In his excellent and well-known collection, Ireland Writes a Book (1931), we find a stack that vied for a time with Nikola's in popularity. He also provides some very good effects to be performed with it or with any other memorized stack, such as cutting to any card called for (with a good method for the glimpse), a rising-card effect, a behind-the-back location, spelling to any card called for, a forced cut, a cut estimation and fishing (through key questions), and a clever deck-switch carried out inside the magician's pocket, but allowing the spectator to confirm there is only one deck in it (done with an ungimmicked pocket). See "The Ireland Stack" and "Instant Card Location" (p. 16), "Effects and Methods of Producing Cards" (p. 18) and "Producing a Selected Card at any Number and at the Same Time Cold Packing" (p. 19).
In Stexoart fames in Print: The First Fifty Years (1989) is "Marked for Life" (p. 809), which originally appeared in The Unking Ring, Vol. 42, No. 8, August 1962, p. 72. This trick is very similar to one I describe on p. 259, titled "Neither Blind nor Stupid".
In his book jarrett Magic (1936), he describes a good routine for the memorized deck, later reproduced and commented on in the excellent book of the great creator Jim Steinmeyer, jarrett (1981), and expanded again by Steinmeyer in The Complete jarrett (2001). The routine is a rapid succession of quick effects: by hearing, by weight, by touch, etc., and includes revelation and location. It contains interesting observations on performing at a brisk pace and the notion that, for this type of routine, one doesn't need to shuffle the deck at all. (Bert Allerton, it seems, believed and did the same.) There is also a stunning location of cards from a packet selected and shuffled by spectators and kept in the magician's pocket. All of it is ingenious (see pp. 169-171 of jarrett or pp. 209-213 of The Complete jarrett).
Jordan, Charles T.
Originally published as separate manuscripts and later included in the book The Four Full Hands (1920) are the following effects: "Count the Cut (p. 21), an extremely clever way to make some cards taken from the pocket add up, through their values, to the number of cards a spectator took anJ
Long Distance Mind Reading' and "The Premo" (p. 17). These are prede-of "Ultra Find" bv Annemann and Finley,
, ,wav and "The Discard Trick" (p. 21), which is anothffclever system for divining two selected cards,
1 w*ch I developed "Exact Location", included in
Tb^oMp. 145). Collected in Jordan^ Thirty Card
K*r1 Fvtvti tl . Ixx)k (p 145)- in lordan's Thirty Lara ' '
Mysteries (1919) are
on which I based my trick "T.N.T." (p. 223). In the same book we find "The Dealing Dovetail Detection" (p. 25), which offers a method for separating groups of cards (red and black, for example), based on putting them in front or behind. There is also the extraordinary "Wizard's Will", which inspired my version, "Any Cards Called For" (p. 211). (In Jordan's Best Card Tricks, see '"Wizard's Will' Notes" [p. 45], which has an idea for the final moment, which is the only weakness in Jordan's trick.) This trick is also included in Jacob Daley 's Notclvoks. All the above, and many other Jordan tricks, can be found in Owlet Jordan's Best Card Tricks (1992) by Karl Fulves, and in Hugard's Encyclopedia of Card Tricks (1937).
In Memory of the Mind (1952) there is a series of effects with his prearranged deck system (p. 16).
In his brilliant book on stacks, The Six-hour Memorized Deck (1997), there are over two-hundred pages containing very complete and analytical outlines of the various systems in existence and their features, a personal system that is quickly learned by following certain rules, and a chapter with eight interesting tricks. Among these are: "The Lazy Mentalist Returns" (P-147), in which, from a deck shuffled between three spectators, the performer divines a fifteen-card packet one ot them has given to another. "The Poupart Trick" (p. 152) is a refined jsion of the above. "Patton Pending" (p. 156) is a divination of a thought-
card n a"°n0l0gy" <P" ]61) adds to the above location of a thought-of with , ZTT*9^ (P- 166) is another divination and location, diction 1 '"eluded. Finally, "Your Lucky
conclude r iP -rCl<ltin8 ,0 a lottery' usi"8 only a half stack. The book cards, wheTh " —T8 biblio8raPhy of tricks with groups of stacked
«ting sleights 3 °r lhe Whole deck' as wel1 as diverSe vm&Mmwz wrm:tz
See "Duo-divination" (p. 12) in Subtle Problems You Wit Do bv i„H,h and John Braun (1937). " Uo' bV Judah
In A Card Session with Peter Kane (1967), this wonderfully creative English magician describes a pretty color-change effect, "Blank Thought Deck" (o l, in which a blank card is transformed into a card named by a spectator. '
In Hilliard's Greater Magic, Kaplan describes two tricks for a stacked deck: "The Five Card Problem" (p. 283), which is a very subtle method for psychometry (see also the effect by Bernat, "Ocultismo experimental"); and "A Brain Teaser" (p. 285), which uses an excellent idea by Joe Ber^ for divining a freely selected card that is returned while the magician holds the deck behind his back (there are other versions of this effect by Val Evans and William Larsen, Sr.).
His beautiful booklet A importftncia do baralho orde-nado no llusionismo (1998) brought us the news of the Cardoso stack, as well as others (in the book O senhor Hermann , in O prodigio das sallas  and in 0 thesouro da Magia ). Also included are interesting adaptations for the fifty-two-card deck by Tony Klauf himself (to whom I am so grateful for the many references to these and other Portuguese books that he graciously provided).
In Professional Presentations (1967), edited (or written) by Hugh Miller, is the effect of finding the mate of a selection that rests in a spectator's pocket sight unseen (p. 59). This utilizes a knife to see the index of the card above it. Although it is quite simple, with the excellent presentation given, it is a very strong trick. It is thought out for the Galasso-Stebbins stack, but can be easily adapted to Mnemonica (cutting the mate to the twenty-fifth position from the top).
"Open and Shut Case" (p. 71) in Ken Krenzel's Close-up Impact by Stephen Minch (1990), as 1 have pointed out elsewhere in this work, is a version o A Card at a Number. This is something not to be missed. It's a truly formidable idea, as are so many others from the mind of this magnificent creator.
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