved from Bled to Zagreb and ended in Belgrade.

Bobby’s second, the great Danish player Bent Larsen, who was there to help him as a trainer and mentor, instead criticized his charge, perhaps smarting from the rout he’d suffered at Fischer’s hands in Portorož. Not one to keep his thoughts to himself, Larsen told Bobby, “Most people think you are unpleasant to play against.” He then added, “You walk funny”—a reference, perhaps, to Fischer’s athletic swagger from years of tennis, swimming, and
basketball. Declining to leave any slur unvoiced, he concluded, “And you are ugly.” Bobby insisted that Larsen wasn’t joking and that the insults “hurt.” His self-esteem and confidence seemed to have slipped a notch.

But that made him no less combative.

Still enraged from the disrespectful way he felt he’d been treated during his visit to Moscow a year before, Bobby began acting the role of a Cold War gladiator. At one point, he declared that almost all the Soviet players in the tournament were his enemies (he made an exception of the redheaded Smyslov, who displayed a gentility toward him). Years later, records released by the KGB, the Soviet intelligence agency, indicated he was right.
One Russian master, Igor Bondarevsky, wrote that “all four of [Fischer’s] Soviet opponents did everything in their power to punish the upstart.” Tal and Petrosian, close friends, quickly drew all of their games, thereby conserving their energy. Although not illegal, indulging in the so-called grandmaster draw—in which neither player strives to win but, rather, halves the point after a few inconsequential moves have been made—bordered on unprincipled behavior.

Bobby, for his part, was livid at the seeming collusion: “I will teach those dirty Russians a lesson they won’t forget for a long time,” he wrote from the Hotel Toplice. That resolution would become a lifelong crusade.

At his first game against Tal, in Bled, Bobby was already at the board when the twenty-three-year-old Mischa arrived just in time to commence play. Bobby stood and Tal offered his right hand to shake. Tal’s hand was severely deformed, with only three large fingers appended, and since his wrist was so thin, the malformation resembled a claw. Bobby, to his credit, didn’t seem to care. He returned the gesture with a two-stroke handshake, and play began.

Within a few moves, though, Bobby’s mood soured. He became annoyed at Tal’s comportment at and away from the board. This time “the stare” began to rankle him. Tal, in a seeming bid to increase Bobby’s irritation, also offered a slight smile of incredulity after each of the American’s moves, as if he were saying: “Silly boy, I know what you have in mind—how amusing to think you can trick me!”

Fischer, deciding to use Tal’s tactics against him, tried producing his own stare, and even flashed Tal an abbreviated, sneering smile of contempt. But after a few seconds, he’d break eye contact and concentrate on more
important things: the action on the board, the sequence of moves he planned to follow, or the ways to counter the combination Tal seemed to be formulating.

Tal was an encyclopedia of kinetic movement. All in a matter of seconds, he’d move a chess piece, record the action on his score sheet, position his head within inches of the clock to check the time, grimace, smile, raise his eyebrows, and “make funny faces,” as Bobby characterized it. Then he’d rise and walk up and down the stage while Bobby was thinking.
Tal’s coach Igor Bondarevsky referred to his charge’s movements as “circling around the table like a vulture”—presumably, a vulture ready to pounce.

Tal chain-smoked and could consume a pack of cigarettes during the course of a game. He also had the habit of resting his chin on the edge of the table, peering
through
the pieces and peeking at his opponent, rather than establishing a bird’s-eye view by sitting up straight and looking down, which would have provided a better perspective on the intricacies of the board.
Since Tal’s body language was so bizarre, Fischer interpreted it as an attempt to annoy him.

Tal’s gestures and staring infuriated Fischer. He complained to the arbiter, but little was done. Whenever Tal rose from the board, in the middle of the game, when Fischer was planning his next move, he’d begin talking to the other Soviet players, and they enjoyed whispering about their or others’ positions. Although he knew some Russian, Bobby had trouble with the declensions and usage. He’d hear the words
ferz
’ (“queen”) or
lad’ya
(“rook”), for example, and he couldn’t tell whether Tal was talking specifically about
his
position. All he knew was that it was maddening. Bobby couldn’t understand why the chief arbiter didn’t prevent this muttering, since it was forbidden by the rules,
and he told the organizers that Tal should be thrown out of the tournament. That Soviet players had for decades been talking to one another during games with no complaints didn’t help Bobby’s cause.

Fischer was also perturbed that when a game was finished, many of the players would immediately join with their opponents to analyze their completed games, right on the stage, just a few feet from where he was playing rather than in the postmortem analysis room. The buzz distracted his attention.
He wrote a complaint about the chattering and handed it to the chief arbiter:

As it turned out, though, nothing was done. No other players joined in the protest, because most were guilty of doing the very thing Fischer was opposing.

Bobby was fast gaining a reputation as a constant complainer, the Petulant American, a role most of the players found distasteful. They believed he’d invariably blame tournament conditions or the behavior of the other players for a loss.

Whether or not Bobby
was
hypersensitive, he did suffer from hyperacusis—an acute senstivity to noise and even distant sounds—and it was clear that Tal, in particular, knew just how to rattle him. The Russian would look at Bobby from near or far, and begin laughing, and once in the communal dining room he pointed to Bobby and said out loud, “Fischer: cuckoo!” Bobby almost burst into tears. “
Why did Tal say ‘cuckoo’ to me?” he asked, and for the first and perhaps only time during the tournament, Larsen tried to console him: “Don’t let him bother you.” He told Bobby he’d have an opportunity to seek revenge … on the board.
After that, a local Bled newspaper published a group of caricatures of all eight players, and a souvenir postcard was made of the drawings. Bobby’s portrait was particularly severe, with his ears akimbo and his mouth open, making him look as if he were … well, cuckoo.

Sure enough, in the drawing, next to the portrait of Bobby was a little bird perched on his board. It was a cuckoo.

Spectators, players, and journalists began asking Bobby how he could take two months off, September and October, during the school year to play in a tournament. Finally it was revealed: He’d dropped out of Erasmus Hall. It had been crushing for Regina to have to sign the authorization releasing the sixteen-year-old from the school.
She hoped she could talk him back into
classes somewhere, someday, after he finished playing in the Candidates tournament. As an inducement to get him to change his mind about dropping out,
the assistant principal of Erasmus, Grace Corey, wrote to Bobby in Yugoslavia, telling him how well he’d done on the New York State Regents examinations. He’d earned a grade of 90 percent in Spanish and 97 percent in geometry, making for “a really good year.”

Good grades or not, an image began to attach itself to Bobby. As a result of the publicity about his schooling, or lack thereof, Fischer was beginning to be thought of as a
nyeculturni
by the Russians, unschooled and uncultured, and they began to tease him. “What do you think of Dostoyevsky, Bobby?” someone queried. “Are you a Benthamite?’ another asked. “Would you like to meet Goethe?”
They were unaware that Bobby had read literature in high school, and for his own enjoyment. He liked George Orwell’s work, and for years held on to his copies of
Animal Farm
and
1984;
he also read and admired Oscar Wilde’s
The Picture of Dorian Gray
.
Voltaire’s
Candide
was a favorite, and he’d often talk about the comic parts.
Tal asked Bobby if he’d ever gone to the opera, and when Bobby burst into the refrain from “The March of the Smugglers,” from Bizet’s
Carmen
, the Russian was temporarily silenced. Bobby had attended a performance of the French opera with his mother and sister at the Metropolitan Opera House in New York shortly before going to Europe.
He also owned a book that told the stories of all the great operas, which he’d dip into from time to time.