Everyone seems to agree that when you’re starting out in mentalism, you should either read Corinda or Anneman. I’ve read both, Anneman briefly when I checked it out from a library and Corinda more extensively, after buying it a few years ago. Although some of the information in there is outdated (billet work seems to be the most commonly cited) it is still a good idea to understand where mentalism once was before reading more current books and learning where it is now.

I am not a mentalist. While I enjoy performing psuedo-mental magic on occasion, it is usually nothing close to the Swami work, muscle reading, and two-person codes described in 13 Steps. Did I still gain information from it? Absolutely. Do I reccommend it, even if you don’t plan on being a mentalist? Absolutely.

For me, the best part of the book are the hidden gems that nobody really seems to talk about. Everyone focuses on tricks and methods, of which there are plenty. However, Corinda has many other great things to say.

My favorite chapters are the final two, Publicity Stunts and Patter & Presentation. Although they are geared toward mentalists, the information contained can be put to use by any type of magician, from clowns to escape artists. It’s just going to require a tad more effort to translate it to your personal situation istead of simply taking things directly from the book.

The first section of the Publicity Stunts chapter talks about personal advertising; everything from business cards to brochures, headed paper to photographs. Corinda makes many great points in these areas, some which may be obvious and others that aren’t. There are also guidelines to follow to decide if you’re ready for a publicity campaign, and steps to take when launching one.

The second half of the chapter deals with actual stunts. Although this part is specifically geared towards mentalists, these things can be used by pretty much anyone. Although a juggler may have difficulty doing a headline prediction and having it make sense to his persona (I say may, since someone may do just that), the ideas provide food for thought so the performer can create their own stunts.

The final chapter, Patter & Presentation, is a must-read. Although I’m sure many ideas presented here are the same as presented in every magic book on the face of this earth (be clean, speak clearly), it also covers topics not usually found outside of presentation only books (Maximum Entertainment and Strong Magic come to mind). Things such as the importance of timing, coordination, and tips for choosing your effects are covered here.

Also included in the final chapter is an interview with magician Claude Chandler, which is very informative. After learning about Chandler’s history, he and Corinda talk about things such as breathing exercises, portraying character, walking onstage, lighting, fidgeting, and many other topics. It’s a wonderful read and touches on many important topics.

Another thing I really like is the interview with mentalist Maurice Fogel. Once again, although it is geared toward mentalists, the basic information is valuable to all performers. Fogel and Corinda touch on things such as comedy, effect selection, lengths of the act, introductions, climaxes, and much else.

I’m discovering that as I go back and read my magic books again, but with a more critical eye, I’m finding more hidden gems. Things that aren’t just tricks and methods (or tricks that many people would overlook), but are still quite valuable to read. Some books that come to mind immediately are Expert Card Technique, Tricks!, and Swami/Mantra.

I’d like to make a series out of this (God, there’s nothing that’s more of a kiss of death than me saying I’m going to do something regularly on this blog. See ya in six months!) with more reviews of hidden gems. If you have any suggestions or would like to contribute something of your own, leave a comment or send off and email to professorandster@gmail.com

Andster

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