Hocus Pocus: Introduction to The Divine Magician

“More-traditional Christians will undoubtedly find Rollins’s book a theological provocation, as he takes familiar parables, characters, and terms… and rewrites their conventional interpretations. Yet Rollins also disturbs the theologically liberal, and even the avowedly secular”

Publishers Weekly

It’s been a long time coming, but The Divine Magician will be dropping immanently. In this book I’m attempting to offer a subversive way of reading Christianity. A reading that not only offers a challenge to conservative/liberal/progressive readings, but also to the cultured despisers of Christianity. This week two reviews came out, both of which show an understanding and appreciation of my project: one from Publishers weekly and the other from The Dubious Disciple.

But, in addition to this reviews, I wanted to offer you a taster for the book by giving you the introduction. If you like this, please do consider sharing it and maybe even buying the book. Thanks!

Years ago I was taught how to perform a simple vanishing trick. Taking a quarter from a friend, I’d hold it in both hands and rub it firmly on a tabletop. After this, I’d take the quarter in my right hand, place my left elbow on the surface of a table, lean in close, and rub the coin against my bare forearm. I’d repeat this act of rubbing the coin on the table and then against my forearm four or five times until the coin would finally seem to “dissolve” into my arm. Then, when my friend asked where the coin had gone, I’d lift a nearby pint to reveal how it had been transported magically across the table only to reappear under the glass.

Like most magic tricks, the whole illusion rested on some pretty simple sleight of hand and a little misdirection. The sleight of hand involved getting my audience used to the idea that I always lifted the quarter with my right hand after rubbing it on the table. Once this had been established, I would switch and lift it with my left hand. With some carefully placed misdirection, people would be momentarily distracted at the point of the switch and so continue to assume that the quarter was in my right hand.

Manufacturing the disappearance was now a simple matter of rubbing my empty right hand against my elbow, as if the coin were still there, before slowly revealing that it was actually gone.

There was, of course, still the issue of getting rid of the coin that was hidden in my left hand. After all, this would be one of the first places people would look once they realized it wasn’t where they expected it to be. This was not, however, difficult to do, for when my left elbow touched the table, my left hand naturally rested at the same level as the back of my neck. While everyone was distracted, I simply hid the coin there.

When the quarter was shown to have disappeared, I’d quickly present both of my hands for observation, thus directing their attention away from where the coin actually was.

In contrast to the disappearance, the return was easy—a few minutes before announcing the trick, I’d clandestinely place a different quarter under a glass on the table. As people were checking my arm and hands, I’d lift the glass to reveal the coin that I’d hidden before the trick even began.

This little illusion contains the three basic elements of a classical vanishing act:

1. An object is presented to the audience

2. This object is made to disappear

3. The object then miraculously reappears

In the film The Prestige, directed by Christopher Nolan (adapted from Christopher Priest’s book of the same name), these three stages are called:

1. The Pledge

2. The Turn

3. The Prestige

In the coin trick above, we see each of these stages clearly at work. The Pledge represented the part of the illusion where I would ask for a quarter and let everyone examine it. The Turn took place when I made the quarter look as if it had dissolved into my arm. Finally, the Prestige was the point when I lifted my glass to reveal the “return” of the lost quarter.

In addition to these three basic elements—Pledge, Turn, Prestige—a good vanishing act also involves two other components: a little patter (the magician’s distracting talk) and the use of some esoteric incantation uttered at the key moment of the Turn.

Both of these elements have some interesting connections with the Christian world.

The term patter is most likely derived from paternoster, a word that refers to the repetitive, mesmerizing prayers used by nuns and monks in religious orders. For the medieval magician, their own distracting talk had a similar trancelike result as the repetitive prayers of the monks, helping to make the audience less aware of what was going on around them.

In a similar way, one of the most popular “magic phrases” used by magicians in the seventeenth century was hocus-pocus, a term most likely parodying the proclamation hoc est corpus (this is my body)uttered by priests during Mass.

It was Archbishop of Canterbury John Tillotson who first noted this interesting connection in the late 1600s. In one of his published sermons, Tillotson preached that the magician’s words were nothing more than a “ridiculous imitation of the priests of the Church of Rome in their trick of Transubstantiation.”

For Tillotson, just as the magician only pretended that something supernatural was happening during the vanishing act, so, too, the Catholic priest during the Eucharist, as he proclaimed that the bread and wine were transformed into the actual body and blood of Christ upon his blessing. Both were stage shows of a sort, a fancy game of deception designed to take in and amaze their respective audiences. Both, Tillotson said, falsely claimed to be part of something supernatural: one in the name of some dark powers, the other in the name of God.

The magician would make an object disappear then reappear.

The priest would preside over the transformation of the bread and wine into the body and blood of Christ.

For Tillotson, hoc est corpus was as impotent and ignoble an incantation as hocus-pocus. In pointing this out, he wanted to ridicule and discredit the theory of transubstantiation, exposing it as nothing but a cheap parlor game played by a cynical or naïve institution to confound their congregants.

For Tillotson, the authentic Eucharistic meal had nothing whatsoever to do with superstitious hocus-pocus, but was rather a solemn act of ritualistic remembrance. Thus, in contrast to the idea of the bread and wine changing their essence, he affirmed the Communion meal’s straightforward, pragmatic significance as a reminder of Christ’s Resurrection in the lives of individual believers.

No doubt the church today would share in Tillotson’s desire to distance the Eucharist from a mundane magic trick. Whether they would seek to affirm the meal as an act of remembrance or, instead, claim that something supernatural was taking place, no church authority would equate this central sacrament with that of a mere conjuring act. Any such comparison to playing a game would be wholly rejected.

However, what if one of the best ways of understanding the earth-shattering, deeply life transforming meaning of the Eucharist—indeed, the core proclamation of Christianity itself—is precisely by looking at it as a vanishing act?

What if Tillotson was right in seeing a connection between a magic trick and the Eucharist . . . but wrong in thinking that this took away from its significance and mocked it?

A parlor trick.

A cosmic sleight of hand.

What if we witness this three-part sacramental act as a fundamental irreligious movement that has nothing to do with theism or atheism, or with doctrines, dogmas, or denominations? But rather as an event that we participate in and that takes what we hold as most sacred, makes it disappear before our very eyes, and then returns it to us in an utterly different way.

Through partaking in Communion, the Pledge, the Turn, and the Prestige are sacramentally reenacted. First there is the presentation, or Pledge, of the sacred as an object in the bread and wine. Then there is the disappearance, or Turn, of this sacred-object in the consumption. Finally there is the Prestige—the return of the sacred through a realization that we are the body that we consumed, “Now you are the body of Christ, and each one of you is a part of it.”

The Eucharist, then, becomes a snapshot of our Christianity as a whole. And looking beyond the Eucharist, I hope to show how Christianity—or rather the “event” that is dimly testified to in Christianity—comprises a spectacle that is as scandalous to the world as it is transformative. As we progress, we will see that this event is a stumbling block to the church and foolishness to the cultured elite, but it is good news for the rest of us.

So without further ado, ladies and gentlemen, boys and girls, take your seats and let the curtain rise on what might well be the most incredible, most spectacular vanishing act in the history of the world . . .