C. If you secretly injog several cards (Ffe ing the deck from hand to hand-V(lll - ,ni . ^ spread'
Tamariz perpendicular control (p *** Point X, Fig. 23) pivoting the J^^^ *
left thumb and little finger then brin, I ?^11^ 24 ^ Fig. 25, after which you can di^^^^^ them on the bottom. ,nt' sprwd -1nd Sa,h<*'
Instead of injogging the needed cards, you can jog them slightly to the right, much like you do in the spread cull, but without disengaging them from the spread. When you close the spread, these cards end up rightjogged. From here use the left fingers to push the jogged cards into deck at their outer right edges. This leaves them diagonally jogged and ready to be pivoted into TPC position (the left little finger, resting against their inner ends near the right corners, considerably aids in this action). D. Lennart Green's angle separation and Harry Lorayne's great div.de
(pp. 361-363), also allow us to gather several cards on the topor bottom of the deck.
To utilize a memorized deck really deceptively, it is master several false shuffles. Although the magic number of good ones, I think it most advisable to master at the ver> least
i «verhand false shuffle.' Here are my handllttg details, combined procedures, for one of the most practical false shuffles, and one of those I use most.
■nip fmse BUTT-SHUFRE
The iden here consists of apparently butting one portion into another while the result is actually one of just cutt.ng the deck. Here are the details.
Mold the deck in your left hand, positioned for an Overhand shuffle. With your right hand, lift roughly half the cards at the bottom, causing both portions to spread somewhat, as shown in Fig. 26.
Set I he right hand's half onto the upper edges of the left hand's cards, as if to mesh them together. Due to the bevels of both portions, the packets ind up overlapped as in Pig. 27. Be sure that the bottom card of the right hand's portion lies slightly over the top card of the left hand's half. With your left fingers and thumb, squeeze the left hand's packet to prevent the cards from actually meshing.
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The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.