Introduction

Volume 5

I flunk all of us read a book of this type because we want to improve our magic in some way. I include myself in this. I'm reminded of the time 1 studied Frenc h literature and linguistics at the I 'niversity of Basel. There our professor used to say, MIf you want to improve your linguistic skills in Etencft* give lessons in French."

Now Fm writing a book, and not my first; and Tm giving what might be called lessons in magic. And by doing this Pni learning about magic; because fori supposed to understand it myself, before I can lead i it to others

And in all the years I liave studied how we lean», I have found it Ls always a matter of quality first, then quantity; never the other way round. How do I mean that? Lette imagine we are living in a small village that lias only one restaurant, and that for whatever reason we are forced to eat in that restaurant five times week The cook Ls lousy and he knows only five recipes. Suddenly a fairy appears before him and offers him one of two wishes: "I can give you another fitly recipes, so that you liave a more varied menu. But you will cook them just as badly as you do the five you already know. Or-1 can give yon the knowledge and skill of the best cooks in the world, so tluit you can cook your five recipes better than anyone else." -

Tm not going to ask you wlial you would choose, but tnij choice is dear. HI take the second option; because once 1 have the knowledge and skill to make my work excellent I simply need to buy a few cookl>ooks and apply my new skill to these recipes And in doing this Pel have both wishes fulfilled. It wouldn't work, though, the other way round Teaching me another fifty recipes would not give me die skills necessary to make them better.

Now I'm not suggesting for a second that there are any lousy cool© among my readerahip. I am merely using Hois as an analogy to tell you that in diis book, and in the other Ixwks of tlie Card College series, my primarily concern Ls not in teaching more techniques, more effects, more runny lines. Although you will see many techniques, effects and funny lines in these j>ages—for there are diaptera dedicated to just that—ny main reason for writing this and my other books is to discuss and to practice the fundamental concepts thai make excellent canl magic I have tried to organize those elements into a structured form in my essay on the Magic Pyramid which appeals at the end of Vohrme Please feel free to read it once mon>, I because it will allow as to use its content as a point of reference for what we will discuss in the present l)ook.

In the flna Wf ^'^¿^erfck Braue in dieir seminal^/ Road to Card Mafa employed by.lean ' modem teaching tools. However, the format or givinM a And I expanded °"l^?^effects employing the techniques just taught, lias a drawback technical secho* ' ''« " ' j retimes has to be distorted or adapt«] to use only the tooLs An othenvse exam ■ ^ ^ text ^ ;U1 effect in Volume 1 is only allowed to use

Out tov ^SSw, whereas an optimal veision of the effect might require a packet

SS expired until

_ fh8j amm. vM fortunately only a few have felt and cndcized, is the main ^W^ordS S volume of Ca>d College. It mates material most of which Ls in my ,'" ^ and routine us« what 1 think to be the most straightibnvairl SSmetl,od. regardless of its degree of difficulty, and without constraint for reasons because all the tools and ideas involved have been described in the previous four Z unies of Got/ College. In this sense Tin confident dial I can give you not only what I think are some of the my best effects in card magic, but also what in my opinion constitute tin»

best methods of executing them.

So here is a full menu of succulent csird dainties, beginning with a few stratagems that elegantly solve frequent problems-just a teaser to wet your apatite, an amuse boitdie, as they say in French gastronomy. Tliis is followed by eight courses of varied and bountiful delicacies that present the best of the world of card magic. To top this off, well serve some delightful fiiandises, the sweet and delicious temptations that close any gourmet meal, in die form of some moments of humor and contemplation. Eventually you will be able to lean back in a stale, ideally, of complete satisfaction, and contemplate a most enjoyable time spent in the company of wliat is arguably the most intelligent form of colouring, and what Hofeinser called the "poetry of magic".

And all these delicious temptations, lovingly orchestrated into a copious and, it is hoped, delectable ten-course meal, are serv ed with the best wishes of the chef. Bon appdlit.

Rol>erto Giobbi

Muttens, Mardi 25,2003

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