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The text within the book is clear. Tightly bound and presented beautifully in cellophane. The binding is excellent.

Publisher Description

Seller Inventory 6oytz. More information about this seller Contact this seller 4. Published by Jonathan Cape, London About this Item: Jonathan Cape, London, Condition: Good. Dust Jacket Condition: Poor. Introduction by arch-poker player Ian Fleming. The dustjacket is much marked and worn. It is secure and sure and benign. Board covers, cloth spine. The covers are neat and placid with some wear about the spine head and heel. Inside, the contents have foxing sprinkled about the papertrims and page edges.

The pages are clear, calm, neat, confident and certain. Seller Inventory bend. More information about this seller Contact this seller 5. Published by Jonathan Cape About this Item: Jonathan Cape, First U K Edition. More information about this seller Contact this seller 6. Published by Cape About this Item: Cape, The jacket is marked and torn. Internally clean. Soundly bound. Seller Inventory kw More information about this seller Contact this seller 7.

Editor's Choice

Published by London: Jonathan Cape, About this Item: London: Jonathan Cape, , Octavo 24 x 16cm pp. Publisher's paper covered boards with bright blue cloth spine, pictorial jacket. One small mark to fore-edge, jacket a little edgeworn. Near fine. Becoming scarce in collectable condition. Yardley's masterwork of poker lore and advice, with a suitably acerbic introduction from Mr. Fleming, in fine sarcastic form. A text described by gambling specialist Cult Jones as "probably the best poker book ever written" Gilbert B1. More information about this seller Contact this seller 8.

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Ian Fleming Introduces ‘The Education of a Poker Player’ | Artistic Licence Renewed

Title: education of a poker player. Results 1 - 8 of 8. Search Within These Results:. Seller Image. He has a mild case of palsy and under excitement the tremors increase. In five-card stud watch his eyes and general demeanour. If he helps his hand his eyes will quickly follow the deal as if to say nonchalantly, I did not help. During the betting he will feel his left ear or light a cigarette or do some other thing that we don't normally do during tense moments.

You can put it down in your book that the last card helped his hand and judge for yourself to what extent.

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If you are setting up a bluff don't do it until you have cured him of calling. Make sure that on every occasion when he calls you beat him. After about the third time you beat him he will give you credit for having the best hand. Not until then can you play odd or even with him for before you cure him he will always call. You may run into a strong hand but you have that risk. In five-card draw a good risk is to raise immediately after someone opens, whether you have anything or not. Raising immediately after someone opens should be proof that you have a strong hand. Either take two cards, pretending you have three of a kind, or stand pat, preferably the latter.

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Bet at the first opportunity. But be sure that these weak players who always call are not in the pot or that you have taken steps to cure them. Most other players will give you credit for having a big pair and will drop their hands. But if he checks, bet, and unless his cunning is less than Dupin's simpleton he will toss in his hand. It is also axiomatic never to try to bluff a winner.

Poe did. His short stories and poems are among the greatest of modern literature. He was disinherited because of his poker debts. Kings up can be beat if too many players stay. Now if there had been three or four players who stayed after the pot was opened, your hand was worth a call but not a raise, for once a sucker stays it is hard to drive him out. Strong players may fold. If you are raised back, fold your hand or re-raise and stand pat. Of course, in the latter case, you have to bet after the draw and hope your opponent doesn't call, because his raise before the draw probably indicates your two pair are beat.

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They're not worth playing unless you raise before the draw and stand pat, then bet. You can see that at a glance when you go into another place to play. Suppose we take straight draw as an example. Someone opens.

7 Tips for Becoming a Successful Pro Poker Player

Even a simpleton should realize the opener holds at least two jacks, but the sucker will stay on a short pair. Just count the players who stay in a pot which has been opened. In seven-handed there are about three pairs distributed among the players, possibly a four-card straight or flush and an inside straight.

"Hungry man, reach for the book: it is a weapon. "

Four or even five players will ordinarily stay with not one of them on the average having better than two jacks. It is about eleven to one you don't make it. A four-card flush or a four-card straight should never be played unless there is over five times as much money in the pot as the bet itself. One who does should have his head examined by Doc Prittle.

If I am sitting to the left of the opener I raise on kings or aces though I never play in the same pattern. If you drive out other players and the opener draws three cards, draw three with him.

If he draws two or one, draw two, and if he checks, bet regardless of your hand. If an occasional player stays after you have raised, draw two and bet unless someone stands pat. You want the other players in. If the threes are below tens, raise. You don't want too many drawing against you.

Your chances of drawing another pair are greatly enhanced because the cards are usually not shuffled too well and the pairs tend to stick together from the previous deal. This implies that the probability of occurrence will be one in twelve. Therefore, for an even bet, the odds will be 11 to 1. If you have a strong hand and someone ahead of you looks like he is going to open, pass, and raise when it gets back to you. And contrariwise, if you have only aces or kings, open if you see too many players anxious to toss in their hands.

He took care of the ante so that I was strictly on my own. Nothing much happened until after eleven when Monty was called out to the bar and I took over. Runt admitted a quiet-spoken man of average height who introduced himself as Lolly Home. He said he was from Indianapolis, visiting friends. He saw I was cutting the game and asked if he might take the seat Monty had vacated.

He was about thirty or so, conservatively dressed. He kept his hat on as did all of us. He wore a huge diamond stickpin which glittered in the shimmering light. But the remarkable thing about him was his hands. They were without rings - the long and slender hands of a pianist.