Don't Forget to Point - The Flicking Fingers

The Flicking Fingers group of German close-up magicians burst onto the magic scene in 1997 with their lecture at FISM and this hardbound 177-page book has been hailed as one of the best new magic books on the market. Thought-provoking and entertaining to read.

Excerpt From a Review by Michael Close:

"There is a wide variety of material explained, and the technical requirements are varied enough as to appeal to a wide audience. I'll mention some items that I found particularly interesting.

The Close-up chapter begins with a very pretty coin routine by Thomas Fraps in which three half dollars are produced using a pair of tweezers. Rainer Pfeiffer offers a routine called change in which two coins ( a copper and a silver) continually penetrate through a small coin purse. This routine is perfect for walk-around situations. If you have an interest in Cup and Ball routines, be sure to check out " The Fruit Cups", created by Pfeiffer, Manuel Muerte, and Helge Thun. You'll find some interesting approaches here....

Card guys will find much to keep them busy in Chapter Two. Among my favorites: Thun's " Providence '93", in which a selected card visually changes several times and ends up in a folded condition under the magician's watch; Muerte's "It's Shoe Time!", in which a selected card and a wine glass appear in the magician's shoe; and Jörg Alexander's "The Sympathetic Ten" a very clever version of Herbert Milton's Sympathetic Clubs."...

Finally be sure to pay attention to the Theory chapter. There are four excellent essays here, covering a variety of subjects. It is this diversity of areas of expertise that makes The Flicking Fingers such a potent and vibrant creative force. Each member brings to the mix knowledge from fields outside of conjuring. Willich offers suggestions on "Being, Creative with Magic", Fraps discusses "The Blind Spot", an essay on how the eye and the brain process information, Gaston writes on the subject of "How to Act Wrong", and Thun offers methods for dealing with difficult spectators in his essay "Status and Improvisation" ..."