Magician And Magic Quotes

I address you all tonight for who you truly are: wizards, mermaids, travelers, adventurers, and magicians. You are the true dreamers.

Scientists have calculated that the chances of something so patently absurd actually existing are millions to one. But magicians have calculated that million-to-one chances crop up nine times out of ten.

Can a magician kill a man by magic?” Lord Wellington asked Strange. Strange frowned. He seemed to dislike the question. “I suppose a magician might,” he admitted, “but a gentleman never could.

She was a thief, a runaway, a pirate, a magician. She was fierce, and powerful, and terrifying. She was still a mystery. And he loved her.

If you look up "charming" in the dictionary, you'll see that it not only has references to strong attraction, but to spells and magic. Then again, what are liars if not great magicians?

Do not be a magician - be magic!

In a way fighting was just like using magic. You said the words, and they altered the universe. By merely speaking you could create damage and pain, cause tears to fall, drive people away, make yourself feel better, make your life worse.

And she never could remember; and ever since that day what Lucy means by a good story is a story which reminds her of the forgotten story in the Magician's Book.

Magic is always impossible.... It begins with the impossible and ends with the impossible and is impossible in between. That is why it's magic.

Then what is magic for?" Prince Lír demanded wildly. "What use is wizardry if it cannot save a unicorn?" He gripped the magician's shoulder hard, to keep from falling. Schmedrick did not turn his head. With a touch of sad mockery in his voice, he said, "That's what heroes are for.

Most people are blind to magic. They move through a blank and empty world. They’re bored with their lives, and there’s nothing they can do about it. They’re eaten alive by longing, and they’re dead before they die.

As I look out at all of you gathered here, I want to say that I don't see a room full of Parisians in top hats and diamonds and silk dresses. I don't see bankers and housewives and store clerks. No. I address you all tonight as you truly are: wizards, mermaids, travelers, adventurers, and magicians. You are the true dreamers.

That's the beauty of it. Have you seen the contraptions these magicians build to accomplish the most mundane feats? They are a bunch of fish covered in feathers trying to convince the public they can fly, I am simply a bird in their midst.

Egypt is the First Nome. New York is the twenty-first. What’s the last one, the Three-hundred-and-sixtieth?” “That would be Antarctica,” Zia said. “A punishment assignment. Nothing there but a couple of cold magicians and some magic penguins.” “Magic penguins?” “Don’t ask.

Magic: it was what happened when the mind met the world, and the mind won for a change.

Every great magic trick consists of three parts or acts. The first part is called "The Pledge". The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course... it probably isn't. The second act is called "The Turn". The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled. But you wouldn't clap yet. Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call "The Prestige".

A magician is strong because he feels pain. He feels the difference between what the world is and what he would make of it. Or what did you think that stuff in your chest was? A magician is strong because he hurts more than others. His wound is his strength.

I don't know about you, but I'm kind of fed up with realism. After all, there's enough reality already; why make more of it? Why not leave realism for the memoirs of drug addicts, the histories of salt, the biographies of porn stars? Why must we continue to read about the travails of divorced people or mildly depressed Canadians when we could be contemplating the shopping habits of zombies, or the difficulties that ensue when living and dead people marry each other? We should be demanding more stories about faery handbags and pyjamas inscribed with the diaries of strange women. We should not rest until someone writes about a television show that features the Free People's World-Tree Library, with its elaborate waterfalls and Forbidden Books and Pirate-Magicians. We should be pining for a house haunted by rabbits. (from the review of Kelly Link's Magic for Beginners in The Guardian)

Ronan laughed suddenly. That sound, as crooked and joyful and terrible as the dream in his hand, should have woken these cattle if nothing else did. "I hear if you want magic done," he said, "you ask a magician.

Well, speaking as a feminist, I'm glad that women can lead--uh, groups of unspeakable magical evil." "Yes," Alan said gravely. "It'd be shoking if the evil magicians were sexist. For one thing, that would mean they were stupid, and having stupid enemies would be a terrible blow to my manly pride.

You know, I do believe in magic. I was born and raised in a magic time, in a magic town, among magicians. Oh, most everybody else didn’t realize we lived in that web of magic, connected by silver filaments of chance and circumstance. But I knew it all along. When I was twelve years old, the world was my magic lantern, and by its green spirit glow I saw the past, the present and into the future. You probably did too; you just don’t recall it. See, this is my opinion: we all start out knowing magic. We are born with whirlwinds, forest fires, and comets inside us. We are born able to sing to birds and read the clouds and see our destiny in grains of sand. But then we get the magic educated right out of our souls. We get it churched out, spanked out, washed out, and combed out. We get put on the straight and narrow and told to be responsible. Told to act our age. Told to grow up, for God’s sake. And you know why we were told that? Because the people doing the telling were afraid of our wildness and youth, and because the magic we knew made them ashamed and sad of what they’d allowed to wither in themselves. After you go so far away from it, though, you can’t really get it back. You can have seconds of it. Just seconds of knowing and remembering. When people get weepy at movies, it’s because in that dark theater the golden pool of magic is touched, just briefly. Then they come out into the hard sun of logic and reason again and it dries up, and they’re left feeling a little heartsad and not knowing why. When a song stirs a memory, when motes of dust turning in a shaft of light takes your attention from the world, when you listen to a train passing on a track at night in the distance and wonder where it might be going, you step beyond who you are and where you are. For the briefest of instants, you have stepped into the magic realm. That’s what I believe. The truth of life is that every year we get farther away from the essence that is born within us. We get shouldered with burdens, some of them good, some of them not so good. Things happen to us. Loved ones die. People get in wrecks and get crippled. People lose their way, for one reason or another. It’s not hard to do, in this world of crazy mazes. Life itself does its best to take that memory of magic away from us. You don’t know it’s happening until one day you feel you’ve lost something but you’re not sure what it is. It’s like smiling at a pretty girl and she calls you “sir.” It just happens. These memories of who I was and where I lived are important to me. They make up a large part of who I’m going to be when my journey winds down. I need the memory of magic if I am ever going to conjure magic again. I need to know and remember, and I want to tell you.

If there was any magic in this world that was not magic, it was wine.

I have a little theory that I'd like to air here, if I may. What is it that you think makes you magicians?" More silence. Fogg was well into rhetorical-question territory now anyway. He spoke more softly. "Is it because you are intelligent? Is it because you are brave and good? Is is because you're special? Maybe. Who knows. But I'll tell you something: I think you're magicians because you're unhappy. A magician is strong because he feels pain. He feels the difference between what the world is and what he would make of it. Or what did you think that stuff in your chest was? A magician is strong because he hurts more than others. His wound is his strength. Most people carry that pain around inside them their whole lives, until they kill the pain by other means, or until it kills them. But you, my friends, you found another way: a way to use the pain. To burn it as fuel, for light and warmth. You have learned to break the world that has tried to break you.

I see murky visions of other gods and rival magic." That REALLY didn't sound good. "What do you mean?" I asked. "what OTHER GODS?" "I don't know, Sadie. But Egypt has always faced challenges from outside –– magicians from elsewhere, even gods from elsewhere. Just be vigilant." ~Ruby & Sadie Kane about...? Possibly Greeks?

Love isn't always magic. But if I offered my body to the magician, if I told him to cut me in half so after that I could come to you whole and ask for you back would you listen for this dark alley love song? For the winter we heated our home from the steam off our own bodies?

Why do we think love is a magician? Because the whole power of magic consists in love. The work of magic is the attraction of one thing by another because of a certain affinity of nature.

I looked across the river to Manhattan. It was a great view. When Sadie and I had first arrived at Brooklyn House, Amos had told us that magicians tried to stay out of Manhattan. He said Manhattan had other problems--whatever that meant. And sometimes when I looked across the water, I could swear I was seeing things. Sadie laughed about it, but once I thought I saw a flying horse. Probably just the mansion's magic barriers causing optical illusions, but still, it was weird.

Once upon a time, powerful wizard, who wanted to destroy an entire kingdom, placed a magic potion in the well from which the inhabitants drank. Whoever drank that water would go mad. The following morning, the whole population drank from the well and they all went mad, apart from the king and his family, who had a well set aside for them alone, which the magician had not managed to poison. The king was worried and tried to control the population by issuing a series of edicts governing security and public health. The policemen and the inspectors, however, had also drunk the poisoned water, and they thought the king’s decisions were absurd and resolved to take notice of them. When the inhabitants of the kingdom heard these decrees, they became convinced that the king had gone mad and was now giving nonsensical orders. The marched on the castle and called for his abdication. In despair the king prepared to step down from the throne, but the queen stopped him, saying: ‘Let us go and drink from the communal well. Then we will be the same as them.’ And that was what they did: The king and queen drank the water of madness and immediately began talking nonsense. Their subjects repented at once; now that the king was displaying such ‘wisdom’, why not allow him to rule the country? The country continued to live in peace, although its inhabitants behaved very differently from those of its neighbors. And the king was able to govern until the end of his days.

I know magicians and I know magic and I say this: all magicians lie and this one more than most.

The magician seemed to promise that something torn to bits might be mended without a seam, that what had vanished might reappear, that a scattered handful of doves or dust might be reunited by a word, that a paper rose consumed by fire could be made to bloom from a pile of ash. But everyone knew that it was only an illusion. The true magic of this broken world lay in the ability of things it contained to vanish, to become so thoroughly lost, that they might never have existed in the first place.

Being the Magician isn't about being powerful when you have things and useless when you don't," Persephone said. "The Magician sees what is out there and finds connections. The Magician can make anything magical.

Magic is the only honest profession. A magician promises to deceive you and he does.

The magician was studying her face with his green eyes. "Your face is wet," he said worriedly. "I hope that's spray. If you've become human enough to cry, then no magic in the world — oh, it must be spray. Come with me. It had better be spray.

Cery: So, Hem, tell me why I shouldn't see how many holes I need to make before you start leaking money?

In the war of magic and religion, is magic ultimately the victor? Perhaps priest and magician were once one, but the priest, learning humility in the face of God, discarded the spell for prayer.

Magic doesn't come from talent, it comes from pain.

But the other Ministers considered that to employ a magician was one thing, novelists were quite another and they would not stoop to it.

Yesterday's fairy tale is today's fact. The magician is only one step ahead of his audience.

So, apart from casting runes, what other hobbies do you have? Forbidden rituals, human sacrifices, torturing? –

Anyone without a sense of humor is too pretentious to be a good magician.

A lot of people experience the world with the same incredulity as when a magician pulls a rabbit out of a hat.…We know that the world is not all sleight of hand and deception because we are in it, we are part of it. Actually we are the white rabbit being pulled out of the hat. The only difference beween us and the white rabbit is that the rabbit does not realize it is taking part in a magic trick.

Some years ago there was in the city of York a society of magicians. They met upon the third Wednesday of every month and read each other long, dull papers upon the history of English magic.

I don't recall meeting Greek demigods in any of those places. Still, when one has dealt with magical baboons, goddess cats and dwarfs in Speedos, one can’t be surprised very easily.

The core practice of magic is: The execution of a willed intent to create change in the material world, which either defies, hastens or purifies the consequences of natural cause and effect.

I did not know I was to be outdone by a little magic boy and his tricks,” he said. “I salute you, magician.” He swept her a bow from horseback. Vasya did not return the bow. “To small minds,” she told him, spine very straight, “any skill must look like sorcery.

Take those frauds who practice pseudoscience - do you know who they're most afraid of?" "Scientists, of course." "No. Many of the best scientists can be fooled by pseudoscience and sometimes devote their lives to it. But pseudoscience is afraid of one particular type of people who are very hard to fool: stage magicians. In fact, many pseudoscience hoaxes were exposed by stage magicians.

[Annabeth]I might have a plan. It’ll be your turn to keep Serapis distracted.’ Sadie frowned. ‘Did I mention I’m out of magic?’ ‘That’s okay,’ Annabeth said. ‘How are you at bluffing, lying and trash-talking?’ Sadie raised an eyebrow. ‘I’ve been told those are my most attractive qualities.’ ‘Excellent,’ Annabeth said. ‘Then it’s time I taught you some Greek.

Newton was not the first of the age of reason. He was the last of the magicians, the last of the Babylonians and Sumerians, the last great mind that looked out on the visible and intellectual world with the same eyes as those who began to build our intellectual inheritance rather less than 10,000 years ago.

Delilah Bard—always a thief, recently a magician, and one day, hopefully, a pirate—was running as fast as she could.

A farmer is a magician who produces money from the mud.

Learning the secret of flight from a bird was a good deal like learning the secret of magic from a magician.

A major determining factor by which a superior human can be isolated from his average counterparts is his very isolation—the degree to which he naturally removes himself from mass-media input and stimuli. You cannot be an elitist, a Magician, and be plugged into the system.

That's how I do this life sometimes by making the ordinary just like magic and just like a card trick and just like a mirror and just like the disappearing. Every Indian learns how to be a magician and learns how to misdirect attention and the dark hand is always quicker than the white eye and no matter how close you get to my heart you will never find out my secrets and I'll never tell you and I'll never show you the same trick twice. I'm traveling heavy with illusions.

You cannot study magic. You cannot learn it. You must ingest it. Digest it. You must merge with it. And it with you.

I would have written you, myself, if I could put down in words everything I want to say to you. A sea of ink would not be enough.” “But you built me dreams instead,” Celia says, looking up at him. “And I built you tents you hardly ever see. I have had so much of you around me always and I have been unable to give you anything in return that you can keep.

You can't just decide to be happy." "No, you can't. But you can sure as hell decide to be miserable. Is that what you want? Do you want to be the asshole who went to Fillory and was miserable there? Even in Fillory? Because that's who you are right now." There was something true about what Alice was saying. But he couldn't grasp it. It was too complex, or too simple. Too something...It was strange: he's thought that doing magic was the hardest thing he would ever do, but the rest of it was so much harder. It turned out that magic was the easy part.

I opened my backpack and checked my supplies: some enchanted rope, my curved ivory wand, a lump of wax for making a magical shabti figurine, my calligraphy set, and a healing potion my friend Jaz had brewed for me a while back. (She knew that I got hurt a lot.)

A floorboard cracked; knuckles tapped once on the open door. Adam looked up to see Niall Lynch standing in the doorway. No, it was Ronan, face lit bright on one side, in stark shadow on the other, looking powerful and at ease with his thumbs tucked in the pockets of his jeans, leather bracelets looped over his wrist, feet bare. He wordlessly crossed the floor and sat beside Adam on the mattress. When he held out his hand, Adam put the model into it. “This old thing,” Ronan said. He turned the front tyre, and again the music played out of it. They sat like that for a few minutes, as Ronan examined the car and turned each wheel to play a different tune. Adam watched how intently Ronan studied the seams, his eyelashes low over his light eyes. Ronan let out a breath, put the model down on the bed beside him, and kissed Adam. Once, when Adam had still lived in the trailer park, he had been pushing the lawn mower around the scraggly side yard when he realized that it was raining a mile away. He could smell it, the earthy scent of rain on dirt, but also the electric, restless smell of ozone. And he could see it: a hazy gray sheet of water blocking his view of the mountains. He could track the line of rain travelling across the vast dry field towards him. It was heavy and dark, and he knew he would get drenched if he stayed outside. It was coming from so far away that he had plenty of time to put the mower away and get under cover. Instead, though, he just stood there and watched it approach. Even at the last minute, as he heard the rain pounding the grass flat, he just stood there. He closed his eyes and let the storm soak him. That was this kiss. They kissed again. Adam felt it in more than his lips. Ronan sat back, his eyes closed, swallowing. Adam watched his chest rise and fall, his eyebrows furrow. He felt as bright and dreamy and imaginary as the light through the window. He did not understand anything. It was a long moment before Ronan opened his eyes, and when he did, his expression was complicated. He stood up. He was still looking at Adam, and Adam was looking back, but neither said anything. Probably Ronan wanted something from him, but Adam didn’t know what to say. He was a magician, Persephone had said, and his magic was making connections between disparate things. Only now he was too full of white, fuzzy light to make any sort of logical connections. He knew that of all the options in the world, Ronan Lynch was the most difficult version of any of them. He knew that Ronan was not a thing to be experimented with. He knew his mouth still felt warm. He knew he had started his entire time at Aglionby certain that all he wanted to do was get as far away from this state and everything in it as possible. He was pretty sure he had just been Ronan’s first kiss. “I’m gonna go downstairs,” Ronan said.

I reached out my hand, England's rivers turned and flowed the other way... I reached out my hand, my enemies's blood stopt in their veins... I reached out my hand; thought and memory flew out of my enemies' heads like a flock of starlings; My enemies crumpled like empty sacks. I came to them out of mists and rain; I came to them in dreams at midnight; I came to them in a flock of ravens that filled a northern sky at dawn; When they thought themselves safe I came to them in a cry that broke the silence of a winter wood... The rain made a door for me and I went through it; The stones made a throne for me and I sat upon it; Three kingdoms were given to me to be mine forever; England was given to me to be mine forever. The nameless slave wore a silver crown; The nameless slave was a king in a strange country... The weapons that my enemies raised against me are venerated in Hell as holy relics; Plans that my enemies made against me are preserved as holy texts; Blood that I shed upon ancient battlefields is scraped from the stained earth by Hell's sacristans and placed in a vessel of silver and ivory. I gave magic to England, a valuable inheritance But Englishmen have despised my gift Magic shall be written upon the sky by the rain but they shall not be able to read it; Magic shall be written on the faces of the stony hills but their minds shall not be able to contain it; In winter the barren trees shall be a black writing but they shall not understand it... Two magicians shall appear in England... The first shall fear me; the second shall long to behold me; The first shall be governed by thieves and murderers; the second shall conspire at his own destruction; The first shall bury his heart in a dark wood beneath the snow, yet still feel its ache; The second shall see his dearest posession in his enemy's hand... The first shall pass his life alone, he shall be his own gaoler; The second shall tread lonely roads, the storm above his head, seeking a dark tower upon a high hillside... I sit upon a black throne in the shadows but they shall not see me. The rain shall make a door for me and I shall pass through it; The stones shall make a throne for me and I shall sit upon it... The nameless slave shall wear a silver crown The nameless slave shall be a king in a strange country...

He'd been right about the world, but he was wrong about himself. The word was a desert, but he was a magician, and to be a magician was to be a secret spring - a moving oasis. He wasn't desolate, and he wasn't empty. He was full of emotion, full of feelings, bursting with them, and when it came down to it, that's what being a magician was. They weren't ordinary feelings - they weren't the tame, domesticated kind. Magic was wild feelings, the kind that escaped out of you and into the world and changed things. There was a lot of skill to it, and a lot of learning, and a lot of work, but that was where the power began: the power to enchant the world.

There were moments when Lila wondered how the hell she’d gotten here. Which steps—and missteps—she’d taken. A year ago she’d been a thief in another London. A month ago she’d been a pirate, sailing on the open seas. A week ago she’d been a magician in the Essen Tasch. And now she was this.

A large, white, winged horse stands before me, wings outspread and nostrils dilated, she writes.  He tells me that he is here to carry me into the moonlit realms of imagination, dreams, and intuition.  He uses his hooves to strike at the ground of my being, to trigger wellsprings of poetic inspiration and artistic creativity fed by memories of times long since past, memories that often creep into the dream time.  Furthermore, he says the deep unconscious – in the form of a magician’s spell – is calling to me to remember who I have been and who I am destined to be.

Children and babies should be held in the most sacred regard. We feel that they're the most natural and true magicians.

Courage is like magic, courage vanishes crisis.

Magic always happens when you direct your inner powers to the object you want to change.

When Klara plucks a coin from inside someone's ear or turns a ball into a lemon, she hopes not to deceive but to impart a different kind of knowledge, an expanded sense of possibility. The point is not to negate reality, but to peel back its scrim, revealing reality's peculiarities and contradictions. The very best magic tricks, the kind Klara wants to perform, do not subtract from reality. They add.

- Няма друго място като морето, господа. Тези, които цял живот изкарват на сушата, никога няма да го разберат. Морето е първично, понякога е жестоко, друг път - нежно, и никога - предсказуемо.

Houdini, the magician who debunked magic, could not bear to see the great rationalist [Arthur Conan] Doyle enchanted by ghosts and frauds. And so he did what any friend would: He set out to prove spiritualism false and rob his friend Doyle of the only comforting fiction that was keeping him sane. It was the least he could do.

This is the most important lesson you must learn about magic," Miss Ochiba went on. "There are many ways of seeing. Each has an element of truth, but none is the whole truth. If you limit yourselves to one way of seeing, one truth, you will limit your power. You will also place limits on the kinds of spells you can cast, as well as their strength. To be a good magician, you must see in many ways. You must be flexible. You must be willing to learn from different sources. And you must always remember that the truths you see are incomplete.

Everyone has creative potential. Creativity involves using your imagination and inventiveness. Your unique expression of yourself is your creativity...Creativity can be magic when visiting people who are ill.

Magic, at its heart, starts with sacrifice. You have to give up something to get something, and because magic is big, with all that it allows you access to, what you give up has to be big. It has to be meaningful.

Once upon a time there was a young prince who believed in all things but three. He did not believe in princesses, he did not believe in islands, he did not believe in God. His father, the king, told him that such things did not exist. As there were no princesses or islands in his father's domains, and no sign of God, the young prince believed his father. But then, one day, the prince ran away from his palace. He came to the next land. There, to his astonishment, from every coast he saw islands, and on these islands, strange and troubling creatures whom he dared not name. As he was searching for a boat, a man in full evening dress approached him along the shore. Are those real islands?' asked the young prince. Of course they are real islands,' said the man in evening dress. And those strange and troubling creatures?' They are all genuine and authentic princesses.' Then God must exist!' cried the prince. I am God,' replied the man in full evening dress, with a bow. The young prince returned home as quickly as he could. So you are back,' said the father, the king. I have seen islands, I have seen princesses, I have seen God,' said the prince reproachfully. The king was unmoved. Neither real islands, nor real princesses, I have seen God,' said the prince reproachfully. The king was unmoved. Neither real islands, nor real princesses, nor a real God exist.' I saw them!' Tell me how God was dressed.' God was in full evening dress.' Were the sleeves of his coat rolled back?' The prince remembered that they had been. The king smiled. That is the uniform of a magician. You have been deceived.' At this, the prince returned to the next land, and went to the same shore, where once again he came upon the man in full evening dress. My father the king has told me who you are,' said the young prince indignantly. 'You deceived me last time, but not again. Now I know that those are not real islands and real princesses, because you are a magician.' The man on the shore smiled. It is you who are deceived, my boy. In your father's kingdom there are many islands and many princesses. But you are under your father's spell, so you cannot see them.' The prince pensively returned home. When he saw his father, he looked him in the eyes. Father, is it true that you are not a real king, but only a magician?' The king smiled, and rolled back his sleeves. Yes, my son, I am only a magician.' Then the man on the shore was God.' The man on the shore was another magician.' I must know the real truth, the truth beyond magic.' There is no truth beyond magic,' said the king. The prince was full of sadness. He said, 'I will kill myself.' The king by magic caused death to appear. Death stood in the door and beckoned to the prince. The prince shuddered. He remembered the beautiful but unreal islands and the unreal but beautiful princesses. Very well,' he said. 'I can bear it.' You see, my son,' said the king, 'you too now begin to be a magician.

We are the hands and eyes and ears, the sensitive probing feelers through which the emergent, intelligent universe comes to know its own form and purpose. We bring the thunderbolt of meaning and significance to unconscious matter, blank paper, the night sky. We are already divine magicians, already supergods. Why shouldn't we use all our brilliance to leap in as many single bounds as it takes to a world beyond ours, threatened by overpopulation, mass species extinction, environmental degradation, hunger, and exploitation? Superman and his pals would figure a way out of any stupid cul-de-sac we could find ourselves in - and we made Superman, after all. All it takes is that one magic word.

Oh, I believe you. It’s too ridiculous not to be true. It’s just that each time my world gets stranger, I think: Right. We’re at maximum oddness now. At least I know the full extent of it. First, I find out my brother and I are descended from the pharaohs and have magic powers. All right. No problem. Then I find out my dead father has merged his soul with Osiris and Why not? Then my uncle takes over the House of Life and oversees hundreds of magicians around the world. Then my boyfriend turns out to be a hybrid magician boy/immortal god of funerals. And all the while I’m thinking, Of course! Keep calm and carry on! I’ve adjusted! And then you come along on a random Thursday, la-di-da, and say, Oh, by the way, Egyptian gods are just one small part of the cosmic absurdity. We’ve also got the Greeks to worry about! Hooray!

Yet magic is no more the art of employing consciously invisible means to produce visible effects. Will, love, and imagination are magic powers that everyone possesses; and whoever knows how to develop them to their fullest extent is a magician. Magic has but one dogma, namely, that the seen is the measure of the unseen.

But magic, like everything else, follows certain natural laws. Magic needs energy wherever it can find it. If no other source of energy is available, it will take the life force of the magician who created it. That is why every use of magic weakens the magician.

I am, as far as I can tell, about a month behind Lord Byron. In every town we stop at we discover innkeepers, postillions, officials, burghers, potboys, and all kinds and sorts of ladies whose brains still seem somewhat deranged from their brief exposure to his lordship. And though my companions are careful to tell people that I am that dreadful being, an English magician, I am clearly nothing in comparison to an English poet and everywhere I go I enjoy the reputation- quite new to me, I assure you- of the quiet, good Englishman, who makes no noise and is no trouble to any one...

Perhaps I am too tame, too domestic a magician. But how does one work up a little madness? I meet with mad people every day in the street, but I never thought before to wonder how they got mad. Perhaps I should go wandering on lonely moors and barren shores. That is always a popular place for lunatics - in novels and plays at any rate. Perhaps wild England will make me mad.

Was he smart? No, not exceptionally. Instead, he was a genius. His imaginative leaps were instinctive, unexpected, and at times magical. He was, indeed, an example of what the mathematician Mark Kac called a magician genius, someone whose insights come out of the blue and require intuition more than mere mental processing power. Like a pathfinder, he could absorb information, sniff the winds, and sense what lay ahead.

He is quiet and small, he is black From his ears to the tip of his tail; He can creep through the tiniest crack He can walk on the narrowest rail. He can pick any card from a pack, He is equally cunning with dice; He is always deceiving you into believing That he's only hunting for mice. He can play any trick with a cork Or a spoon and a bit of fish-paste; If you look for a knife or a fork And you think it is merely misplaced - You have seen it one moment, and then it is gawn! But you'll find it next week lying out on the lawn. And we all say: OH! Well I never! Was there ever A Cat so clever As Magical Mr. Mistoffelees!

So Oz finally became home; the imagined world became the actual world, as it does for us all, because the truth is that once we have left our childhood places and started out to make our own lives, armed only with what we have and are, we understand that the real secret of the ruby slippers is not that "there's no place like home," but rather that there is no longer such a place as home: except, of course, for the homes we make, or the homes that are made for us, in Oz, which is anywhere and everywhere, except the place from which we began. In the place from which I began, after all, I watched the film from the child's - Dorothy's point of view. I experienced, with her, the frustration of being brushed aside by Uncle Henry and Auntie Em, busy with their dull grown-up counting. Like all adults, they couldn't focus on what was really important to Dorothy: namely, the threat to Toto. I ran away with Dorothy and then ran back. Even the shock of discovering that the Wizard was a humbug was a shock I felt as a child, a shock to the child's faith in adults. Perhaps, too, I felt something deeper, something I couldn't articulate; perhaps some half-formed suspicion about grown-ups was being confirmed. Now, as I look at the movie again, I have become the fallible adult. Now I am a member of the tribe of imperfect parents who cannot listen to their children's voices. I, who no longer have a father, have become a father instead, and now it is my fate to be unable to satisfy the longings of a child. This is the last and most terrible lesson of the film: that there is one final, unexpected rite of passage. In the end, ceasing to be children, we all become magicians without magic, exposed conjurers, with only our simply humanity to get us through. We are the humbugs now.

When People Ask How I’m Doing I want to say, my depression is an angry deity, a jealous god a thirsty shadow that wrings my joy like a dishrag and makes juice out of my smile. I want to say, getting out of bed has become a magic trick. I am probably the worst magician I know. I want to say, this sadness is the only clean shirt I have left and my washing machine has been broken for months, but I’d rather not ruin someone’s day with my tragic honesty so instead I treat my face like a pumpkin. I pretend that it’s Halloween. I carve it into something acceptable. I laugh and I say, “I’m doing alright.

As for Sadie, she didn’t appear interested in strategy. She leaped from puddle to puddle in her combat boots. She hummed to herself, twirled like a little kid and occasionally pulled random things out of her backpack: wax animal figurines, some string, a piece of chalk, a bright yellow bag of candy. She reminded me of someone … Then it occurred to me. She looked like a younger version of Annabeth, but her fidgeting and hyperness reminded me of … well, me. If Annabeth and I ever had a daughter, she might be a lot like Sadie. Whoa. It’s not like I’d never dreamed about kids before. I mean, you date someone for over a year, the idea is going to be in the back of your mind somewhere, right? But still – I’m barely seventeen. I’m not ready to think too seriously about stuff like that. Also, I’m a demigod. On a day-to-day basis, I’m busy just trying to stay alive. Yet, looking at Sadie, I could imagine that someday maybe I’d have a little girl who looked like Annabeth and acted like me – a cute little hellion of a demigod, stomping through puddles and flattening monsters with magic camels.

But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable. If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language. Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts. It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way. You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn. This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.

An illusion has three stages. "First there is the setup, in which the nature of what might be attempted at is hinted at, or suggested, or explained. The apparatus is seen. volunteers from the audience sometimes participate in preparation. As the trick is being setup, the magician will make use of every possible use of misdirection. "The performance is where the magician's lifetime of practice, and his innate skill as a performer, cojoin to produce the magical display. "The third stage is sometimes called the effect, or the prestige, and this is the product of magic. If a rabbit is pulled from a hat, the rabbit, which apparently did not exist before the trick was performed, can be said to be the prestige of that trick.

As he rose to his feet he noticed that he was neither dripping nor panting for breath as anyone would expect after being under water. His clothes were perfectly dry. He was standing by the edge of a small pool—not more than ten feet from side to side in a wood. The trees grew close together and were so leafy that he could get no glimpse of the sky. All the light was green light that came through the leaves: but there must have been a very strong sun overhead, for this green daylight was bright and warm. It was the quietest wood you could possibly imagine. There were no birds, no insects, no animals, and no wind. You could almost feel the trees growing. The pool he had just got out of was not the only pool. There were dozens of others—a pool every few yards as far as his eyes could reach. You could almost feel the trees drinking the water up with their roots. This wood was very much alive.

You mean I'm going to have to do a spell in front of a bunch of toffs?" Kim said, outraged that no one had mentioned this before she had agreed to this come-out. "Yes, exactly", Lady Wendall said serenely. "You and Richard have plenty of time to design something that will reflect your unique background, as well as demonstrating your abilities as a wizard. I am looking forward to seeing what you decide upon." "I could pick everyone's pockets at once with magic, "Kim said, still disgruntled. "That'd 'reflect my unique background', all right".

A surprising fact about the magician Bernard Kornblum, Joe remembered, was that he believed in magic. Not in the so-called magic of candles, pentagrams, and bat wings. Not in the kitchen enchantments of Slavic grandmothers with their herbiaries and parings from the little toe of a blind virgin tied up in a goatskin bag. Not in astrology, theosophy, chiromancy, dowsing rods, séances, weeping statues, werewolves, wonders, or miracles. What bewitched Bernard Kornblum, on the contrary, was the impersonal magic of life, when he read in a magazine about a fish that could disguise itself as any one of seven different varieties of sea bottom, or when he learned from a newsreel that scientists had discovered a dying star that emitted radiation on a wavelength whose value in megacycles approximated π. In the realm of human affairs, this type of enchantment was often, though not always, a sadder business—sometimes beautiful, sometimes cruel. Here its stock-in-trade was ironies, coincidences, and the only true portents: those that revealed themselves, unmistakable and impossible to ignore, in retrospect.

A woman must choose her friends and lovers wisely, for both can become like a bad stepmother and rotten stepsisters. In the case of our lovers, we often invest them with the power of a great Mage - a great magician. This is easy to do , for if we become truly intimate, it dislike unlocking a lead crystal atelier, a magic one, or so it feels to us. A lover can engender and/or destroy even our most durable connections to our own cycle and ideas. The destructive lover must be avoided. A better sort of lover is one finely wrought of strong psychic muscle and tender flesh. For Wild Woman it also helps if the lover is just a bit psychic too, a person who can "see into" her heart.

I know why you did it too. You can't become mortal yourself until you change her back again. Isn't that it? You don't care what happens to her, or to the others, just as long as you become a real magician, even if you change the Bull into a bullfrog, because it's still just a trick when you do it. You don't care about anything but magic, and what kind of magician is that? Schmendrick, I don't feel good. I have to sit down." Schmendrick must have carried her for a time, because she was definitely not walking and his green eyes were ringing in her head. "That's right. Nothing but magic matters to me. I would round up unicorns for Haggard myself if it would heighten my power but half a hair. It's true. I have no preferences and no loyalties. I have only magic." His voice was hard and sad. "Really?" she asked, rocking dreamily in her terror, watching the brightness flowing by. "That's awful." She was very impressed. "Are you really like that?" "No," he said, then or later. "No, it's not true. How could I be like that, and still have all these troubles?" Then he said, "Molly, you have to walk now.

The world was fucking awful. It was a wretched, desolate place, a desert of meaninglessness, a heartless wasteland, where horrific things happened all the time for no reason and nothing good lasted for long. He'd been right about the world, but he was wrong about himself. The world was a desert, but he was a magician, and to be a magician was to be a secret spring - a moving oasis. He wasn't desolate, and he wasn't empty. He was full of emotion, full of feelings, bursting with them, and when it came down to it, that's what being a magician was. They weren't ordinary feelings - they weren't the tame, domesticated kind. Magic was wild feelings, the kind that escaped out of you and into the world and changed things. There was a lot of skill to it, and a lot of learning, and a lot of work, but that was where the power began: the power to enchant the world.

Even the Raven King - who was not a fairy, but an Englishman - had a somewhat regrettable habit of abducting men and women and taking them to live with him in his castle in the Other Lands. Now, had you and I the power to seize by magic any human being that took our fancy and the power to keep that person by our side through all eternity, and had we all the world to chuse from, then I dare say our choice might fall on someone a little more captivating than a member of the Learned Society of York Magicians, but this comforting thought did not occur to the gentlemen inside York Cathedral

It is you who are unpoetical," replied the poet Syme. "If what you say of clerks is true, they can only be as prosaic as your poetry. The rare, strange thing is to hit the mark; the gross, obvious thing is to miss it. We feel it is epical when man with one wild arrow strikes a distant bird. Is it not also epical when man with one wild engine strikes a distant station? Chaos is dull; because in chaos the train might indeed go anywhere, to Baker Street or to Bagdad. But man is a magician, and his whole magic is in this, that he does say Victoria, and lo! it is Victoria. No, take your books of mere poetry and prose; let me read a time table, with tears of pride. Take your Byron, who commemorates the defeats of man; give me Bradshaw, who commemorates his victories. Give me Bradshaw, I say!

Knock it off, you two.’ Annabeth handed her scroll to Sadie. ‘Carter, let’s trade. I’ll try your khopesh ; you try my Yankees cap.’ She tossed him the hat. ‘I’m usually more of a basketball guy, but …’ Carter put on the cap and disappeared. ‘Wow, okay. I’m invisible, aren’t I?’ Sadie applauded. ‘You’ve never looked better, brother dear.’ ‘Very funny.’ ‘If you can sneak up on Setne,’ Annabeth suggested, ‘you might be able to take him by surprise, get the crown away from him.’ ‘But you told us Setne saw right through your invisibility,’ Carter said. ‘That was me ,’ Annabeth said, ‘a Greek using a Greek magic item. For you, maybe it’ll work better – or differently, at least.’ ‘Carter, give it a shot,’ I said. ‘The only thing better than a giant chicken man is a giant invisible chicken man.

Once you familiarize yourself with your tools, you should forget about them. It will only throw you off-balance. In all these ‘rolling shit into little balls’ types who spend hours of time and reams of paper saying nothing, literary masturbators, they concentrate on the vehicle more than what they want to produce. That impedes the end result and defeats the purpose. You must lose consciousness of the medium or mechanics to do the impossible. Like Nijinsky who explained how he gave the impression of hovering in mid-air – ‘I just pause when I get there.’ In a child-like way, real magicians innocently do the simplest thing. The objective is all they think about. I just want to make music the way I hear it. The ends justify the means, and the means become inconsequential.

There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness. The very language about magic seems to be talking as much about writing or art as it is about supernatural events. A grimmoir for example, the book of spells is simply a fancy way of saying grammar. Indeed, to cast a spell, is simply to spell, to manipulate words, to change people's consciousness. And I believe that this is why an artist or writer is the closest thing in the contemporary world that you are likely to see to a Shaman. I believe that all culture must have arisen from cult. Originally, all of the faucets of our culture, whether they be in the arts or sciences were the province of the Shaman. The fact that in present times, this magical power has degenerated to the level of cheap entertainment and manipulation, is, I think a tragedy. At the moment the people who are using Shamanism and magic to shape our culture are advertisers. Rather than try to wake people up, their Shamanism is used as an opiate to tranquilize people, to make people more manipulable. Their magic box of television, and by their magic words, their jingles can cause everyone in the country to be thinking the same words and have the same banal thoughts all at exactly the same moment. In all of magic there is an incredibly large linguistic component. The Bardic tradition of magic would place a bard as being much higher and more fearsome than a magician. A magician might curse you. That might make your hands lay funny or you might have a child born with a club foot. If a Bard were to place not a curse upon you, but a satire, then that could destroy you. If it was a clever satire, it might not just destroy you in the eyes of your associates; it would destroy you in the eyes of your family. It would destroy you in your own eyes. And if it was a finely worded and clever satire that might survive and be remembered for decades, even centuries. Then years after you were dead people still might be reading it and laughing at you and your wretchedness and your absurdity. Writers and people who had command of words were respected and feared as people who manipulated magic. In latter times I think that artists and writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that art and writing are merely forms of entertainment. They’re not seen as transformative forces that can change a human being; that can change a society. They are seen as simple entertainment; things with which we can fill 20 minutes, half an hour, while we’re waiting to die. It’s not the job of the artist to give the audience what the audience wants. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artists. It is the job of artists to give the audience what they need.

The fact that the scientist has succeeded where the magician failed has put such a wide contrast between them in popular thought that the real story of the birth of Science is misunderstood. You will even find people who write about the sixteenth century as if Magic were a medieval survival and Science the new thing that came in to sweep it away. Those who have studied the period know better. There was very little magic in the Middle Ages: the sixteenth and seventeenth centuries are the high noon of magic. The serious magical endeavour and the serious scientific endeavour are twins: one was sickly and died, the other strong and throve. But they were twins. They were born of the same impulse.

He wordlessly crossed the floor and sat beside Adam on the mattress. When he held out his hand, Adam put the model into it. “This old thing,” Ronan said. He turned the front tyre, and again the music played out of it. They sat like that for a few minutes, as Ronan examined the car and turned each wheel to play a different tune. Adam watched how intently Ronan studied the seams, his eyelashes low over his light eyes. Ronan let out a breath, put the model down on the bed beside him, and kissed Adam. Once, when Adam had still lived in the trailer park, he had been pushing the lawn mower around the scraggly side yard when he realized that it was raining a mile away. He could smell it, the earthy scent of rain on dirt, but also the electric, restless smell of ozone. And he could see it: a hazy gray sheet of water blocking his view of the mountains. He could track the line of rain travelling across the vast dry field towards him. It was heavy and dark, and he knew he would get drenched if he stayed outside. It was coming from so far away that he had plenty of time to put the mower away and get under cover. Instead, though, he just stood there and watched it approach. Even at the last minute, as he heard the rain pounding the grass flat, he just stood there. He closed his eyes and let the storm soak him. That was this kiss. They kissed again. Adam felt it in more than his lips. Ronan sat back, his eyes closed, swallowing. Adam watched his chest rise and fall, his eyebrows furrow. He felt as bright and dreamy and imaginary as the light through the window. He did not understand anything. It was a long moment before Ronan opened his eyes, and when he did, his expression was complicated. He stood up. He was still looking at Adam, and Adam was looking back, but neither said anything. Probably Ronan wanted something from him, but Adam didn’t know what to say. He was a magician, Persephone had said, and his magic was making connections between disparate things. Only now he was too full of white, fuzzy light to make any sort of logical connections. He knew that of all the options in the world, Ronan Lynch was the most difficult version of any of them. He knew that Ronan was not a thing to be experimented with. He knew his mouth still felt warm. He knew he had started his entire time at Aglionby certain that all he wanted to do was get as far away from this state and everything in it as possible. He was pretty sure he had just been Ronan’s first kiss.

The basic recurring theme in Hindu mythology is the creation of the world by the self-sacrifice of God—"sacrifice" in the original sense of "making sacred"—whereby God becomes the world which, in the end, becomes again God. This creative activity of the Divine is called lila, the play of God, and the world is seen as the stage of the divine play. Like most of Hindu mythology, the myth of lila has a strong magical flavour. Brahman is the great magician who transforms himself into the world and then performs this feat with his "magic creative power", which is the original meaning of maya in the Rig Veda. The word maya—one of the most important terms in Indian philosophy—has changed its meaning over the centuries. From the might, or power, of the divine actor and magician, it came to signify the psychological state of anybody under the spell of the magic play. As long as we confuse the myriad forms of the divine lila with reality, without perceiving the unity of Brahman underlying all these forms, we are under the spell of maya. (...) In the Hindu view of nature, then, all forms are relative, fluid and ever-changing maya, conjured up by the great magician of the divine play. The world of maya changes continuously, because the divine lila is a rhythmic, dynamic play. The dynamic force of the play is karma, important concept of Indian thought. Karma means "action". It is the active principle of the play, the total universe in action, where everything is dynamically connected with everything else. In the words of the Gita Karma is the force of creation, wherefrom all things have their life.

This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals sails appeared charmed. They blazed red in the day and silver at night, like a magician’s cloak, hinting at mysteries concealed beneath, which Tella planned to uncover that night. Drunken laughter floated above her as Tella delved deeper into the ship’s underbelly in search of Nigel the Fortune-teller. Her first evening on the vessel she’d made the mistake of sleeping, not realizing until the following day that Legend’s performers had switched their waking hours to prepare for the next Caraval. They slumbered in the day and woke after sunset. All Tella had learned her first day aboard La Esmeralda was that Nigel was on the ship, but she had yet to actually see him. The creaking halls beneath decks were like the bridges of Caraval, leading different places at different hours and making it difficult to know who stayed in which room. Tella wondered if Legend had designed it that way, or if it was just the unpredictable nature of magic. She imagined Legend in his top hat, laughing at the question and at the idea that magic had more control than he did. For many, Legend was the definition of magic. When she had first arrived on Isla de los Sueños, Tella suspected everyone could be Legend. Julian had so many secrets that she’d questioned if Legend’s identity was one of them, up until he’d briefly died. Caspar, with his sparkling eyes and rich laugh, had played the role of Legend in the last game, and at times he’d been so convincing Tella wondered if he was actually acting. At first sight, Dante, who was almost too beautiful to be real, looked like the Legend she’d always imagined. Tella could picture Dante’s wide shoulders filling out a black tailcoat while a velvet top hat shadowed his head. But the more Tella thought about Legend, the more she wondered if he even ever wore a top hat. If maybe the symbol was another thing to throw people off. Perhaps Legend was more magic than man and Tella had never met him in the flesh at all. The boat rocked and an actual laugh pierced the quiet. Tella froze. The laughter ceased but the air in the thin corridor shifted. What had smelled of salt and wood and damp turned thick and velvet-sweet. The scent of roses. Tella’s skin prickled; gooseflesh rose on her bare arms. At her feet a puddle of petals formed a seductive trail of red. Tella might not have known Legend’s true name, but she knew he favored red and roses and games. Was this his way of toying with her? Did he know what she was up to? The bumps on her arms crawled up to her neck and into her scalp as her newest pair of slippers crushed the tender petals. If Legend knew what she was after, Tella couldn’t imagine he would guide her in the correct direction, and yet the trail of petals was too tempting to avoid. They led to a door that glowed copper around the edges. She turned the knob. And her world transformed into a garden, a paradise made of blossoming flowers and bewitching romance. The walls were formed of moonlight. The ceiling was made of roses that dripped down toward the table in the center of the room, covered with plates of cakes and candlelight and sparkling honey wine. But none of it was for Tella. It was all for Scarlett. Tella had stumbled into her sister’s love story and it was so romantic it was painful to watch. Scarlett stood across the chamber. Her full ruby gown bloomed brighter than any flowers, and her glowing skin rivaled the moon as she gazed up at Julian. They touched nothing except each other. While Scarlett pressed her lips to Julian’s, his arms wrapped around her as if he’d found the one thing he never wanted to let go of. This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals were as ephemeral as feelings, eventually they would wilt and die, leaving nothing but the thorns.