Michael Kras’s new book Synthesis & Secrets seems to have sold like hotcakes. It’s already sold out basically everywhere. But there are a few dozen copies set to be sent out to retailers in October, so it’s not too late to get a copy if you’re on the ball. Given that Michael is (or at one point was) one of our readers, we’re going to return the favor with a review. This is not a sponsored review – we paid full price for this book.

The book is subtitled “A Magic Book in Four Acts,” which is both a reference to the fact that there are four sections to the book and a nod to Michael’s history of work in theater, to which the last part is dedicated. It contains a nice mix of tricks and essays. The four sections are as follows:

1. The Kras Change – An explanation of the Kras Change and the Kras Change-back and a series of eight example tricks that use them.
2. A Debt to Paul Harris – Four original effects inspired by tricks in The Art of Astonishment
3. Assortments – Six completely original effects
4. Essays & Theory – Nine essays inspired by Michael’s time studying and working as an actor and as a magical consultant for stage productions.

On the whole, the book is beautifully bound, beautifully laid out, and a lot of effort was put into the illustrations – certainly more effort than you’ll see from this blog. On the other hand, it’s relatively slim as magic books go – 211 pages including acknowledgments and biography.

I’ll review each section separately.

Part 1: The Kras Change

The Kras Change has been published before this book. It’s a variation handling for the Push-In Change originally published by August Roterberg. While Kras advertises it as “semi-automatic”, like any sleight-of-hand color change, it’s a bit knacky and heavily dependent on the condition of the deck. On the bright side, it’s basically angle-proof. Visually, I’d say it is most similar to Ollie Mealing’s Fries Change, if you’ve seen that one.

The explanation is followed by an explanation for the Kras Change-back, a different method for a color change that is intended to look visually similar to the Kras Change. It requires a lot more preliminary procedure – you can’t just immediately follow the one with the other. However, you may see an alternative handling from me posted here soon that accomplishes the same with much less byplay.

Color changes that are very obviously sleight of hand are a hard sell to accompany certain kinds of card tricks, and I’d say this is one that’s really going to make people think “you’re doing something suspicious or those are trick cards.” However, it’s a worthwhile tool for your toolbox if you have a use case for that kind of card trick.

I can’t say there is anything spectacular going on with the effects provided to illustrate the use of the change. Most of them are just the sort of obvious things you would expect to use a color change for. The one that stood out as taking particular advantage of the specific nature of the change is “Wait, What The Fuck?” in which a card is seen to instantly and visually flip over and then flip over again all while pinned in the middle of the deck. I’m sure you can think of some larger story in which to set such a strange “optical illusion.”

Part 2: A Debt to Paul Harris

There are four effects here.

1. Stranger Exchange: A transposition of a selected card and a borrowed coin inside a card box.
2. Quarter Pounder: Two quarters in the hand transform into a single half dollar.
3. Ripped at the Seam: A piece-by-piece torn and restored card where the card is signed.
4. Flip Switch: A way to transform a signed card half into another by creating an impromptu flap card.

I think the last of these is probably the most original thing in the bunch. The first two are based on routining of common and standard moves and ideas. The third, though very detailed in the explanation with a lot of high quality illustration, should feel very familiar to anyone who has looked at a lot of piece-by-piece card restorations. But the idea of creating a flap on the fly is something that bears learning and playing with. There is surely more that can be done with that idea than the singular effect described here.

Part 3: Assortments

This is the standout section of the book, probably, and that’s mainly owing to three effects that are described within. There are some nice card tricks too, but the ones that really caught my attention are:

1. Signature Coins Across – a Coins Across routine where all the coins are initialed on both sides, so that you can say which coin is going in each phase and show that it has gone. A unique combination of some ideas you’re probably already familiar with. I’m not sure if it comes across as “more impossible” than a standard coins across, but I’m always in favor of making opportunities to allow more interaction and connection with your audience. The only downside is that it only works for an audience of exactly two people.
2. Keith – an ungimmicked way to instantly and visually “throw” a key back onto a keyring. It’s admittedly not angle-proof, but for an unsuspecting audience of one, it could make a great way to liven up an otherwise banal interaction. You could also use it as an example of “how I first learned to do magic” or as something you just do for fun when you think someone’s slyly watching you. But the best thing about it is that is requires nothing that stands out as “something magicians use,” so it makes for a great EDC for off-the-cuff interactions.
3. A Moment Of Weakness – A “light and heavy coin” effect: You can easily slide a coin across the table toward your participant, but they cannot slide it back toward you. I think you can easily see how to build something like this into a larger routine using pseudohypnosis principles. Although the conditions where it can be done are a bit more restricted, it’s right up there with the magnetic fingers in terms of an “I have influence over your mind and body” plot. Plus, it’s always nice to see a highly original use of a gimmick that has been available for a long time.

Part 4: Essays & Theory

I have to say this is the section I was most looking forward to. I love seeing different ideas on theory, and I thought there would be a lot of interesting things for an actor and theatrical consultant to say on the subject of magic. I have to say I was a bit disappointed though, in the sense that several of the essays were aimed more at people who will be working with actors and stage productions rather than at the average magician. That is to say, it was very specific advice for the kind of work Michael has been doing that would be very difficult to apply outside of that setting. That said, if you have just accepted your first job as a magic consultant for the stage, this should probably be considered required reading.

In addition, there are still a couple of essays in here that have some useful theory for a more general audience, such as tips for applying the Alexander Technique to magic practice and performance and some recommendations for acting books that magicians could benefit from. There are also some thoughts on magic from a magician’s perspective that still seem somewhat informed by exposure to theater culture. In other words, while it’s easy to say that you should understand theatrics if you’re going to perform in a theater, if you want an actual program to follow to reach that understanding, you can certainly find some guidance here.

Conclusion:

I’m not going to do anything so trite as to give the book a star rating or try to compare it with every magic book that has been published. That’s not exactly actionable information anyway. I think if you read it, you’ll be getting exactly what you’d expect from the first crowdfunded book of a 31-year-old magician. If any of the above information sounds appealing to you, you’ll probably get your money’s worth. But this review exists just as much for the sake of those of us here at the blog – we might want to write up some new effect ideas using the book’s contents, and having this review here to refer back to makes that a lot easier.

But most of all, we’re hoping to secure Michael as a subscriber for all time without having to offer any sexual favors. Are you there, Michael?