before pausing to challenge us to indicate which of the cards was the Queen. The workmen had slower eyes than mine; they spotted the card rather less often than I did (although I was wrong more often than I was right).
Afterwards, I said to Noonan, 'How do you do that? Will you show me?'
At first he tried to fob me off with talk of idle hands, but I persisted. 'I want to know how you do it!' I cried. 'The Queen is placed in the middle of the three, but you move the cards only twice and she is not where I think she is! What's the secret?'
So one lunchtime, instead of trying to fleece the other men, he took me to a quiet corner of the shed and showed me how to manipulate the three cards so that the hand deceived the eye. The Queen and another card were gripped lightly between the thumb and middle finger of the left hand, one above the other; the third card was held in the right hand. When the cards were placed he moved his hands crosswise, brushing his fingertips on the surface and pausing briefly, so suggesting the Queen was being put down first. In fact, it was almost invariably one of the other cards that slipped quietly down before her. This is the classic trick whose correct name is Three Card Monte.
When I had grasped the idea of that, Noonan showed me several other techniques. He taught me how to palm a card in the hand, how to shuffle the deck deceptively so that the order remained undisturbed, how to cut the pack to bring a certain chosen card to the top or bottom of the hand, how to offer a fan of cards to someone and force him to choose one particular card. He went through all this in a casual way, showing off rather than showing, probably not realizing the rapt attention with which I was taking it in. When he had finished his demonstration I tried the false dealing technique with the Queen, but the cards scattered all about. I tried again. Then again. And on and on, long after Noonan himself had lost interest and wandered away. By the evening of the first day, alone in my bedroom, I had mastered Three Card Monte, and was setting to work on the other techniques I had briefly seen.
One day, his painting work completed, Noonan left the yard and went out of my life. I never saw him again. He left behind him an impressionable adolescent boy with a compulsion. I intended to rest at nothing until I had mastered the art that I now knew (from a book I urgently borrowed from the lending library) was called Legerdemain.
Legerdemain, sleight of hand, prestidigitation, became the dominant interest of my life.
The next three years saw parallel developments in my life. For one thing I was an adolescent growing rapidly into a man. For another, my father was quick to realize that I had an appreciable skill as a woodworker, and that the comparatively coarse demands of the wheelwright's work were not making the best use of me. Finally, I was learning how to make magic with my hands.
These three parts of my life wove around each other like strands in a rope. Both my father and I needed to make a living, so much of the work I did in the yard continued to be with the barrels, axles and wheels that made up the main part of the business, but when he was able to, either he or one of his foremen would instruct me in the finer craft of cabinet-making. My father planned a future for me in his business. If I proved as adept as he thought, he would at the end of my apprenticeship set me up with a furniture workshop of my own, allowing me to develop it as I saw fit. He would eventually join me there when he retired from the yard. In this, some of his frustrations in life were laid plain before me. My carpentry skill reawakened memories of his own youthful ambitions.
Meanwhile, my other skill, the one I saw as my real one, was developing apace. Every possible moment of my spare time was devoted to practising the conjurer's art. In particular, I learnt and tried to master all the known tricks of playing-card manipulation. I saw sleight of hand as the foundation of all magic, just as the tonic scale lies at the foundation of the most complex symphony. It was difficult obtaining reference works on the subject, but books on magic do exist and the diligent researcher can find them. Night after night, in my chilly room above the arch, I stood before a full-length mirror and practised palming and forcing, shuffling cards and spreading them, passing and fanning them, discovering different ways of cutting and feinting. I learnt the art of misdirection, in which the magician trades on the audience's everyday experience to confound their senses — the metal birdcage that looks too rigid to collapse, the ball that seems too large to be concealed in a sleeve, the sword whose tempered steel blade could never, surely?, be pliant. I quickly amassed a repertoire of such legerdemain skills, applying myself to each one of them until I had it right, then re-applying myself until I had mastered it, then re- applying myself once again until I was perfect at it. I never ceased practising.
The strength and dexterity of my hands was the key to this.
Now, briefly, I break off from the writing of this to consider my hands. I lay down my pen to hold them before me again, turning them in the light from the mantle, trying to see them not in the so familiar way that I see them every day, but as I imagine a stranger might. Eight long and slender fingers, two sturdy thumbs, nails trimmed to an exact length, not an artist's hands, nor a labourer’s, nor those of a surgeon, but the hands of a carpenter turned prestidigitator. When I turn them so that the palms face me, I see pale, almost transparent skin, with darker roughened patches between the joints of the fingers. The balls of the thumbs are rounded, but when I tense my muscles hard ridges form across the palms. Now I reverse them and see the fine skin again, with a dusting of blond hairs. Women are intrigued by my hands, and a few say they love them.
Every day, even now in my maturity, I exercise my hands. They are strong enough to burst a sealed rubber tennis ball. I can bend steel nails between my fingers, and if I slam the heel of my hand against hardwood, the hardwood splinters. Yet the same hand can lightly suspend a farthing by its edge between my third and fourth fingertips, while the rest of the hand manipulates apparatus, or writes on a blackboard, or holds the arm of a volunteer from the audience, and it can retain the coin there through all this before sliding it dexterously to where it might seem magically to appear.
My left hand bears a small scar, a reminder of the time in my youth when I learnt the true value of my hands. I already knew, from every time that I practised with a pack of cards, or a coin, or a fine silk scarf, or with any one of the conjurer's props I was slowly amassing, that the human hand was a delicate instrument, fine and strong and sensitive. But carpentry was hard on my hands, an unpleasant fact I discovered one morning in the yard. A moment's lost attention while shaping a felloe, a careless movement with a chisel, and I cut a deep slash in my left hand. I remember standing there in disbelief, my fingers tensed like the talons of a claw, while dark-red blood welled out of the gash and ran thickly down my wrist and arm. The older men I was working with that day were used to dealing with such injuries, and knew what to do; a tourniquet was rapidly applied, and a cart readied for the dash to hospital. For two weeks afterwards my hand was bandaged. It was not the blood, not the pain, not the inconvenience; it was the dread that when the cut itself healed my hand would be found to have been
I took it as a warning, though. My legerdemain was then only a hobby. I had never performed for anyone, not even, like Robert Noonan, for the entertainment of the men I worked with. All my magic was practice magic, executed in dumb show before the tall mirror. But it was a consuming hobby, a passion, even, yes, the beginning of an obsession. I could not allow an injury to put it in jeopardy!
That gashed hand was therefore another turning point, because it established the paramountcy of my life. Before it happened I was a trainee wheelwright with an engrossing pastime, but afterwards I was a young magician who would allow nothing to stand in his way. It was more important to me that I should be able to palm a hidden card, or deftly reach for a concealed billiard ball inside a felt-lined bag, or secretly slip a borrowed five- pound note into a prepared orange, trivial though these matters might seem, than that I might one day again hurt one of my hands while making a wheel for the cart of a publican.
I said nothing of this to me! What is it? How far is it to be taken? I must write no more until I know!
So, now we have spoken, it is agreed I may continue? Here it is again, on that understanding. I may write what I see fit, while I may add to it as I see fit. I planned nothing to which I would not agree, only to write a great deal more of it before I read it. I apologize if I think I was deceiving me, and meant no harm.
I have read it through several times, & I think I understand what I am driving at. It was only the surprise that made me react the way I did. Now I am calmer I find it acceptable so far.
But much is missing! I think I must write about the meeting with John Henry Anderson next, because it was through him I gained my introduction to the Maskelynes.
