Fitzkee, Dariel: Magic by Misdirection
Book Three of The Fitzkee Trilogy
©1945 Saint Raphael House Original, 1975 Magic Ltd
Hardcover, 221 Pages

Comments: Another in the Fitzkee Trilogy of magic theory on the presntation of magic. The others are The Trick Brain, and Showmanship for Magicians.

Contents: (numbers are not page numbers_

1 Introduction
2 Which is the cart and which is the horse
3 Exposing the wheels
4 Made to measure tricks
5 Hand-me-downs in magic
6 Are the classics best?
7 What makes a trick great? Life
8 Seven corpses
9 Peregrinating professors
10 A "classic" is born
11 Classics, capability and cads
12 Blockbusting old ideas
13 The spectator's think-tank
14 Seeing and believing

15 Chapter I: Real Secrets of Magic
16 Taking up where we left off
17 New gods for old
18 Exposing the exposure
19 Skill or duffer
20 Giving the bird to the bird cage
21 Aren't we all duffers?
22 Ignoring the important
23 True skill
24 The real secrets of magic
25 False whiskers and attention
26 True or false

27 Chapter II: The Importance of Interpretation
28 More of the same
29 Exposure is impossible
30 Can you read a magician's mind?
31 The performer paints his own picture
32 Interpretation to confound
33 Conviction
34 By these signs ye shall know them
35 Acting-Diebox deception.


36 Chapter III: Conviction and Naturalness
37 The important ingredients
38 If you believe it, it's so
39 Convince yourself
40 Spectator instinct
41 Naturalness
42 How to convince without argument
43 Disguise and attention
44 Attention control comes forward
45 Reasons
46 The importance of convincing yourself


47 Chapter IV: What Actually Deceives the Spectator
48 Money to burn
49 Marked and borrowed, but found in an impossible place
50 Behind the scenes
51 The plant
52 Pilferage
53 Disappearing rubber
54 No machinery necessary
55 All through psychology
56 The spectator's viewpoint
57 Disguise and attention
58 Money cheerfully refunded


59 Chapter V: The Psychological Expedients
60 Through the microscope
61 Simulation
62 Dissimulation
63 Interpretation
64 Maneuver
65 Pretense
66 Ruse
67 Anticipation
68 Disguise
69 Diversion
70 Monotony
71 Premature consummation
72 Confusion
73 Suggestion
74 Disguise plus disguise plus attention control
75 And more of the same


76 Chapter VI: Reaching the Spectator's Mind
77 The attack on the spectator's understanding
78 External appearances and interpretation
79 Suggestion and implication
80 Danger in the direct statement
81 You can't force the spectator's conclusions
82 Inducement and persuasion
83 Confusion with a bank note
84 Deduction versus induction


85 Chapter VII: Processes Within the Spectator's Mind
86 The spectator must be deceived
87 The spectator's perceptions
88 The mind, only, perceives
89 The spectator's consciousness
90 Magicians must attack the spectator's understanding
91 Mind stimuli and idea association
92 The spectator's mind is not a pushover
93 He is consciously intelligent
94 Details do the trick


95 Chaper VIII: The Importance of the Norm
96 How the spectator views the performer's appearance
97 The important norm
98 Discord brings damaging attention
99 Characteristic naturalness
100 Bewilderment not deception
101 Disguise
102 Dice and rabbits
103 Palming a card
104 Diversion
105 The importance of naruralness


106 Chapter IX: The Norm in Speech
107 Speech in deception
108 The norm in speech patterns
109 Variations "telegraph"
110 What as well as how
111 Subject matter norm
112 Undue emphasis
113 The strength of implication
114 An example with bonds
115 With tubes
116 The norm in attitude
117 What magic really is
118 Imitation magic
119 Speech in attention diversion
120 The scorched thumb
121 Any solution destroys deception
122 Things important to the magician


123 Chapter X: The Norm in Properties
124 Properties in deception
125 Familiar things accepted more quickly
126 Handling for deception
127 A lesson from Kellar
128 Pulling the lesson apart
129 Applying the Kellar lesson
130 Tricky appearance destroys deception
131 A general idea satisfies the spectator
132 Strengthening deception by appearance of properties


133 Chapter XI: Disguise and Attention Control
134 The magician has but two courses
135 Disguise and attention control
136 With a changing bag
137 How important does it seem to the magician?
138 Substituting a stronger interest
139 Disguise in many forms
140 Physical and psychological disguise
141 Frames, stocks, bottles and miscellany
142 The effectiveness of mixing the true with the false
143 A magician's tool does not deceive
144 Disguising the tool


145 Chapter XII: Simulation
146 Harping on an old obsession
147 The true spectator response
148 We can only baffle
149 Seeing versus thinking
150 Simulation
151 The necessary support to simulation
152 Bowls, egg bags, cigarettes, cards, ropes, turbans, billets, rings, eggs
153 Ultimately all is acting


154 Chapter XIII: Dissimulation
155 Dissimulation
156 Acting again
157 Special decks
158 Preparing for dissimulation
159 More rising cards
160 Bottles, clocks, production boxes, egg bags
161 Dissimulation with cards
162 Distinctions
163 Many disguises


164 Chapter XIV: Maneuver
165 Maneuver for deception
166 An example with bottle
167 A routined series of movements
168 Maneuver with cards
169 Maneuver as used by Al Baker
170 The distinction


171 Chapter XV: Ruse
172 The ruse in deception
173 Purposes disguised
174 With billiard balls
175 With tied thumbs
176 Ruse with card sleights
177 In a divination effect
178 Illusions, cards, silks


179 Chapter XVI: Suggestion and Inducement
180 Disguise in many forms
181 Suggestion and inducement
182 Disguised force
183 The hypnotic process
184 In mind reading
185 Breaking a pencil
186 Oranges, bills, bells, beads, pegs, balls


187 Chapter XVII: Attention Control
188 Attention control
189 Misdirection
190 Many forms of control
191 Anticipation
192 Premature consummation
193 Monotony
194 Confusion
195 Diversion
196 Specific direction
197 Anticipation with cards
198 Varied examples
199 Tricks and illusions with attention control


200 Chapter XVIII: Anticipation
201 Spectator attention
202 The manner of controlling attention
203 To accomplish interest
204 Suspense
205 Animation
206 Detail on attention control
207 Anticipating the attention
208 Cups, balls, cards, running up decks
209 Fire and water


210 Chapter XIX: Relaxation, Monotony, Confusion
211 Premature consummation and Kellar's use of it
212 Stephen Shepard and his bird cage
213 Stripped of all illusions
214 With six silk handkerchiefs
215 The performer must set the pattern for the spectator
216 Thought force is concrete
217 The language of the mind
218 Monotony
219 Examples by Leslie Guest
220 Confusion
221 Balls, finales, rings, pellets coins
222 Confusion a la Blackstone
223 Keep it quiet


224 Chapter XX: Diversion and Distraction
225 Diversion for deception
226 With a handkerchief and a wine glass
227 Details
228 The power of suggestion
229 Specific detail
230 The most subtle stratagem
231 Its mechanics
232 Bowls, bat loads, cards, eggs, chickens
233 Leslie Guest again
234 With a rabbit
235 Distraction
236 Beware repetition
237 Clocks, girls, trunks


238 Chapter XXI: Samples of Attention Control
239 Attention control stratagems in action
240 Stephen Shepard and a tall glass
241 Madison with a pack of cards
242 An idea from seeing Tommy Martin
243 Cards to the pocket
244 Levitation
245 Switching the judge


246 Chapter XXII: Real Deception
247 Real skill in magic
248 Pulling levers
249 Banish the goofs
250 Psychology is the first requirement
251 Pulling the tricks apart
252 Planning the procedure
253 Misdirection covers weak spots
254 Misdirection aids interpretation
255 Multitudes of examples
256 Good deception is fundamentally good acting


257 Chapter XXIII: The Most Important Skill
258 Strong support
259 Robert-Houdin
260 Why never to reveal in advance
261 H J Burlingame
262 Nevil Maskelyne
263 Why never to repeat
264 Underestimated intelligence
265 Repetition
266 The card sharper
267 Deception for keeps
268 Scarne's greatest skill
269 Learn from the real masters
270 The real secrets of magic

Another in the Fitzkee Trilogy of magic theory on the presntation of magic. The others are The Trick Brain, and Showmanship for Magicians.