![]() ![]() An explanation of "Walking Through a Brick Wall" seems more prurient than useful, for example, intended to deflate his subject or inflate the author's expertise, rather than to fairly enlighten the reader. This seems a reasonable choice, but the author is not always consistent. Thus the occasional reference to a sliding panel or the like might be accompanied by the remark that "Houdini's rare blend of strength, skill, and courage was what made it possible for him to perform the trick." ![]() From time to time he makes mention of a method, but this seems intended not to lower the reader's estimation of Houdini's abilities but rather to perhaps raise them, or to at least place them in context that is, to establish that he was clever and uniquely talented, but that he was human just the same. Cox's case, he seems to have embraced a middle path. After all, presidents have their secrets too, but eventually, biographers hope to unearth them. This was certainly a legitimate and effective option, but it is far from the only or even obvious choice, especially for a biographer who is not a magician. Ken Silverman, himself amateur magician, made a clear-cut choice in Houdini to reveal no methods whatsoever. ![]() One interesting aspect of this book is the author's chosen approach to secrets and methods. It will be frustrating to some, however, that while a bibliography is included, the work is not foot-noted and specific source materials are not cited. There are stories of Houdini's patriotism and charity efforts after the outbreak of the First World War that are of interest. A bit more information seems to see the light of day concerning Houdini's illicit affair with Chairman London, first revealed in the Silverman biography. Serious students may want to read this, even if your junior high school years are far behind you, as you might discover some derails not explored elsewhere. There are some interesting photos from the Library of Congress and other collections that have not been widely seen, and quotations drawn from letters that seem to come from primary sources and so do not produce the sense of rehash that is so typical of most Houdini biographical efforts. The author is obviously a competent researcher, and while Ken Silverman's Houdini has obviously been drawn from as a resource, primary sources have also been sought out. And quite a good book it is, a welcome bit of refreshing sorbet with which to cleanse your palate if the last Houdini work you read possessed the bitter if empty taste of William Rauscher's Houdini Code Mystery.Īlthough geared for younger audiences my guess would be roughly junior-high age I found the book quite enjoyable, and while a quick read, it didn't feel "dumbed down" or foolish. ![]() This time we have a young people's book published by Scholastic Press and written by award-winning author Clinton Cox, who has previously written four books for Scholastic along with other teenage-targeted histories and biographies. Sarah Bernhardt and Harry Lauder and Al Jolson and Bing Crosby and Martin & Lewis were all superstars in their time, not unlike Madonna and Michael Jackson today, but most of these and others like them have already melted down in the wax museum of pop culture consciousness, and a century from now the icon who remains standing tallest might yet turn out to be our very own Harry unless of course it turns out to be Elvis. Only time perhaps another century will tell if that actually turns out to be true, but chances are looking better all the time. Gee, he must have been a great promoter, huh? Or do you think, maybe, now, finally do you think there's something more to it? Do you think that maybe there are substantial reasons why Houdini may turn out to be the greatest superstar in or out of magic of the 20th century? Reviewed by Jamy Ian Swiss (originally published in Genii May, 2002) ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |