Publications (continued)
|
Composition Numbers
|
Quantity
|
Liverpool Mercury
|
33,50,60-61,63
|
|
London Daily News
|
28
|
|
(Al) Lyman’s Checker Site
|
67,67a,77
|
3
|
Manchester Times
|
66
|
|
Melbourne Weekly Times, Hugh Egan, Editor (for > 50 of its >70 yrs)
|
52,53a,53b,59,60,61(2),81
|
|
Midwest Checkers
|
33,65,80
|
3
|
Minneapolis Journal
|
72
|
|
Mitchell’s Checkers
|
25,90
|
2
| |
Moline Dispatch
|
3,72a
|
|
Mt. Sterling Advocate
|
33,41A,103a&b,106b
|
|
Newark Sunday Call
|
1,25,26, 81
|
|
New Draughts World
|
90
|
|
New Zealand Draughts Newsletter
|
61
|
|
Newell’s Checker Maven
|
43,90,102(2)
|
3
|
North American Checker Board
|
52,61,66,72,73,76,94
|
7
|
Northern Weekly Leader
|
67
|
|
North Otago Times
|
25(2),50-51,61,63
|
|
Nottinghamshire Guardian
|
60
|
| |
NWDF Newsletter, Hugh Devlin, editor
|
53, 81,
|
|
Oldbury’s Complete Encyclopedia
|
67A,101
|
2
|
Otago Witness
|
2, 3,7,10,14,16,25(3),26, 33,40,42,53,55,60,61,65,66, 74,90,99,100,102(4)
|
|
Pask’s Play Better Checkers &Draughts
|
25
|
1
|
Pask's Starting out in Draughts
|
35
|
1
|
Pittsburg Chronicle
|
63
|
|
Pittsburgh Chronicle Telegram, DPWB
|
74,76
|
|
Pittsburgh Dispatch
|
28,60,63-64,66,81,102
|
|
Queenslander, Australia
|
3,26,60-61,79,90(2),94, 97
|
|
Reed’s Checker Journal
|
41,68-71
|
|
Richmond’s Single Corner & Alma
|
25
|
1
|
Rubin’s Mercury
|
3,28
|
|
Ryan’s Scientific Checkers Made Easy
|
94
|
1
|
Schaefer’s Checkerist 10/00-9/01
|
11,40,96
|
3
|
Scott’s 101 Stratagems
|
52,56b
|
2
|
Sheffield Independent
|
63
|
|
Publications (continued)
|
Composition Numbers
|
Quantity
|
(R. J.) Smith’s Daily Worker
|
7
|
|
Spayth’s Checker Player-Appendix
|
53,80
|
| |
Stearns Book of Portraits, Vol. 1
|
25-26,42,52,60,67
|
6
|
Stearns World Problem Bk, Part 1st
|
90, 94
|
2
|
Stearns World Problem Bk, Part2nd
|
75,97
|
2
|
Stirling Journal, Scotland
|
78
|
|
Sunday Times, Perth, Australia
|
2,25(2),60(4),61,63,91
|
|
Sydney Echo
|
26
|
|
Sydney Morning Herald, Australia
|
98
|
|
Teetzel’s American Checker Monthly
|
102
|
|
The Mail, Adelaide, Australia
|
11(2),53a-53b,63,90,102
|
|
The Mercury, Hobart, Tasmania
|
1,51(3)
|
|
Third American Tourney Book
|
11,25,56a,69,77,94,102
|
7
|
UNKNOWN
|
87A
|
|
Weekly Journal, Aberdeen
|
53a-53b
|
|
Wendemuth’s Checker Companion
|
1,3,16,24-26,28,44,51, 60,65-67,94,96,98,102, 105,106a,107
|
20
|
Western Mail, Perth, Australia
|
3(4),4,8(4),11(3),16(2), 25(2),60(2)-61,65-66,94, 96, 98,102(2),107
|
|
Whyte’s Problemists’ Guide
|
52,61,66,94
|
4
|
Wiswell’s Checker Magic
|
3,7,25,52,63
|
5
|
W. J. Wood’s Draughts
|
102
|
|
Wood’s Checker Player
|
3,11,16,25,28,33,35,40, 44,52-53,63,66,69,72, 78(2),79,90,96,102,106a
|
|
Wood’s Checker Study No. 6
|
90
|
|
Worker, Brisbane, Australia
|
26
|
|
Yorkshire Weekly Post
|
65
|
|
Index by “Year Published”
A Measure of Slocum’s Productivity
Slocum was prolific early on. His problem composing then ebbed and flowed. In some of the years after 1901, he did not compose any problems. But he continued as an active player into at least 1912.
Year First Published
|
Composition Number
|
1888
|
1
|
1889
|
2,3,4,5,6,7,8,9,10,11,12,13
|
1890
|
14,15,16,17,18,19,20,21,22,23,24,25
| |
1891
|
26,27,28,29,30,31,32,33,34,35,36,37,38,39
|
1892
|
40,41,42,43,44,45,46,47,48
|
1893
|
49,50,51,52,53a,54,55,56a,57,58
|
1894
|
60,61,62,63,64,65,66,67,67a,68,69
|
1895
|
70,71
|
1896
|
72,72a,73,74,75,76
|
1897
|
77,78,79,80,81,82,83,84,85,86,87
|
1898
|
88,89
|
1899
|
90,91,92
|
1900
|
93,94,95,96
|
1901
|
97,98
| |
1902
|
|
1903
|
|
1904
|
99,100,101,102
|
1905
|
|
1906
|
|
1907
|
103a,103b,104
|
1908
|
|
1909
|
105,106a?,106b?,107
|
1910
|
108
|
1911
|
109,110
|
1912
|
|
1913
|
|
1914
|
|
?
|
41A,87A
|
Index by “Times Published”
A Measure of the Popularity of Slocum’s Compositions
About a third of Slocum’s compositions received incredible and deserved publicity and acclaim. Another third were published once and never heard from again (until now).
Times
Previously Published
|
Composition Number
|
48
|
25
|
36
|
102
|
26
|
60
|
24
|
3
|
21
|
26
|
20
|
61,63
|
18
|
53a,94
|
17
|
90
|
16
|
28
|
15
|
11,56a,66
|
14
|
52,65
|
12
|
69
|
11
|
33(many negative),67,79,81
|
10
|
51,53b,77
|
9
|
8,16
|
8
|
8,96,98
|
7
|
1,7,24,40,44,78,105
|
6
|
101
|
5
|
29,35,67a,72,74,76,84
|
4
|
4,43,64,73, 106a,107
|
3
|
2,6,42,50,62,68,72a,91
|
2
|
10,14,18,22,38,41A,48,55,59,75,80,82.87,97,99,100,103a, 103b, 106b,108
|
1
|
5,9,12,13,15,17,19,20,21,23,27,30,31,32,34,36,37,39,41, 45,46,47,49,54,57,58,70,71,83,85,86,87A?,88,89, 92, 93,95,104,109,110
|
Index by “Theme”
A Measure of Slocum’s Preferences in Styles of Problems
Slocum’s fame was not built on just one style of problem, but one style forever bears his name.
Theme
|
Composition Number
|
Deferred Strokes
(also known as
Slocum Strokes)
|
1,5,7,8,12,14,15,18,19,21,22,23,24,25,26,27,28,29,30,31,32,33,34,36,38.42,44,46, 50,51,56a,61,64,65,67,68,73,74,75,77,81,82,85,89,91,92,93,94,95,98,105,106b,107
|
Pure Strokes
|
4,10,13,20,39,47,48,55,60,67a,86,97
|
Non-Strokes with Pitches
|
2,3,6,9,16,35,37,41,41A,43,52,53a,57,58,62,66,76,79,90,99,101,103a,103b,104, 106a, 108,109,110
|
Non-Strokes, No Pitches
|
11,40,45,49,54,63,69,70,71,72,72a,78,80,83,84,87,87A88,96,100
|
Piece-down Wins
|
42,46,47,53a,72,76,84,106a,106b,115
|
Sight-Solvers
|
2,16,26,48,55,62,67a,72a,74,76,103a, 103b,106a,106b
|
Known Game Positions
|
45,48,55,85,92,93
|
Likely Game Positions
|
6,24,35,52,79,88
|
Index by “Motif”
A Measure of the Tricks Slocum Favored
The keys to Slocum’s ingenuity lie here.
|
Motif
|
Composition Number
|
All about the Move
|
11,40,49,54,58,63,64,66,69,71,72,72a,78,80,83,96,99,100,101,110
|
Attacking Pitches
|
2(two),18,20(two),22,39,41A 47(two),56a,60,61,74,77(two),89(two),99,
|
Back and Forth
|
1,21,22,25,27,34,37,41,45,59,67,67a,69,70,78, 80,83
|
Breeches
|
2,57,62,65,94
|
Bridges
|
24,33,68,96,105
|
Buried Pitches
|
82
|
Changing the Guard
|
11,40,70
|
Direct Presses
|
1,7,23,25,27,28,29,30,32,33,36,38,63,72,88,93
|
Direct Squeezes
|
5,8,12,21,27,28,30,31,35,36,38,42,50,54,57,64
|
Domino Pitches
|
14,22,26,33,50,55,56a,60,68,85,91
|
Forced Steals
|
1,12,17,18,19,20,21,24,26,27,31,33,34,38,41,4243,51,57,63,64,66,73,76,88,89,91,95,109,110
|
Herding
|
42,63,64,72,79,84,87,87A,92,102
|
3-way Pitches
|
2,67,67a,75,89
|
2-way Pitches
|
15,18,26,27,29,33,34,46,55,60,67,67a,68,90, 104
|
3-piece Pitches
|
21
|
2-piece Pitches
|
3,4,8,13,16,17,18,25,26,28,29,36,37,41,44,47, 50,55,59,68,73,74,81
|
Pitch/Squeeze/Steal
|
90
|
Slip Pitches
|
4,8,13,15,19,23,29,30,31,32,34,37,39,44,46,50,55,60,67,67a,68,98,107,108
|
Slip Squeezes
|
17,22,23,27,29,31,50,89
|
In and Outers
|
5,7,10,14,65
|
Threatened Steal
|
3,16,17,23,31,42,45,74,77,81,86,94,95,103a, 103b,106a,106b
|
Waiting Moves
|
3,10,26,49,50,51,52,53a,54,58,75,78,80,83,108
|
Index by “Epiphany”
A Measure of Slocum’s Showmanship
The keys to Slocum’s personality lie here.
The flashiness of most of his early compositions segued into his later, deeper, studies.
Epiphany
|
Composition Number
|
Compound
|
17,20,39,46,48,50,51,60(2),86,93,97
|
Quintuple
|
8,10,13,47,107
|
Quadruple
|
4,5,14,19,21,22,29,32,33,34,47,55,67,67a,68,73, 74
|
Triple
|
7,18(2)23,25,28,30,31,36,38,39,44,46(2),47,48,5051, 56a,60(2),65,73,74,77,86,91,94,97,98,106b
|
Double
|
1,9,24,26,27,42,46,47,57,59,61(2),64,75,81,82,8586,89,92,93,94,95(6),105
|
Single
|
2,3,12,16,37,41,52,79,103b,106a,108
|
Steals
|
35,90,109
|
Merry Go Round
|
32
|
Avoidance
|
52,71,84,87A,96,99,103a,110
|
Tactical
|
6,11,40,41A,43,45,49,53a,54,58,62,63,64,66,69, 70,72,72a,76,78,79,80,83,87,87A,88,100,101,102104,105, 108,109,110
|
|