Mythology

"If I realised the power of magic to worry and terrify people before, then I certainly would have used it before. Everyone freezes before it for different reasons – perhaps because it means madness to them, or because it means opening the door to a whole lot of stuff that the Age of Reason should have firmly bolted the door upon. A lot of concepts that we got rid of a long time ago that would be a bit creepy to have them back."

"I can understand why magicians have such a high insanity rate. We don’t end well, most of us, it has to be said. Paul Daniels might escape the worst effects, but the rest of us are pretty obviously doomed. Once you step over that line, you are in danger from a lot of stuff. Delusion, obviously, being the main thing."

"I see magic as a vantage point from which one can look down on the rest of consciousness. It’s a point outside normal consciousness from which you can look at normal consciousness, it’s a point outside beliefs from which you can look at beliefs. All beliefs are reality tunnels, to use Anton Wilson’s phrase. There is the Communist reality tunnel, the Feminist reality tunnel, all of which seem to be the whole of reality when you are in the middle of them. The whole universe is based on Marxist theory if you’re an intent Marxist. Magic is having a plan of all the tunnels, and seeing the overall condition in which they all work. Being aware of different possibilities."

"The reason I got into magic was that it seemed to be what was lying at the end of the path of writing. If I wanted to continue on that path, I was going to have to get into that territory because I had followed writing as far as I thought I could without taking a step over the edges of rationality. The path led out of rational confines. When you start thinking about art and creativity, rationality is not big enough to contain it all."

"What I would prefer to have is to have a kind of magic where we say, "OK, we’re going to do a magical performance on this night, at this time. You come along, if you don’t think it’s magical, that’s fine. We’ll show you. We’ll show you what we mean, and you judge for yourself." That’s only fair. So a lot of the magic we do tends to gravitate toward the practical end, toward something that is tangible. Where you’ve got a record at the end of it, a performance at the end of it, a painting at the end of it. You’ve conjured some energy, some idea, some information from somewhere and put it in a tangible form. You conjure something into existence in a literal sense. A rabbit out of a hat. Something out of nothing. That’s one level to it, but there’s a lot of background to that. That’s the stuff that people see, that’s the end result of the process. But we also do a lot of ritual work purely on our own."

"The more I look at most of the art movements, it’s all occultism, when you get down to it. The Surrealists were openly talking about being magicians."

"I think there is too much darkness in magic. I can understand that it is part of the theatre. I can understand Aleister Crowley – who I think was a great intellect that was sometimes let down by his own flair for showmanship — but he did a lot to generate the scary aura of the magician that you find these sad, Crowleyite fucks making a fetish of. The ones who say ‘oh we’re into Aleister Crowley because he was the wickedest man in the world, and we’re also into Charles Manson because we’re bad. And we are middle-class as well, but we’re bad’. There are some people who seek evil – I don’t think there is such a thing as evil – but there are people who seek it as a kind of Goth thing. That just adds to the murk to what to me is a very lucid and flourescent subject. What occultism needs is someone to open the window, it’s too stuffy and it smells. Let’s get some fresh air, throw open the curtains – I can’t go for that posturing, spooky guy stuff."

"My hobby is magic. I learned the rudiments with Murry Dickson from a fellow who was at our training camp in St. Petersburg in 1942 and liked it. I help entertain at parties and sometimes on trains."

"Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initiative (and creation), there is one elementary truth the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, the providence moves too. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents, meetings and material assistance, which no man could have dreamt would have come his way. I learned a deep respect for one of Goethe's couplets:"

"I suppose that writers should, in a way, feel flattered by the censorship laws. They show a primitive fear and dread at the fearful magic of print."

"Resident mockery give us an hour for magic"

"So once I got into the chaos magic thing, I started to think well if all I'm doing is triggering a state of mind can I do the same thing with something I know to be unreal? And I would start instead of summoning up Greek gods or Voodoo Loa, I would summon up Metron from the New Gods or HP Lovecraft monsters, or the Cenobites from Clive Barker and get the same thing."

"All the comics are sigils. "Sigil" as a word is out of date. All this magic stuff needs new terminology because it's not what people are being told it is at all. It's not all this wearying symbolic misdirection that's being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world's at a crisis point and it's time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are "special" people with special powers. It's not like that. Everyone does magic all the time in different ways. "Life" plus "significance" = magic."

"Through the history of the modern academic and culture, as we have noted, the definition of "magic" in relation to science and religion has been a major problem. At the root of the problem is the loaded, evaluative of "magic" as false, deceptive, discredited, or morally tainted, contrasted with both science (a correct, enlightened understanding of natural law and causation) and religion (a correct, enlightened understanding of the divine and spirituality). Thus, "magic" is relegated to the "they" side of a "we/they" . This is simultaneously unfair to the materials and practices studied under the heading of "magic," and self-serving for the materials (mainly those we identify as "our own") that are exempted from that label. It perpetuates a complacent ."

"You either have the magic or you don't. There's no way you can work up to it."

"Show me the magic. Come on, show me the magic."

"Sorcery is the sauce fools spoon over failure to hide the flavor of their own incompetence."

"Poetry is a kind of magic in itself: the Latin word carmen means "poem" as well as "magical chant"."

"“Ambition wedded to sloth,” said Molnar. “Let no one say you don’t think like a true magician.”"

"I can do a magic trick with my hand."

"Magic, the blessed curse that gnaws at the soul and leaves a void in the mind into which too much that is alien and deadly can settle."

"I am the consummate scientist, Road-Storm. Science has suffered in having her name applied to mechanics, an ugly step-child of hers. Matter herself is a humiliation to the serious. We cannot make it vanish forever, but can make it seem to. For my purpose that is even better. All matter can be modified as long as it is kept subjective. Let us keep it so. … Those who fail to understand my science may call it magic or hypnotism or deception. But it is only my projection of total subjectivity."

"I am mistress of all the sciences. I go so far beyond all else that my work is called magic. I manipulate noumena, regarding monads as points of entry tangential to hylomorphism. As to the paradox of Primary Essence being contained in Quiddity, the larger in the smaller, I have my own solution. The difficulty is always in not confusing Contingency with Accidence. Do you understand me?" "Sure. You're a witch."

"...Religionists concerned with proving their rationalism and compatibility with science often make efforts to separate their religions from anything magical, while many pro science atheist thinkers charge that any distinction between religion and magic is flimsy at the best. ..."

"Magic makes for a slippery concept. Like "gender," "race," or any other term that can be picked apart as a social construction—which of course means all of our terms, every attempt at producing order through language and classification—the word "magic" does not simply express a straightforward, self-evident reality, but rather creative reimagining on the part of everyone who uses it. Magic's meaning is continually shaped and reshaped by changes in our knowledge, values, and prejudices. Scholars writing about magic today, when confronted with the matter of definitions, often chose to simply admit the incoherence and uselessness of the topic and then move forward with their projects."

"Books are a uniquely portable magic."

"Newton was not the first of the age of reason. He was the last of the magicians, the last of the Babylonians and Sumerians, the last great mind that looked out on the visible and intellectual world with the same eyes as those who began to build our intellectual inheritance rather less than 10 000 years ago."

"What I always wanted to be was a magician... My real upbringing when I was a teenager was doing magic shows, all over the state, with my father and brothers. Doing magic, you not only have to be able to do a trick, you have to have a little story line to go with it. And writing is essentially a trick."

"It is entirely conceivable that life’s splendour forever lies in wait about each one of us in all its fullness, but veiled from view, deep down, invisible, far off. It is there, though, not hostile, not reluctant, not deaf. If you summon it by the right word, by its right name, it will come. This is the essence of magic, which does not create but summons."

"In science, as well as in other fields of human endeavor, there are two kinds of geniuses: the “ordinary” and the “magicians.” An ordinary genius is a fellow that you and I would be just as good as, if we were only many times better. There is no mystery as to how his mind works. Once we understand what he has done, we feel certain that we, too, could have done it. It is different with the magicians. They are, to use mathematical jargon, in the orthogonal complement of where we are and the working of their minds is for all intents and purposes incomprehensible. Even after we understand what they have done, the process by which they have done it is completely dark. They seldom, if ever, have students because they cannot be emulated and it must be terribly frustrating for a brilliant young mind to cope with the mysterious ways in which the magician’s mind works. Richard Feynman is a magician of the highest caliber. Hans Bethe, whom Dyson considers to be his teacher, is an “ordinary genius”; so much so that one may gain the erroneous impression that he is not a genius at all. But it was Feynman, only slightly older than Dyson, who captured the young man's imagination."

"All energy is the same, through its different states and names. Movement creates heat which is also light that waves like sound which tightens or loosens the atomic bonds of crystal as they hum with strong and weak forces. In mirroring resonance with all of this is magic, the radiant emission of life and death."

"Boerab did not commit the usual mistake of allowing magic to explain the commonplace. Instead he erred in using the commonplace to explain magic. Thus far, Boerab was immeasurably far ahead."

"We talk about "mere matters of words" in a tone which implies that we regard words as things beneath the notice of a serious-minded person. This is a most unfortunate attitude. For the fact is that words play an enormous part in our lives and are therefore deserving of the closest study. The old idea that words possess magical powers is false; but its falsity is the distortion of a very important truth. Words do have a magical effect — but not in the way that magicians supposed, and not on the objects they were trying to influence. Words are magical in the way they affect the minds of those who use them. "A mere matter of words," we say contemptuously, forgetting that words have power to mould men's thinking, to canalize their feeling, to direct their willing and acting. Conduct and character are largely determined by the nature of the words we currently use to discuss ourselves and the world around us."

"“Then how is it done?” “By magic, I suppose. How else?” “That is a foolish and flippant answer,” he said. “‘Oh, it's magic,’ is not a handy solution to every mystery. I am not the child.”"

"[M]agic can't operate without a magician, and being a magician can beat a man to his knees."

"Poetry is a form of magic for me."

"I have not drawn a very rosy picture of the magician. I did not intend to do so. To the novice entering the life and promising himself ease, indolence, and wealth, I should say, "Don't!""

"No one regards the magician today as other than an ordinary man gifted with no extraordinary powers. The spectators come, not to be impressed with awe, but fully aware that his causes and effects are natural. They come rather as a guessing committee, to spy out the methods with which he mystifies. Hundreds of eyes are upon him. Men with more knowledge of the sciences than he come to trip and expose him, and to baffle their scrutiny is the study of his life. Long years of training and exercise alone will not make a magician. … There must be some natural aptitude for the art; it must be born in a man, and can never be acquired by rule. He must be alert both in body and in mind; cool and calculating to the movement of a muscle under all circumstances; a close student of men and human nature. To these qualifications he must add the rather incongruous quality of a mind turning on contradictions. With a scientific cause he must produce a seemingly opposite effect to that warranted by order and system. I know of no life requiring such a series of opposite qualities as the magician's. And after the exercise of all these qualities I have named, resulting in the production of the most startling and novel results, the magician has not the satisfaction, like other men, of the enjoyment of his own product. He must be prepared to see it copied by others, or after a short time discovered by the public."

"The magician depends for the success of his art upon the credulity of the people. Whatever mystifies, excites curiosity; whatever in turn baffles this curiosity, works the marvelous. Of course human ignorance is no longer a source of profit to the magician, as it was in the days of the diviner, the oracle, and the soothsayer. Few believe nowadays that the magician claims any supernatural aid. I will scarcely be believed, therefore, when I tell my readers that in a few cities in Italy and Spain in which I have performed hundreds came to see me as a curiosity, impressed with the belief that for the power he gave me I had made a compact with the devil for the delivery of my soul. In these cities I have seen people reverently cross themselves when I was passing…"

"A so-called magician, more than a poet, must be born with a peculiar aptitude for the calling. He must first of all possess a mind of contrarieties, quick to grasp the possibilities of seemingly producing the most opposite effects from the most natural causes. He must be original and quick-witted, never to be taken unawares. He must possess, in no small degree, a knowledge of the exact sciences, and he must spend a lifetime in practice, for in the profession its emoluments come very slowly. All this is discouraging enough, but this is not all. The magician must expect the exposure of his tricks sooner or later, and see what it has required long months of study and time to perfect dissolved in an hour. The very best illusions of the best magicians of a few years ago are now the common property of traveling showmen at country fairs. I might instance the mirror illusions of Houdin; the cabinet trick of the Davenport Brothers, and the second sight of Heller — all the baffling puzzles of the days in which the respective magicians mentioned lived. All this is not a pleasant prospective picture for the aspirant for the honors of the magician."

"There are three schools of magic. One: State a tautology, then ring the changes on its corollaries; that’s philosophy. Two: Record many facts. Try to see a pattern. Then make a wrong guess at the next fact; that’s science. Three: Awareness that you live in a malevolent universe controlled by Murphy’s Law, sometimes offset in part by Brewster’s Factor: that’s engineering."

"One man's "magic" is another man's engineering. "Supernatural" is a null word."

"I would be disappointed if everything I saw turned out to be something Western Electric will build once Bell Labs works the bugs out. There ought to be some magic, somewhere, just for flavor."

"Magic is not science, it is a collection of ways to do things — ways that work but often we don't know why."

"There is a certain magic or charm in company, for it will assimilate, and make you like to them; by much conversation,, with them, if they be good company, it is a great means to make you good, or confirm you in goodness; but if they be bad it is twenty to one but they will infect and corrupt you; and therefore you must have a special care in the choice of your company…"

"We need a little more compassion, and if we cannot have it then no politician or even a magician can save the planet."

"Think of the magic of that foot, comparatively small, upon which your whole weight rests. It's a miracle, and the dance is a celebration of that miracle."

"A book — a well-composed book — is a magic carpet on which we are wafted to a world that we cannot enter in any other way. Yet, in another sense, all true works of fiction have their scenes laid in the same country, and the events take place in the same climate: that country, that climate which we all long for and in our several ways strive to reach — the region where truth is eternal and man immortal and flowers never fade."

"If you choose magic you will never be able to return to the life you once lived. Your world may be more … exciting … but it will also be more dangerous. Less reliable. And once you begin to walk the path of magic, you can never step off of it. Or you can choose the path of science, of rationality. Live in a normal world. Die a normal death. Less exciting, undoubtedly. But safer. … It is your choice Timothy. Always and forever your choice."

"Where magic is concerned, there is always an initial decision, an initial willingness to let it enter your life. If that is not there neither is magic."