Professional bridge players should not need motivating, but the fact is that sometimes it would appear they are sleepwalking and need a veritable kick up the backside. Our latest Gold Cup match against my friend Jon Vos was a case in point. Jon had been less than compulsive/obsessive about informing his team of the arrangements
The Bride and the Bachelors is an impressive exhibition of the work of Marcel Duchamp, John Cage and related artists which is on at London’s Barbican Centre until 9 June. Cage learnt chess in order to communicate with Duchamp without asking crass questions. Other artists, notably Max Ernst, Picabia, Calder and Man Ray also took
In Competition No. 2785 you were invited to submit poetic advice on how to woo a member of either sex. What better instructor can there be than Ovid, whose Ars amatoria gives guidance on the art of romantic conquest that knocks modern seduction manuals such as The Rules into a cocked hat. Two sections are
Unclued across lights combine with down ones to form anagrams of four works (one of four words, one of three and two of two) from the same nd. Elsewhere, ignore an accent. Across 7 Shaman’s inexpert (3) 11 Mary Jane hugs arriving amazon? (6) 13 Withdraw from dramatist, being cause of misery (7) 15
The song was ‘MY HEART BELONGS TO DADDY’ (4D/18/13) (Cole Porter). A word for ‘father’ is the centre of four unclued lights: E[POP]T (1A), MIS[GOV]ERN (4A), SU[PERE]GO (22) and SKE[DAD]DLE (40). COLE (35) and PORTER (3) were to be shaded. First prize Joan Kendall, Thundridge, Ware, Herts Runners-up Mrs Jane Smith, Beeston, King’s Lynn,
White to play. This position is a variation from Duchamp-Feigins, Folkestone 1933. Can you spot White’s most accurate continuation of the attack? Answers to me at The Spectator by Tuesday 26 February or via email to victoria@spectator.co.uk or by fax on 020 7681 3773. The winner will be the first correct answer out of a
