Lorayne indeed acknowledges) that one is not likely to use more than any one such effect in any given performance, as any repetition would immediately make the wallet the focus of undue suspicion. On the one hand, the book consists of 51 tricks with a Himber Wallet-a rather useless project in some ways, when one considers (as Mr. Which is unfortunate, because the contents aren't bad. This muddy middle ground results in the least readable writing to which Mr.
The author should have either (a) completely rewritten the book from scratch, without all the extraneous back-and-forth commentary, or (b) reproduced the original work in unaltered form as a reference for the historical record, and then clearly delineated all additional material and commentary.
Although he goes on at some length to explain that even he thinks those original works were very badly written, he has not completely rewritten them because he thinks that "the comparison should exist." This unfortunate choice now means that the reader must be subjected to constant parenthetical interruptions, informing us as to what is rewritten, what was originally written, what is partially added to or commented upon, ad nauseum. Now the author has taken what he believes to be the best of the Himber Wallet effects from both of those works, eliminated the cigarette material, and has combined this material with a number of new items, both of his own creation and those contributed by others. Lorayne's oeuvre, having never been reprinted since their original issuance.
#Harry lorayne books magic plus#
Subsequently, in 1963, he also wrote The Hundred Dollar Book, consisting "of effects with cigarettes plus some of the excellent routines from Best of Bill-Fooled plus some new ideas." These two titles are the rarest of Mr. Lorayne wrote a manuscript for his friend Richard Himber, entitled Best of Bill-Fooled. The story begins once upon a time (the author fails to tell us exactly when), when Mr. Lorayne numerous foibles, including a potentially fatal over-abundance of self-esteem, and a memory almost supernatural in not only its ability to remember most anything, but also to selectively forget his influences and magical progenitors.īut this is neither a fabulous nor terrible book-it's merely somewhere in between, and in fact, tends to wander far and wide, from one end of that vast territory to the other. Were this a terrible book, I might be inclined to grumpily examine Mr. Reviewed by Jamy Ian Swiss (originally published in Genii August, 1999)Īnother book by Harry Lorayne-where is one to begin? Were this a fabulous book, I would probably be inclined to wax nostalgic about the profound influence that Harry Lorayne has had on the art of magic, especially card magic, and how his performances and books, along with an unprecedented instructional writing style, helped create a generation of cardicians, myself included.
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