Missing Almost Every Thing

A follow up to the sold out Often Rarely That Simple, Missing Almost Every Thing is a curated collection of rare card sleights built into beautiful, practical and fooling magic routines. The starting point was the question: "What are the strongest tricks in card magic, and can we gather —or create— the best handlings for these plots?" Written in London during a long-running series of book club meetings between magicians Alexander Hansford, George Hage, Andrew Frost and Ross Tayler. We collectively read and discussed rare and famous card magic books dating back to the late 19th Century, deciphering the best handlings and facets from our favourite plots in all of card magic. MISSING ALMOST EVERY THING offers Alexander Hansford's handlings for these plots.  Additional input for the material in this book has been provided by Guy Hollingworth, Justin Higham, Bradley Hodgins and Denis Behr. “Alex is a modern great. The material here ain’t easy, but good Lord, He’s spectacular.” — Derren Brown. The starting point for MISSING ALMOST EVERY THING was a series of book-club meetings we set up in London, amongst a small group of close friends. George Hage, Andrew Frost, Ross Tayler, and, on occasion, Marc Kerstein. And Alex Hansford. These are magicians Alex looks up to and is inspired by daily. And me. Together, they asked: “What are our favourite plots in all of card magic?” MISSING ALMOST EVERY THING presents Alex's handlings for his all-time favourite card tricks. Where OFTEN RARELY THAT SIMPLE offered routines with a deep focus on the sleights and controls involved, MISSING ALMOST EVERY THING brings together 9 full routines, focusing on the effect itself, with attendant alternate handlings depending on the situation. Inspired by conversations with Andrew Frost, Arthur Chavaudret, Yann Frisch, David Blaine, and furthered by chats in our book-club meet-ups, my focus these past years has shifted to more performance-based thought, and how to best highlight what the actual effect of a trick is to an audience, bringing attention to the strongest parts of a routine and shadow to the sleight-y parts. As with OFTEN RARELY, every piece in this book is accomplished by sleight of hand and a deck of cards. There are no gimmicks or duplicates, no need for stooges or accomplices. The material includes a mix of hands-off, relaxed routines alongside other visual and technically more complex routines. On the whole, the material here is a little easier than OFTEN RARELY, ranging from intermediate up to more challenging.