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Hiding the Elephant: How Magicians Invented the Impossible and Learned to Disappear
Now in paperback comes Jim Steinmeyer's astonishing chronicle of half a century of illusionary innovation, backstage chicanery, and keen competition within the world of magicians. Lauded by today's finest magicians and critics, Hiding the Elephant is a cultural history of the efforts among legendary conjurers to make things materialize, levitate, and disappear. Steinmeyer unveils the secrets and life stories of the fascinating personalities behind optical marvels such as floating ghosts interacting with live actors, disembodied heads, and vanishing ladies. He demystifies Pepper's Ghost, Harry Kellar's Levitation of Princess Karnak, Charles Morritt's Disappearing Donkey, and Houdini's landmark vanishing of Jennie the elephant in 1918. The dramatic mix of science and history, with revealing diagrams, photographs and magicians' portraits by William Stout, provides a glimpse behind the curtain at the backstage story of magic.
393 pages, Paperback
First published September 19, 2003
106 people are currently reading
1643 people want to read
About the author
Jim Steinmeyer
42 books66 followersJim Steinmeyer was born and raised just outside of Chicago, Illinois, and graduated in 1980 from Loyola University of Chicago, with a major in communications. He is literally the man behind the magicians having invented impossibilities for four Doug Henning television specials, six touring shows, two Henning Broadway shows, and numerous television and Las Vegas appearances.For one of David Copperfield's television specials, Jim proposed the scenario and secret by which the Statue of Liberty could "disappear." Jim has also served as a consultant for Siegfried and Roy, David Copperfield and Lance Burton. He developed magic for Orson Welles, Harry Blackstone, and the Pendragons and many, many others.
In addition to his books and many accomplishments on stage and screen, Jim currently holds four U.S. patents in the field of illusion apparatus, and has also served as an expert witness in this field.
He currently lives in Los Angeles, California with his wife Frankie Glass, an independent television producer who has worked extensively in Great Britain and the U.S.
In addition to his books and many accomplishments on stage and screen, Jim currently holds four U.S. patents in the field of illusion apparatus, and has also served as an expert witness in this field.
He currently lives in Los Angeles, California with his wife Frankie Glass, an independent television producer who has worked extensively in Great Britain and the U.S.
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Displaying 1 - 30 of 120 reviews
March 21, 2014
If you have any interest in the secretive history of magic, this is your book. Jim Steinmeyer is an ideally qualified author: he is not only an historian of magic, but has professionally designed illusions for some of the top names in stage magic. The list includes Doug Henning, Siegfried and Roy, David Copperfield and Lance Burton, among others. Remember the disappearing Statue of Liberty? Yep, that was his. I'd seen Steinmeyer perform at the Magic Castle a while back, where he resurrected some illusions that hadn't been performed on-stage for the better part of a century. I wish I had read this book first; I would have appreciated that performance all the more.
In Hiding the Elephant, Steinmeyer tells the stories of some pioneers of stage magic, and follows important illusions as they are invented, refined, patented, envied, passed on, sold, stolen, and copied. Figures such as Robert-Houdin, the Davenports, the Maskelynes, Devant, Kellar, Thurston and Houdini carefully built larger-than-life personas, but Steinmeyer humanizes them with behind-the-scenes stories of happy accidents, insecurities, rivalries, alliances, betrayals and successions.
The book opens with the titular illusion; Houdini at the Hippodrome making an elephant disappear on-stage. While no one had vanished an elephant before, and magicians remained uncertain of how it was accomplished for many decades after Houdini's death, it still did not manage to impress the audiences at the time. We learn that Houdini's scrappy stylings were perfect for his escape routines, but didn't make for a compelling magic show. Steinmeyer leaves that mystery hanging in the reader's mind while he jumps back in time to introduce some of the first vanishing tricks. He builds concept upon concept, telling the story of individual magicians and illusions, until at the end he can confirm the solution to Houdini's disappearing elephant. Another mystery is a disappearing donkey routine created by Charles Morritt - one which stymied the author for many years before he gathered enough clues to solve it and perform it for the first time in a century.
In addition to those tricks, Steinmeyer introduces and explores various vanishing tricks, the famous Pepper's Ghost illusion, spiritualist cabinets, automatons, levitations, the famed sawing-a-woman-in-half, along with a whole host of other popular stage tricks. Some he explains, some he leaves a mystery. It's often hard to picture some of the written descriptions, and the occasional diagrams are much appreciated. It's just enough information to inspire you to see (if not try) magic, and yet not enough to spoil or expose most modern routines. Hiding the Elephant deftly blends the history of magic's illusions, the history of the magicians who created them, and the methods and philosophy of magic itself.
In Hiding the Elephant, Steinmeyer tells the stories of some pioneers of stage magic, and follows important illusions as they are invented, refined, patented, envied, passed on, sold, stolen, and copied. Figures such as Robert-Houdin, the Davenports, the Maskelynes, Devant, Kellar, Thurston and Houdini carefully built larger-than-life personas, but Steinmeyer humanizes them with behind-the-scenes stories of happy accidents, insecurities, rivalries, alliances, betrayals and successions.
The book opens with the titular illusion; Houdini at the Hippodrome making an elephant disappear on-stage. While no one had vanished an elephant before, and magicians remained uncertain of how it was accomplished for many decades after Houdini's death, it still did not manage to impress the audiences at the time. We learn that Houdini's scrappy stylings were perfect for his escape routines, but didn't make for a compelling magic show. Steinmeyer leaves that mystery hanging in the reader's mind while he jumps back in time to introduce some of the first vanishing tricks. He builds concept upon concept, telling the story of individual magicians and illusions, until at the end he can confirm the solution to Houdini's disappearing elephant. Another mystery is a disappearing donkey routine created by Charles Morritt - one which stymied the author for many years before he gathered enough clues to solve it and perform it for the first time in a century.
In addition to those tricks, Steinmeyer introduces and explores various vanishing tricks, the famous Pepper's Ghost illusion, spiritualist cabinets, automatons, levitations, the famed sawing-a-woman-in-half, along with a whole host of other popular stage tricks. Some he explains, some he leaves a mystery. It's often hard to picture some of the written descriptions, and the occasional diagrams are much appreciated. It's just enough information to inspire you to see (if not try) magic, and yet not enough to spoil or expose most modern routines. Hiding the Elephant deftly blends the history of magic's illusions, the history of the magicians who created them, and the methods and philosophy of magic itself.
August 6, 2014
A history of magic from 1850-1925, told by a modern magician. Heavy on biography, but many sharp insights on the big questions of a small subculture. When is deception in good faith? Are secrets entertaining in themselves? In the new millennium, do people even expect to understand how things work?
August 16, 2024
What an interesting book. Brent Wilson loaned me this book. It was a Christmas present from his mother-in-law. Steinmeyer reveals the secrets behind many of the illusions from the Golden Age of Magic (1860-1930); levitation, seances, a disappearing elephant and more.
I really enjoyed the book, but I was a little disappointed that by using the information in the book I was able to extrapolate roughly how Chip in the Broadway production of Beauty and the Beast worked. I wanted to know, but now I feel sad that it was so simple. I mean it was just mirrors.
I was intrigued by the way in which trends in magic reflect macro trends in culture. For example the pace of magic tricks sped up as the pace of our society sped up.
Enjoyable book.
I really enjoyed the book, but I was a little disappointed that by using the information in the book I was able to extrapolate roughly how Chip in the Broadway production of Beauty and the Beast worked. I wanted to know, but now I feel sad that it was so simple. I mean it was just mirrors.
I was intrigued by the way in which trends in magic reflect macro trends in culture. For example the pace of magic tricks sped up as the pace of our society sped up.
Enjoyable book.
September 22, 2020
I've read quite a few books about this fascinating chapter in American history, and this is the best one by far. It captures the excitement and mystery and many of the best stories from the period. Stage magic used to be the most popular and lucrative form of entertainment in the US, probably in the world. Steinmeyer pulls aside the curtain on this world, and at the same time pays homage to it.
March 13, 2022
I love magic
May 14, 2022
Grandissimo libro che illustra, oltre ai più curiosi trucchi di illusionismo di tutti i tempi, la storia di un'arte, l'arte della magia. Una narrazione fluida, piacevole e scorrevole, che appassiona e stupisce. Ottima anche la suspense creata dal mistero sul numero di Houdini sulla sparizione di un elefante, che dà il titolo all'opera, che viene svelato solo alla fine, divenendo anche una sorta di giallo in cui le suggestioni, gli indizi sono costituiti dai meccanismi spiegati nei capitoli precedenti. Davvero notevole.
December 16, 2020
The research that's gone into this book is extraordinary. Only a true devotee would have undertaken such a mammoth (pun not intended) task. I think it's a very worthwhile read if you're a student of the history of magic, but a bit too dry and obscure if you're not. By necessity it's a bit repetitive in places.
February 15, 2021
A magician's brain salad with idiosyncratic biographies of some American an British Magicians from the 1840s to Doug Henninng (1990?).A description of many tricks, without telling you how most of them are done -- except for mirror tricks -- those get explained. Some worthy comments about showmanship in general and on audience interactions in particular. Useful for a student of magic, maybe. One key insight is why children are such poor audiences and why scientists are so easy to fool.
Much of the book deals with a Houdini trick where he made an elephant disappear. Magicians at the time could not figure out how it was done. This author says mirrors. Henning would do it in the 1990s on TV by controlling how the camera moved. The mirror secrets were interesting. The history was somewhat interesting, though I don't know why it stopped in 1990. Descriptions of magicians double crossing and back-stabbing, and some getting along. I was not impressed by the author's reviews of long-ago performances and performers.
Much of the book deals with a Houdini trick where he made an elephant disappear. Magicians at the time could not figure out how it was done. This author says mirrors. Henning would do it in the 1990s on TV by controlling how the camera moved. The mirror secrets were interesting. The history was somewhat interesting, though I don't know why it stopped in 1990. Descriptions of magicians double crossing and back-stabbing, and some getting along. I was not impressed by the author's reviews of long-ago performances and performers.
October 28, 2015
When I first started reading this book, I didn't quite know what it was trying to accomplish, but along the way, I enjoyed the ride. I learned things about 19th-century magicians, audiences, and entertainment trends. When reading such a book, one is struck that 19th-century audiences had no radio, TV, or movies, neither social media or computers, and because of that, there was a rabid hankering for vaudeville and live performance. Today, we are so blase about seeing live performance. We prefer sitting back in our living rooms in an easy chair and stopping and starting the video at our leisure.
What Steinmeyer started out trying to explain is why Houdini received such a bad response to his Vanishing Elephant trick. That's not exactly a great premise for a book: Why was something boring? But along the way, Steinmeyer explained the evolution of magic performance from Frenchman Robert-Houdin in the early 19th century, to the Davenport Brothers, to Stephen Morritt, to the Maskelyne Family, to David Devant, to Thurston, and many others along the way. Each had his own character and quirks.
Additionally, Steinmeyer tracks the evolution of the large box tricks, from the original use of mirrors circa 1860, to boxes using mirrors that evolved all the way up to Houdini's elephant, explaining the phrase, "It's all done with mirrors"--because in those days, it was! Along the way, he gets lost in the weeds of explaining the tricks. Often, his diagrams are inadequate and his explanations confusing about how the tricks work. But perhaps that's how he likes it. I ended up skipping much of those sections, because to understand it, you'd have to go through it at a pace of 10 minutes per page, backtracking constantly. Okay, if I ever need to build a mirror box, I'll know which book to consult!
The book is a quick read. I would have preferred a book with more insightful revelations. There is one, however:
"Magicians guard an empty safe. In fact, there are few secrets that they possess that are beyond the capacity of a high-school science class, little technology more complex than a rubber band, a square of mirrored glass, or a length of thread. When an audience learns how it is done, they quickly dismiss the art: "Is that all there is?" The real art is how the rubber band is handled with the finesse of a jewel cutter, how a mirror is used or concealed precisely, how a masterful performer can hint at impossibilities that are consummated with only a piece of thread. Magicians understand the careful interactions of secret and performance and have learned to appreciate the art for these subtleties. But casual observers, eager to diagnose the gimmick or solve the deception, focus on the unintersting part and are quickly disappointed, the same way one can always turn to the final pages of a mystery novel." (pp. 16 - 17).
I wish there were more of that kind of material.
One thing I realized, strangely, is the incompetence of Harry Houdini. Apparently, Houdini's braggadoccio, swagger, and energy played well when performing feats such as challenge escapes, but didn't when performing magic. In other words, his magic show kinda sucked. He also didn't have the focus to perfect his sleights and blocking, the way a Thurston or a Devant did. It's strange that, if you ask someone who the best magician of all time was, he'll say Houdini, when it's simply not true. The hype prevails.
What Steinmeyer started out trying to explain is why Houdini received such a bad response to his Vanishing Elephant trick. That's not exactly a great premise for a book: Why was something boring? But along the way, Steinmeyer explained the evolution of magic performance from Frenchman Robert-Houdin in the early 19th century, to the Davenport Brothers, to Stephen Morritt, to the Maskelyne Family, to David Devant, to Thurston, and many others along the way. Each had his own character and quirks.
Additionally, Steinmeyer tracks the evolution of the large box tricks, from the original use of mirrors circa 1860, to boxes using mirrors that evolved all the way up to Houdini's elephant, explaining the phrase, "It's all done with mirrors"--because in those days, it was! Along the way, he gets lost in the weeds of explaining the tricks. Often, his diagrams are inadequate and his explanations confusing about how the tricks work. But perhaps that's how he likes it. I ended up skipping much of those sections, because to understand it, you'd have to go through it at a pace of 10 minutes per page, backtracking constantly. Okay, if I ever need to build a mirror box, I'll know which book to consult!
The book is a quick read. I would have preferred a book with more insightful revelations. There is one, however:
"Magicians guard an empty safe. In fact, there are few secrets that they possess that are beyond the capacity of a high-school science class, little technology more complex than a rubber band, a square of mirrored glass, or a length of thread. When an audience learns how it is done, they quickly dismiss the art: "Is that all there is?" The real art is how the rubber band is handled with the finesse of a jewel cutter, how a mirror is used or concealed precisely, how a masterful performer can hint at impossibilities that are consummated with only a piece of thread. Magicians understand the careful interactions of secret and performance and have learned to appreciate the art for these subtleties. But casual observers, eager to diagnose the gimmick or solve the deception, focus on the unintersting part and are quickly disappointed, the same way one can always turn to the final pages of a mystery novel." (pp. 16 - 17).
I wish there were more of that kind of material.
One thing I realized, strangely, is the incompetence of Harry Houdini. Apparently, Houdini's braggadoccio, swagger, and energy played well when performing feats such as challenge escapes, but didn't when performing magic. In other words, his magic show kinda sucked. He also didn't have the focus to perfect his sleights and blocking, the way a Thurston or a Devant did. It's strange that, if you ask someone who the best magician of all time was, he'll say Houdini, when it's simply not true. The hype prevails.
March 5, 2008
I thought this book was ambitious in scope, but ultimately failed to deliver. This "history of magic" seemed to me little more than a jumble of results from the author's no-doubt extensive research and experience.
The format is kind of a mess. I got worried when I saw the little oval pictures and bio information of the various magicians listed in the front -- "He's lumping a lot of basic info up front, in this 'cast of characters,'" I thought. "I bet the structure of this book is going to be all over the place. This does not bode well."
Boy, was I right. The chapters progress in no apparent order, and the titles and epigraphs can seem arbitrary. A chapter that begins with the picture of Georges Melies, with a quotation from this pioneer of visual special effects, ends up not being about Melies. A chapter titled "Houdini" opens with several pages about Charles Morritt. The reason for this becomes clear later, but a reader would have been better served by just cutting to the chase.
Speaking of Houdini, I'm a big Houdini fan, and I was intrigued and amused by what a trouncing he takes in this book. I knew he was regarded as a poor stage magician, but the extent to which he is reviled in this book was very interesting indeed. I enjoyed reading about one of my idols from this very different point of view.
But -- why on earth is the information about Houdini (and nearly every other magician in the book) spread across three chapters? Not even consecutive chapters. The structure of this book really is inscrutable, and all the little oval pictures in the world won't help that. It's too bad, because the drawings of the magicians really are well-done -- arresting in black and white.
The writing was kind of a drag. I'm a fast reader, but it took me almost a month to get through this book, because I kept putting it down and having to force myself to pick it up again.
As for the explanations of the tricks, I still don't understand anything. I'm not given to quick, intuitive understanding of mechanical things, and I believe a successful book that was going to expose the secrets of magical illusions would do so in a way that was accessible to any reader. I have a feeling this book is for readers who are already somewhat "in the know" about stage magic. The secrets of Morritt, Kellar, Maskelyne, Devant, and others are still safe with me; I simply didn't understand any of them.
The format is kind of a mess. I got worried when I saw the little oval pictures and bio information of the various magicians listed in the front -- "He's lumping a lot of basic info up front, in this 'cast of characters,'" I thought. "I bet the structure of this book is going to be all over the place. This does not bode well."
Boy, was I right. The chapters progress in no apparent order, and the titles and epigraphs can seem arbitrary. A chapter that begins with the picture of Georges Melies, with a quotation from this pioneer of visual special effects, ends up not being about Melies. A chapter titled "Houdini" opens with several pages about Charles Morritt. The reason for this becomes clear later, but a reader would have been better served by just cutting to the chase.
Speaking of Houdini, I'm a big Houdini fan, and I was intrigued and amused by what a trouncing he takes in this book. I knew he was regarded as a poor stage magician, but the extent to which he is reviled in this book was very interesting indeed. I enjoyed reading about one of my idols from this very different point of view.
But -- why on earth is the information about Houdini (and nearly every other magician in the book) spread across three chapters? Not even consecutive chapters. The structure of this book really is inscrutable, and all the little oval pictures in the world won't help that. It's too bad, because the drawings of the magicians really are well-done -- arresting in black and white.
The writing was kind of a drag. I'm a fast reader, but it took me almost a month to get through this book, because I kept putting it down and having to force myself to pick it up again.
As for the explanations of the tricks, I still don't understand anything. I'm not given to quick, intuitive understanding of mechanical things, and I believe a successful book that was going to expose the secrets of magical illusions would do so in a way that was accessible to any reader. I have a feeling this book is for readers who are already somewhat "in the know" about stage magic. The secrets of Morritt, Kellar, Maskelyne, Devant, and others are still safe with me; I simply didn't understand any of them.
February 18, 2016
This dense book about the Golden Age of magic is no doubt the result of author Jim Steinmeyer's years exhaustive research. Yet, it can at times read like a history textbook.
It is clear that Steinmeyer is not the greatest non-fiction writer out there. His chapters do not work like chapters should because they are not divided by topics of themes. For example, for the chapter titled Houdini, we get eight pages (I counted) on Charles Morritt and his mirror illusions before Houdini even makes an appearance in the chapter. You would think that a chapter titled Houdini would have a greater emphasis on the legendary escape artist -- but no. The structure of the book, after the first four chapters, takes a rather messy turn. Steinmeyer begins to jump around chronologically, bringing names into the narrative as and when he pleased. It made for a heavy read that was hard to follow.
Otherwise, this is the all-encompassing book about magic that fans should read. It does provide interesting nuggets of information throughout, with explanations behind some of magic's biggest secrets (hint: mirrors). Steinmeyer's explanations tend to go over my head sometimes, especially without the illustrations, but it works for the most part -- just a little tiresome towards the second half. Yes, Steinmeyer, we get that Houdini wasn't that great a magician, and that certain magicians hated each other. Let's move the story along.
I feel that someone like Erik Larson would have done a better job with the material. Yet, since Steinmeyer's background is in the magic arena, I can think of no better candidate to write it. Maybe he could have used a ghostwriter, or at least an editor, to smooth things out a bit.
A little disappointed, because I expected more from this book. Then again, I don't think you can find a better researched book out there about magic and magicians.
It is clear that Steinmeyer is not the greatest non-fiction writer out there. His chapters do not work like chapters should because they are not divided by topics of themes. For example, for the chapter titled Houdini, we get eight pages (I counted) on Charles Morritt and his mirror illusions before Houdini even makes an appearance in the chapter. You would think that a chapter titled Houdini would have a greater emphasis on the legendary escape artist -- but no. The structure of the book, after the first four chapters, takes a rather messy turn. Steinmeyer begins to jump around chronologically, bringing names into the narrative as and when he pleased. It made for a heavy read that was hard to follow.
Otherwise, this is the all-encompassing book about magic that fans should read. It does provide interesting nuggets of information throughout, with explanations behind some of magic's biggest secrets (hint: mirrors). Steinmeyer's explanations tend to go over my head sometimes, especially without the illustrations, but it works for the most part -- just a little tiresome towards the second half. Yes, Steinmeyer, we get that Houdini wasn't that great a magician, and that certain magicians hated each other. Let's move the story along.
I feel that someone like Erik Larson would have done a better job with the material. Yet, since Steinmeyer's background is in the magic arena, I can think of no better candidate to write it. Maybe he could have used a ghostwriter, or at least an editor, to smooth things out a bit.
A little disappointed, because I expected more from this book. Then again, I don't think you can find a better researched book out there about magic and magicians.
October 15, 2008
Recommended for fans of Erik Larson's style, amateur magicians, and anyone who preferred David Copperfield (remember him?) to David Blaine.
A decent, if somewhat tangled, history of mostly American and English magicians of the later 1800s and earlier 1900s. So many of the stories intertwine that I had some difficulty in keeping who's who straight, especially towards the end when Steinmeyer is wrapping up his loose threads and jumping around a bit in time. That said, the personal background to the names, rivalries and collaborations and an evolution of their careers adds to the enjoyment.
The descriptions of illusions and tricks, however, are clear and well-articulated throughout the book, but without giving away too much mystery. Diagrams and recounts of his attempts to reconstruct illusions also helped me appreciate the painstaking nature of the work involved. Though the book is titled "Hiding the Elephant", Houdini is quickly defined as an escape artist rather than a magician. And the real star trick seems to be Pepper's Ghost, which brings illusion into more mainstream work. It made me wish I'd been able to see the great names of yesteryear, rather than Criss Angel as the big name in magic these days.
A decent, if somewhat tangled, history of mostly American and English magicians of the later 1800s and earlier 1900s. So many of the stories intertwine that I had some difficulty in keeping who's who straight, especially towards the end when Steinmeyer is wrapping up his loose threads and jumping around a bit in time. That said, the personal background to the names, rivalries and collaborations and an evolution of their careers adds to the enjoyment.
The descriptions of illusions and tricks, however, are clear and well-articulated throughout the book, but without giving away too much mystery. Diagrams and recounts of his attempts to reconstruct illusions also helped me appreciate the painstaking nature of the work involved. Though the book is titled "Hiding the Elephant", Houdini is quickly defined as an escape artist rather than a magician. And the real star trick seems to be Pepper's Ghost, which brings illusion into more mainstream work. It made me wish I'd been able to see the great names of yesteryear, rather than Criss Angel as the big name in magic these days.
October 21, 2008
Like the magicians he chronicles, Steinmeyer provides the reader with both too much and too little detail to actually reproduce the illusions he describes (I'm not sure if this really matters, however, since I won't be making my own elephant disappear anytime soon).
Interesting look at early 20th century magic. Some of the concepts involved, mirrors, light tricks, trapdoors, are now hundreds of years old but to see them in the hands of a great magician would still make your jaw drop.
I'd recommend this book as the antidote for David Blaine. It will make you long for the days when it was simply enough to make the Statue of Liberty disappear.
The book is a history, and parts are dry. In fact, there are times in the reading when you get the sense there will be a quiz of names at the end. Not for everyone, but if you're one of those "read only the first sentence of every paragraph" types, it may be worth the effort.
Interesting look at early 20th century magic. Some of the concepts involved, mirrors, light tricks, trapdoors, are now hundreds of years old but to see them in the hands of a great magician would still make your jaw drop.
I'd recommend this book as the antidote for David Blaine. It will make you long for the days when it was simply enough to make the Statue of Liberty disappear.
The book is a history, and parts are dry. In fact, there are times in the reading when you get the sense there will be a quiz of names at the end. Not for everyone, but if you're one of those "read only the first sentence of every paragraph" types, it may be worth the effort.
August 27, 2016
If you're looking for a book on how to do magic tricks, there's plenty of those, but this isn't one of them. Without wishing to diminish Mr. Steinmeyer's work, I'll warn you up-front that it's of almost no practical use if your interest is learning how to do magic tricks. That's not to say however that it isn't an interesting and enjoyable read.
This book covers the development of stage magic, primarily in the late nineteenth and early twentieth century, and is particularly focused on the dominant magicians of the time. It's both well researched and it is pleasant that the author does have a obviously genuine passion for the subject matter.
This book covers the development of stage magic, primarily in the late nineteenth and early twentieth century, and is particularly focused on the dominant magicians of the time. It's both well researched and it is pleasant that the author does have a obviously genuine passion for the subject matter.
July 17, 2007
A really interesting look at the recent history of stage magicians. The author uses each chapter to describe a certain magician's style and, in some cases, secrets. One of the more fascinating aspects is to consider how much mass entertainment has changed in the last 150 years. Also interesting is how little it has changed: people have been and still are taken in by scandalous performances and mysticism.
My favorite part of the book was the technical description of how the tricks were performed, particularly the large, complex, Houdini-style illusions.
My favorite part of the book was the technical description of how the tricks were performed, particularly the large, complex, Houdini-style illusions.
September 11, 2007
Like a good magic trick, Steinmeyer's book lets you think you're in-the-know about some of the most famous stage illusions of all-time without revealing any true secrets. Steinmeyer creates a compelling read more fascinating for its evocation of the great rivalries of the Golden Age of magic than for technical how-to.
November 19, 2016
A fascinating book that takes you through the various decades of magic through the illusions and those who performed them. I read this after visiting & having a guided tour of the Magic Circle HQ in London so a few of the names were already familiar to me. Nonetheless I found this a thoroughly enjoyable read!
October 19, 2021
Well written and genuinely fascinating.
March 2, 2018
An enterprising book on a really interesting topic, full of lofty promises: intrigue, mystery, razzle-dazzle. Steinmeyer's passion for stage magic is earnest and his research is thorough, but his personal anecdotes tend to be stilted and strained. When he tries to connect on a personal level, he seems to be trying too hard. But to his credit, Steinmeyer quickly corrects his pacing and manages to make what might be dry subject matter (patent law, rights to illusions, and competition for original inventor's credit) into interesting fare. The author does have some strong showmanship of his own which he displays in audacious, direct claims such as, "Houdini was a terrible magician." (5) These short, curt declarations pepper the text and help to extend your interest as he elaborates to back them up.
The artistic crafting of magic is highlighted more than any mysticism, and rather than detracting from the wonder an audience might feel it actually enhances your appreciation for what a talented magician has to do to perfect their trade:
I have a few quibbles. Steinmeyer overuses commas, for one thing. More significantly, the chronology is a bit of a muddle, jumping from one character/trick to another and then later backtracking and connecting the two. Strangely, I found the most captivating chapter is very nearly the last—Chapter 14, in which the illusion of sawing a lady in half is introduced, sensationalized, stolen, and reworked. All the politics and cultural milieu of early 1920 are recounted to give context and explain why this trick took off and really hit home for audiences. Were I the editor, I would have suggested leading with this microcosm of dueling magicians, theater politics, and backstabbing. Then chapters could be organized by type of trick or technique rather than a strict chronology (which, again, isn't always followed consistently anyway).
3.5 stars out of 5.
The artistic crafting of magic is highlighted more than any mysticism, and rather than detracting from the wonder an audience might feel it actually enhances your appreciation for what a talented magician has to do to perfect their trade:
"Ultimately, like any really successful storytelling, a magic show is an example of dictatorial control by the performer. The magician takes charge of every aspect of the story, pointing your head in certain directions at certain moments, emphasizing the importance of certain occurrences and minimizing others, hinting at every surprise, and imparting specific meanings. If the performance is successful, it is because the storytelling has been successful." (180)
I have a few quibbles. Steinmeyer overuses commas, for one thing. More significantly, the chronology is a bit of a muddle, jumping from one character/trick to another and then later backtracking and connecting the two. Strangely, I found the most captivating chapter is very nearly the last—Chapter 14, in which the illusion of sawing a lady in half is introduced, sensationalized, stolen, and reworked. All the politics and cultural milieu of early 1920 are recounted to give context and explain why this trick took off and really hit home for audiences. Were I the editor, I would have suggested leading with this microcosm of dueling magicians, theater politics, and backstabbing. Then chapters could be organized by type of trick or technique rather than a strict chronology (which, again, isn't always followed consistently anyway).
3.5 stars out of 5.
September 12, 2023
“Hiding The Elephant” is primarily a history of the early years of stage magic, from the late-1800s to the 1930s, essentially in the form of a series of biographies of the main players of the period (especially Houdini, who ironically by most accounts wasn’t much of a magician, though he was an undeniably great escape artist and showman), but also via the various techniques and technologies which are discovered, finessed and combined over the decades to create wilder and more impressive illusions.
Author Jim Steinmeyer is one of the world’s leading and most respected designers and builders of magic tricks and illusions. More to the point, he’s a huge fan of magic, and his enthusiasm for the art is palpable throughout the book, as is his puzzle-solving ability when confronted with an illusion that appears to be impossible, such as Houdini’s legendarily mysterious title trick, which he unravels in the final chapter.
I’m not especially a fan of magic, but this is a fascinating read, with plenty of personal and professional shenanigans between the big names of magic interspersed between the explanations of how some classic tricks are performed. In fact, one of the most interesting threads within the book is that many practitioners insist that it’s the presentation of the illusion, rather than the various tricks underlying the illusion itself, that’s most important. Hence the author doesn’t shy from giving away many of the fundamental secrets behind many of these classic illusions, though he stops slightly short of giving the whole thing away, preferring to just indicate the main methodology. However, this is usually enough to slake our thirst for knowledge, and it’s certainly impressive to see just how true the aphorism “it’s all done with mirrors” actually is!
Overall, brisk, readable, and highly recommended for anyone who might remotely find the subject of interest.
PS Many of us will have heard of the Japanese word “tsundoku”, meaning the pile of unread books that all book-lovers have. I wonder if there’s a similar word for books that you can’t remember putting in your “tsundoku”…? Certainly I can’t remember buying this book and can only imagine it was a multibuy deal, or perhaps the shop just caught me in a buying mood!
Author Jim Steinmeyer is one of the world’s leading and most respected designers and builders of magic tricks and illusions. More to the point, he’s a huge fan of magic, and his enthusiasm for the art is palpable throughout the book, as is his puzzle-solving ability when confronted with an illusion that appears to be impossible, such as Houdini’s legendarily mysterious title trick, which he unravels in the final chapter.
I’m not especially a fan of magic, but this is a fascinating read, with plenty of personal and professional shenanigans between the big names of magic interspersed between the explanations of how some classic tricks are performed. In fact, one of the most interesting threads within the book is that many practitioners insist that it’s the presentation of the illusion, rather than the various tricks underlying the illusion itself, that’s most important. Hence the author doesn’t shy from giving away many of the fundamental secrets behind many of these classic illusions, though he stops slightly short of giving the whole thing away, preferring to just indicate the main methodology. However, this is usually enough to slake our thirst for knowledge, and it’s certainly impressive to see just how true the aphorism “it’s all done with mirrors” actually is!
Overall, brisk, readable, and highly recommended for anyone who might remotely find the subject of interest.
PS Many of us will have heard of the Japanese word “tsundoku”, meaning the pile of unread books that all book-lovers have. I wonder if there’s a similar word for books that you can’t remember putting in your “tsundoku”…? Certainly I can’t remember buying this book and can only imagine it was a multibuy deal, or perhaps the shop just caught me in a buying mood!
November 3, 2023
I lost interest in this book probably because I was hoping for a different book, I had read Peter Lamont's 'Rise of the Indian Rope Trick' shortly before, so I wanted a book that looked at magic in more then its own terms and history of who invented what trick and when. That is not this book, it is simply a 'history' of magic tricks and those are examined through a very Anglo-American perspective. It doesn't deny the more universal roots of magic but it is aimed at a market looking for the familiar and the more recent the better. Also this is not a work that will provide any useful insights into any of the more recent TV magicians with their spectacular street stunts - so no insights in David Blaine - which is really what reader of book like this wants to know, how far are the feats of endurance real or simply illusions or more simply - deceptions.
It is magicians ability to deceive which I find most interesting - more psychics, like Uri Geller; 'miraculous' healers of all kinds and any number of supernatural phenomena have been been exposed by professional magicians then scientists. Unfortunately scientists are very sniffy about admitting that they are as susceptible to illusion and fraud as any layman.
But this book doesn't look at any of this - it looks at magic tricks of fairly ancient kind - if that interests you this book is marvellous, if not then it will bee for you, like me, a disappointment and possibly, also like me, you abandon on the principal that there is enough boredom in life without adding to it.
It is magicians ability to deceive which I find most interesting - more psychics, like Uri Geller; 'miraculous' healers of all kinds and any number of supernatural phenomena have been been exposed by professional magicians then scientists. Unfortunately scientists are very sniffy about admitting that they are as susceptible to illusion and fraud as any layman.
But this book doesn't look at any of this - it looks at magic tricks of fairly ancient kind - if that interests you this book is marvellous, if not then it will bee for you, like me, a disappointment and possibly, also like me, you abandon on the principal that there is enough boredom in life without adding to it.
July 17, 2023
This was a fun charity shop find. Jim Steinmeyer (who helped David Copperfield make the Statue of Liberty disappear) tells the story of stage magic in the Victorian era and early 20th century. He follows the lives of various key players, including the Maskelynes, Devant, Kellar, Houdini and Thurston, showing how illusions were created, developed, and sometimes stolen. It was fascinating to read about some of the professional rivalries and betrayals, especially the insecurity of Houdini, who desperately wanted to prove himself as a magician rather than just an escape artist. The book leads to the grand finale, where the author attempts to reconstruct Charles Morritt's disappearing donkey illusion. A very interesting read for anyone interested in magic, although the author's slightly disordered narrative style is sometimes frustrating.
February 12, 2020
A glorious trip through the development of stage magic, and the grand, set piece illusion.
The author's passion for the subject is apparent in his enthusiastic biographies of the men (and sadly they mainly were) who made magic the spectacle it is today. Giving us an insight not just into the minds of these true originators, but also into how some of the tricks are done (obviously within the bounds of allowed disclosure). This is a cracking read.
Each character takes the story on a bit, and you get a sense of the real wonder that makes this spellbinding art-form so appealing to us in the audience.
Fab stuff and hugely enjoyable.
The author's passion for the subject is apparent in his enthusiastic biographies of the men (and sadly they mainly were) who made magic the spectacle it is today. Giving us an insight not just into the minds of these true originators, but also into how some of the tricks are done (obviously within the bounds of allowed disclosure). This is a cracking read.
Each character takes the story on a bit, and you get a sense of the real wonder that makes this spellbinding art-form so appealing to us in the audience.
Fab stuff and hugely enjoyable.
June 18, 2021
Steinmeyer opens with the night Houdini made an elephant disappear, going back to that topic later to explain why it didn't week. In between he looks at the history of modern stage magic from the great Robert-Houdin through John Neville Maskelyne, Charles Morritt and multiple others (I know of some prominent conjurors he doesn't mention so I'm not sure what his standard for inclusion is).
This isn't dramatically gripping — while there are some famous feuds, they're not the center of the book — but it's good history, with much information about how they do it with mirrors and what makes a good performer. In the "if you like the subject it's good" category, it gets 3.5 stars.
This isn't dramatically gripping — while there are some famous feuds, they're not the center of the book — but it's good history, with much information about how they do it with mirrors and what makes a good performer. In the "if you like the subject it's good" category, it gets 3.5 stars.
November 2, 2018
An interesting history of professional magic. The timeline can be hard to follow, events aren't told in chronological order and there's so many magicians, some of which are only major players for a brief time. I often found myself coming across familiar names whose previous contributions I couldn't remember. The book includes a few interesting reveals of how different tricks are done, but the cliche that the book repeats multiple times is true, it's all done with mirrors.
It's interesting if you have an interest in magic, but not particularly memorable.
It's interesting if you have an interest in magic, but not particularly memorable.
March 12, 2021
Recently re-read this out loud to my son, who is interesting in the mechanics of magic. We both enjoyed it & actually went even further back and read Robert-Houdin's memoir, which is great fun.
I think this author spend a bit too much time trying to puncture Harry Houdini mystic...not that his evidence wasn't convincing, just that it wasn't that interesting. But the rest of the book was fascinating. Loved all the history & descriptions of crazy characters & brilliant engineering.
I think this author spend a bit too much time trying to puncture Harry Houdini mystic...not that his evidence wasn't convincing, just that it wasn't that interesting. But the rest of the book was fascinating. Loved all the history & descriptions of crazy characters & brilliant engineering.
January 27, 2019
I thought that was just brilliant. Wonderfully written by someone who obviously cares about his many subjects, it was so entertaining and easy to read. A good history without too many of the embellishments you get in some biographies, made me laugh in lots of places and even get a bit teary-eyed when talking about Devant’s last days. Will be reading more Steinmeyer for sure
December 30, 2020
A fascinating history of a bygone era told from a modern perspective. I'll never look at magic the same. Truly engaging and vividly told, the narrative transports you back in time to the darkened Victorian theater and front row in New York to see masters ply their trade. Also helps you understand how the performer thought, how the trick was performed, but doesn't tell you why you were fooled. 9/10 definitely worth a read, even if a little repetitive at times.
January 30, 2021
I've been meaning to read this book for literally years, even before I was interest in magic.
It's a tough read - but to paraphrase a quote from Teller in the Penn and Teller masterclass, a book on magic that's easy to read is not worth reading.
Thoroughly interesting and enjoyable. Nice to find out a bit of history on a subject that's become so near to my heart.
It's a tough read - but to paraphrase a quote from Teller in the Penn and Teller masterclass, a book on magic that's easy to read is not worth reading.
Thoroughly interesting and enjoyable. Nice to find out a bit of history on a subject that's become so near to my heart.
January 26, 2025
Apart from the Houdini bashing, which was a surprise for me, this is a great read for anyone even slightly interested in magic.
The names get mixed and mingled after awhile but that is history for you, although it is told in very well structured way and has a good undertone of story as well.
All comes together really well in the end.
The names get mixed and mingled after awhile but that is history for you, although it is told in very well structured way and has a good undertone of story as well.
All comes together really well in the end.
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