Best Selling Books by James Marsh

How much do you really know about finesses? A finesse is one of the most common techniques in bridge and yet one of the most abused. The term “finesseaholic” describes a player who never met a finesse he/she didn’t want to take. So often the finesse is really a last resort, only when other more promising lines of play are not available or have failed. As a common technique, so much is often taken for granted. Often there are questions that need be resolved. Is it a two-way guess? Which suit should be finessed first? Who is it safe to finesse into? Which card should be led may make the difference between success and failure. Are there clues in the bidding or lack of bidding? One definition of “experience” is what we get when we don’t get what we want. After you play bridge for a while, you will learn that the finesses you desperately need to work are the ones that fail. Profit from experience. Avoid an unnecessary finesse that may lead to disaster if it loses.

How do defender’s win trump tricks? Other than having high honors, natural winners, it’s by getting an early ruff of a short suit. Far more fulfilling and intriguing possibilities arise in poking away at declarer’s trump suit and plucking out an unexpected trick. Trump promotion has been described as the magic of creating trump tricks that didn’t exist at the beginning of the deal. The basis for this is simple. By putting declarer in a position where to win the trick he must ruff high, he promotes one of defender’s cards to a winner. At times this can be surprising and clever. Often when it seems you have no possibility of further defensive tricks, along comes a trump trick seemingly out of thin air. A trump promotion, often referred to as an uppercut, creates a trump trick in a defender’s hand where one doesn’t exist. A couple of actions to note involve giving a ruff/sluff where declarer has no losers to discard. But partner is also void and ruffs high enough to force the next hand, either dummy or declarer, to ruff with a relatively high trump. In this book, Jim takes you thru the various techniques of how defenders achieve trump promotion. There are many example deals followed by quiz deals to help you when you face these problems at the bridge tables.

This is a true story. A young radiologist, fresh out of training, starts working in south Florida but has difficulty establishing himself in a practice. Finally, working alone in west Broward county, he sees the vast empty spaces, west of what is currently considered west. Knowing the future must lie west, the doctor becomes an entrepreneur and starts to push medicine to where now only cows walk. Does he succeed? Read how what starts as cow pastures becomes transformed into a thriving community.

Innumerable books have been written on declarer play. Far less attention has been paid by bridge writers to defense, which is the weakest part of most players’ game. This book presents a series of problems in defensive play, the central theme being active versus passive defense. This problem may start with the opening lead, arise at Trick Two, or be a decision later during the play of the hand. Going ‘active’ when one should have remained ‘passive’ and vice versa is probably the most common defensive error players make, allowing contracts to slip thru. Some of the deals shown are more difficult than others, but they all contain a principle that can be applied in similar situations. After working on these problems and answers, the reader will find his defensive skills are enormously improved.

Bridge is a game of mistakes.The best players make fewer mistakes. It’s not a matter of being brilliant The real expert players never make basic mistakes,they keep the ball in the court, in the fairway. Sure there is an occasional hand where they make a brilliant play but that’s not what distinguishes the true expert from the good player. One often hears an expert say I’ve seen this hand before”. What does he mean? No,he hasn’t seen the hand record;he recognizes the hand type. After all, there are only a finite number of hand types in bridge. For example,second suit hands,cross-ruffs,ruffing in dummy,a simple finesse,an elimination,a dummy reversal and a couple of others. You can’t reinvent bridge every time a hand comes down. If you recognize the type,then you have some idea or plan of how to go about trying to make your contract. But one of the biggest mistakes non-expert players make is playing to trick one, then looking around and deciding what to do next. And in many cases,it’s already too late. The key to the hand was trick one. But sorry,no mulligans in bridge. So this book will present a series of hands,all as quizzes but of course you have a big clue from the title. Nevertheless,I hope you will find the hands and following discussions interesting enough to help you learn to do your thinking before not after you play that first card. Speed kills.

Squeezes. Just the word strikes fear into the heart of many bridge players. But simple squeezes are actually quite simple. The single or simple squeeze accounts for 90% of squeezes and 90% of this book deals with simple squeezes. If you wish to become more than just a mediocre bridge player mastering the techniques of basic simple squeeze play is a must. In any session of bridge of twenty or so deals, the opportunity of some form of squeeze invariably arises on three to four deals even if unrecognized. Don’t worry about the other types. They are usually only discovered in post-mortem analysis. The purpose of this book is to guide you thru what you can easily master. You will find that the feeling of executing your first squeeze is a “once in a lifetime thrill” at the table.

This book is about only one thing. Shortness, singletons or voids. It’s impossible to overestimate the value distribution plays in bidding accuracy. High cards are nice; anybody can bid games and slams when the high cards are falling out of their hands onto the table. But usually those results don’t get you very far. It’s usually an average or maybe just above. You don’t win bridge tournaments that way. The pairs who bid games and slams on less and who accurately stay out of bad games and slams, those are the winners. When the ‘room’ is in 3NT scoring +460 or +490 and you are in six diamonds scoring +920, then come and tell me about it. I’ve tried to cover the different ways a player can ask or tell about shortness. The book is divided into chapters on offense and defense. There are different ways to do things in bridge. I’ve presented a system I’ve learned from some of the best. You may prefer something else. Whatever works, great. I want to give you some things to think about and suggest solutions. There are lots of ways to do things in bridge. This is one way. I hope you fi nd it helpful at the table. James Marsh Sternberg, MD Palm Beach Gardens, FL

The trump suit adds a dimension that makes bridge so different from other card games. In a suit contract, play is complicated by declarer’s need to keep control. If control is lost, it may be almost impossible to make proper use of one’s strength in the side suits. Before playing to trick one, one should ask what might go wrong? If playing a suit contract, is there a reason not to draw trumps? Or maybe just some of the trumps? Safety plays apply to all suits. Focus is on the trump suit, but the same general principles can be applied elsewhere. The skillful player displays pessimism: Suits will break badly, all fi nesses will lose, that’s the starting point, and things will probably get worse. We will look at a series of hands both from the declarer’s perspective and the defenders’, with focus on the trumps, and see how some of these problems might be managed. With bad trump splits, or playing 4/3 or 5/2 fi ts, it’s easy to lose control. Timing is crucial. On defense, we will look at trump promotion, shortening declarer’s trump holding, the importance of the ace of trumps on defense, when to ruff, when not to ruff, falsecarding, and other weapons available.

In this book, we will see a variety of examples of how to unblock your suits and how to block theirs. Mastering these will lessen your frustrations. The plays are easy, it’s the anticipation in sufficient time that is a good deal more tricky. I’m sure you will recognize some of these situations from your own times at the tables where you may have found yourself blocked. There is some overlap; some of the hands could belong in more than one chapter. Learning to unblock, wrote Louis Watson in “Play Of The Hand”, is akin to the fellow who paints himself into a corner, or the chap who sits on the outer edge of a limb while sawing it off from the main trunk.

Delve into the profound depths of ancient verse with "The Spirit of Hebrew Poetry, Volume 2," by Johann Gottfried Herder and James Marsh. This volume continues the exploration of the unique characteristics and enduring influence of Hebrew poetry, offering insights into its structure, themes, and spiritual significance. Herder''s work illuminates the artistic and emotional power embedded within the poetic traditions of the Old Testament, providing a rich resource for scholars, theologians, and anyone seeking a deeper understanding of biblical literature. This volume offers a valuable perspective on the cultural and religious context that shaped these timeless works. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In the earlier days of bridge, a direct cue bid of the opponent’s opening bid was traditionally played as a ‘strong cue bid’, a hand too strong for an ordinary take-out double, and forcing to game. A typical hand was any 4-4-4-1 hand with 18 – 19+ HCP. These occurred so seldom and players found they could be handled by starting with a take-out double anyhow that the direct cue bid was finally put to better use. The most popular use is to show some form of a two-suited hand. The Michaels cue bid is one of the most popular conventions among players in the United States. You pick up your hand in second seat and you have a nice hand. You have eleven HCP but nice distribution, 1=5=2=6. And of course, you are going to open your long suit first. But hey, wait a minute. Your RHO is pulling something out of his bidding box. That’s not fair. This isn’t going to be so easy. But we have lots of tools to describe 2-suited hands. The two most popular are the Michaels Cue Bid, and the Unusual Notrump. The parameters for both conventions are the same. One should have at least 5-5 distribution to start. Some partnerships restrict their use of both for hands that are either ‘weak’ or ‘strong’ but not in the ‘middle’ range. This idea however has been losing favor with most expert partnerships who rightly feel shape trumps strength. The more modern feeling is that the distributional nature of their hand outweighs any disadvantage. They prefer entering the auction as soon as possible regardless of strength. That can be worried about later. We will discuss this more in later chapters

The 1950s was a time of regeneration and change for Southampton. For children growing up during this decade, life was changing fast. They still made their own toys and earned their own pocket money, but, on new television sets, Andy Pandy (1950) and Bill and Ben (1952) delighted them. With rationing discontinued, confectionary was on the menu again and, for children, Southampton life in the 1950s was sweet. If you saw a Laurel and Hardy performance at The Gaumont Theatre, or made dens out of bombed-out buildings, then you''ll thoroughly enjoy this charming and nostalgic account of the era.

Just what is LOL? Yes, a common abbreviation for Laughing Out Loud, and often used to refer to a Little Old Lady, but in bridge it means a Loser-On-Loser play. At times a declarer can improve his/her situation by playing a losing card from one hand on a loser in a different suit from the hand opposite. This occurs when a player has a loser in two suits but can arrange to lose them both on one trick, thereby reducing the number of losers from two to one. Often this looks like a Ruff-and-Sluff play, but instead of ruffing, declarer or dummy discards a loser in each hand. When and why would one do this? This technique has many uses. One example is to keep the ‘Danger’ hand off lead. Often in the end game it serves as the exit in assisting the process of elimination and placing the lead in the hand of the desired opponent for an endplay. The advantage of this procedure is that declarer divests himself of two losers while simultaneously placing the lead in the desired quarter.

This is a story spanning some of the most turbulent decades in recent world history. James Marsh was born during the first year of the Second World War and many of his infant years were spent in air-raid shelters outside his home. Bombs rained down from the German Luftwaffe as they tried to destroy the city of Southampton, which has now been James'' home for more than sixty years. The gritty determination, community spirit and, above all, the humour, with which the local community faced the difficulties of war, have stayed with James throughout his life.Moving on to describe the harsh lessons learned in 1940s and ''50s schooling and subsequently describing his teenage years in the merchant navy, this book explores how growing up in the post-war years was both a challenge and a lot of fun.

Do you remember collecting shrapnel and listening to Children’s Hour? Carrying gas masks or sharing your school with evacuees from the city? The 1940s was a time of great challenge for everyone who lived through it. From the hardships and fear of a World War, with Britain’s towns and cities were being bombed on an almost nightly basis, to the trauma of being parted from ones parents and sent away to the country to live with complete strangers. For just over half of this decade the war continued, meaning food and clothing shortages became a way of life. But through it all, and afterwards, the simplicity of kids shone through. From collecting bits of shot down German aircraft to playing in bomb-strewn streets, kids made their own fun. Then there was the joy of the second half of this decade when fathers came home and fun things started up again. This trip down memory lane will take you through the most memorable and evocative experiences of growing up in the 1940s.

Sentenced to three years in jail after he destroyed government property as part of an anti-war protest in 1968, Daniel Berrigan fled justice but later turned himself in. In ''The Trial of the Catonsville Nine, Berrigan addresses the conflicts between conscience and conduct, power and justice, law and morality.