This book is hard. This book contains some of the hardest material available in card magic. Even the most hardcore of card magicians probably shudder to think of the difficult sleight of hand found within these pages. Although Mr. Earick does have a pretty much self-working poker deal routine in here that may interest some of you, stay away unless you are ready to dedicate at least a few months or years to studying this book thoroughly.
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I love card sleights, and I am a little defensive about that. I hope to spend many more hours engaged so. Oearly it is one thing to profess a love for sleight-of-hand and quite another to say that you love sleights.
Oh yes, that reminds me, I do enjoy sleight-of- hand with cards. It is just that I have a special fondness for the nuts and bolts of the craft. There is doubtless a certain superficiality inherent in this pre- dilection. But, then again, we are talking aboutcan1trU:. There is very little ofprofound significance to be found anywhere within this deceitful art. We might as well make the best of it. The book you are holding is a reflection of my ongoing attempt to do just that.
Some ofyou are probably smiling and nodding your heads as you read my confession, while other more sensible readers are no doubt shaking their heads as looks of puzzled concern spread across their faces.
Some of you are going to have to play along here. Please just nod your heads and keep your wise- cracks to yourselves. How much fun would it have been without the intrigue of the accompanying ace production? Probably even the most sleight-obsessed among us have never completely lost sight of the fact that these moves are primarily means to other ends. Truthfully, some effects began as little more than exercises devised to allow the exploitation of certain possibilities suggested by a particular new move -sleight fodder, ifyou will.
Fortunately Stephen Minch is virtually incapable ofseeing things in this penrerse way, repeatedly refusing to allow such willful subordination of plot to technique. The material throughout these pages is largely reflec- tive of my ongoing unhealthy fascination with card technique, all the while tempered by my author-publishers canny ability to distinguish between the essential and the superfluous.
Believe me, Stephen can be a tough critic. I have been coerced into abandoning several items of potentially wide interest simply because they were demonstrably inferior. Outrageous I On other occasions Stephen told me that while a variant handling of mine was indeed superior to a previously published trick, he did not think the published effect worth- while to begin with. I suspect that other writers might have had more ofan affinity for my peculiar brand ofsleight-driven card magic.
I am certain none could have produced a better book. You will also notice that this book contains a wealth of literate patter and an abundance of clever presentational ideas. Consequently such niceties okay, necessities have generally eluded me. The one freakish exception also freakishly sleightless I is the most recent addition to the book. There may be some flicker of hope for me yet. I do under- stand all that. Sony, but I have followed heart and whim and they have led to what you hold before you.
Just be grateful that Stephen Minch wrote this book and I did not. And, hey! In the swruner of I was fortunate enough to visit the Magic Castle in the company of two of the very finest young magicians in the country, Ray Kosby and Bill Goodwin.
As we entered the Castle we were met by the talented professional magician Deane Stem. Dean instantly ushered me over to a comer table, not allowing me time to think or become nervous, and introduced me to Dai Vernon with some ridiculous request like, "Show the Professor your 6nish for Triumph.
I made myself a nuisance there all night, subsequently meeting Lany Jennings and Michael Skinner, among many others. The highlight of the evening for me was the interest Vernon took in my broadside swivel steal see pp. Each time I would take a carcL insert it cleanly into the center of the deck, square the cards carefully with both hands, then show that the selection had arrived at the face of the pack.
He must have had me do the move for about a dozen different people that night. H ey look at this. Do that all-around-square-up thing. You ever seen anything like that? There was one more thing I wanted. I badly wanted to see Dai Vernon do something with a deck of cards. The Professor was already in his early nineties and, I was told, did not often take up the cards in public.
Earlier in the day, though, Bill Goodwin had given me a diabolically clever tip: "Vernon truly loves the bottom palm. He hates to see it done badly. Just start talking about the bottom palm. It worked. He immediately took the cards away from me and proceeded to show me the bottom palm done properly.
Soon, however, I found my excitement giving way to a bit of embarrassment as Vernon repeatedly d id the move-fingers absolutely motionless-then each time handed me the pack to try. Unfortunately, I was without a clue. Much later, at the end of the evening, I was sitting outside with Lany Jennings. It is so good that anyone who might have discove::ed it previously appears wisely to have kept it a secret.
The sleight is so good and so logical, it has always seemed more like a discovery than an inventico.. Iffew listened then, there is no guarantee more will now. I stand 6rmly behind my rather grandiose claims on behalf of the move. Now, tum to page 85 and learn this sleight. You will not regret it. Elsewhere in the same chapter is what I probably would consider my favoriu sleight in the book.
Please give some consideration to the t:rai:t. Initially I balked a httle at mtroducmg the move in the variant form required for this trick.. Stephen more than satisfied my concerns, however, by appending- a Vlll. The variant called for in this particular trick could probably be adequately replaced by a clip- steal in combination with a wrist-turn. Please do give it a chance, though. Done well, the move has a delicate, open, at-the-fingertips appearance that other approaches do not usually have.
New sleights can often lead to the creation of new effects or to the dramatic simplification of worthwhile existing approaches. In fact, therein, I believe, lies the chief redemptive value of much of my work as it appears in this book. In the end, all that I ask is that you persevere in your efforts before abandoning any of the material as too difficult.
There is much that may seem unfamiliar in this book, but very little that is truly exotic. Nearly all the moves have a basis in one or more standard sleights. Almost without exception, these moves are easier to do than they might first appear. I personally think they are all easier than, say, a smooth pinky count-though I will grant that my objectivity here may be more than a little suspect. I must take a little space to express my indebtedness to just a few of the people who deserve my gratitude.
Please bear with me. How often does one get such a splendid public opportunity? Thank you Chuck Smith for providing an example of surpassing excel- lence -creatively, technically, presentationally so impressive as to be more than a little daunting.
I hope the whole magical community soon learns what a lucky few already know -that one ofthe finest master magi- cians in the world today lives in the small town of Carlsbad, New Mexico. Thank you Cliff Hill and Eric Evans, two very good friends and two very fine magicians, for being so difficult to fool and so difficult to please. Thank you to all my patient friends and family members.
You now lovingly suffer an older, eccentric. This book is a direct result ofactions you took on my behalf. Thank you Johann Nepomuk Hofzinser, Mr. I got a little carried away. Thank you all. There is nothing more precious. Finally, if, someday, some young magician approaches me tentatively to show me his or her creation using one of the sleights contained within these pages, and my breath is taken away as I realize that this person has had the insight and creativity to pursue my original vision to a place I could not begin to dream of, I suspect that then, and only then, will I know just what a dreadful mistake this book has been.
Stephen Minch – Forces Unseen
Faudal Ricardo Vieira marked it as to-read Dec 25, To see what your friends thought of this book, please sign up. Noah Jennings added it May 04, IIRC its taught in Proteus and it is an -extremely- convincing way to control a card to the top that you could probably assimilate into what you already do without an absolutely insane amount of work. Here is a Video Demo of 11 of the effects found in this Book: This wonderful effect is the earicl example of Mr. Pages — Hardbound, Illustrated.
FORCES UNSEEN ERNEST EARICK PDF
By Forces Unseen