Performing Dark Arts

Performing Dark Arts: A Cultural History of Conjuring is a remarkable read for two very important reasons. First, it tackles with relish a topic that has fascinated mankind throughout the annals of history, namely the art of conjuring. This skill of deception and performance flair, when performed with respect and skill, has been both a source of entertainment as well as a means of connecting to a greater knowledge and existence, rarely failing to strike awe and wonder in all who observe. Michael Mangan manages to carefully dissect a history that is swallowed in fatty lies and deceptions, stories that may or may not be steeped nor laced in truth. He presents a thorough argument and exploration, inviting the general reader to build upon previous assumptions of magic and trickery and to relate himself further to the archetypal need we all seem to share for experiences brought only by the finest conjurers throughout history.

Second, by so adeptly accomplishing this, Mangan has created a veritable anchor to which we all might grasp in the unpredictable sea of magic and conjuring. From our earliest memories, many will be able to recount the marvel experienced when an object appeared or vanished, was restored after being mutilated, or seemed to dwell in a physical state other than that which was at the time deemed ‘possible’. By addressing this realm in so concrete and respectful a fashion, Mangan has allowed the general reader to revisit these memories and re-contextualize them into a mode of thinking and exploration appropriate to an adult view of what is currently deemed ‘possible’.

Mangan, in his attempt to pin down this elusively defined art, has managed to present a theory of successful conjuring not solely reliant on a magnanimous performer, but also on the belief structure and willingness to give over to suspension of disbelief given by he who observes the trickery, the general reader. Without the observation and belief (or disbelief) of an audience, even an audience of one, the conjuror’s performance is merely a system of movements based upon an application of minute skills, in and of themselves patently unremarkable. Add the observer, however, and the sum of the elements in this system become works of wonder and parts of a greater inexplicable Gestalt. This book is presented in such a way as to never lose sight of the importance of this role, and thereby provides an opportunity for the general reader to align himself with those ‘in the know’. Through this association, the general reader is allowed a glimpse into the acceptable arrogance elicited from those who routinely perform these skills for whatever intent, ‘real’ or imagined.

The conjecture presented in this book is immensely satisfying and a joy to explore. The text is laid out in such a way as to present large and sometimes multifaceted theories in simple, easily digestible chunks. The general reader will find Mangan’s insight and speculation inviting, intriguing and intellectually challenging – ultimately resulting in a fulfilling read and enjoyable presentation of not only implicit fact in the history of the art of conjuring, but also fodder for questions to be asked and re-asked as we continue to enjoy the sense of wonderful awe elicited by a sharply performed trick, large or small.

Review by Michael A. Harding

Mangan, Michael. Performing Dark Arts: A Cultural History of Conjuring. Bristol: Intellect Books, 2007. 252 pp. ISBN: 978-1-84150-149-9. RRP £24.00.