1.1 Three strong shapes
1.2 Building tables
1.3 The wedge weakness
1.4 The high table
1.5 Beyond table shapes

2.1 Introduction: functions and comparisons
2.2 Empty triangles ­ every dog has its day
2.3 Around the table shape
2.4 Fighting: the liberty problem
2.5 How to connect
2.6 Fighting: eye shape

3.1 Tactical aspects of connections
3.2 One-point jump: an extended study
3.3 A study in direction of play
3.4 Compound shapes
3.5 Compound shapes reference collection

4.1 Play hane at the head of two stones
4.2 Play hane at the head of three stones
4.3 Nose plays and adding liberties
4.4 Don't permit the bulge
4.5 Don't butt towards the centre
4.6 Play at the centre of three stones
4.7 Eye-stealing patterns
4.8 Choosing the clamp
4.9 Diagonal jump: attacking perspectives

5.1 Approach plays and gain lines
5.2 Answering the outside attachment
5.3 Answering the attachment on top
5.4 Restrained shapes
5.5 Unsupported contact and angle plays
5.6 Ko lock

6.1 Open skirts and crawling plays
6.2 Moles and submarines
6.3 Half-blocking plays
6.4 Using the fourth line

7.1 Windmills to pancakes
7.2 Cross-cuts: exceptions
7.3 Play lightly to counter influence
7.4 Staircase connections
7.5 Strike at the waist of a knight's move
7.6 Pushing into a knight's move
7.7 Peeping directly and diagonally
7.8 Any fool can connect against a peep

8.1 The common cutting points
8.2 The double approach
8.3 The high pincer attack
8.4 The high pincer as good shape
8.5 The low pincer attack

9.1 Escape tactics
9.2 Capping plays and radius-five shapes
9.3 About sector lines and the mid-point

10.1 The two-point extension is stable
10.2 The three-point extension
10.3 On the third and fourth lines
10.4 On the second and third lines
10.5 On the fourth line
10.6 The threat of connecting out

11.1 Two-point extension: the placement
11.2 Two-point extension: capping attack
11.3 Other ways to attack
11.4 Another cramped group
11.5 Chinoiserie

12.1 Calculated risks
12.2 Ignoring a one-point pincer
12.3 Around enclosures
12.4 Two plays against the star point

13.1 Doing the necessary, or losing the plot?
13.2 123 and use of threats
13.3 Miai and ABC
13.4 Double-purpose plays
13.5 Forcing: playing for definite effect
13.6 Probes: information-led effects
13.7 Counting and self-criticism

14.1 The next shapes
14.2 The large knight's move
14.3 The diagonal jump
14.4 The two-point jump
14.5 Quadrilaterals as ideal shapes

15.1 A fundamental pattern
15.2 A large-scale example