Contact Mind Reading by Dariel Fitzkee

This book, originally published in 1935, was recognized as one of the best works of its time by John Mulholland, the editor of The Sphinx. Contact mind reading, often referred to as ‘muscle reading’, is an incredible skill that closely resembles genuine mind reading. It requires no props, codes, or accomplices, relying instead on the subtle, involuntary cues provided by spectators. This text is considered one of the finest resources on the topic.

Paul Fleming shares his insights:

Despite decades of observing mind reading performances and conducting thought-transference tests, we had never attempted or witnessed the specific mental demonstrations known as “muscle-reading,” which have been a staple among magicians for nearly seventy-five years. However, we are well-acquainted with the techniques developed by pioneers like John Randall Brown, Washington Irving Bishop, and Stuart Cumberland. Their methods, with minor updates, continue to serve the needs of contemporary performers like Franz Polgar, who is currently the most recognized practitioner in this field.

Mr. Fitzkee advocates for the term “contact mindreading,” attributed to C. A. George Newmann, over the traditional “muscle-reading.” He emphasizes that this terminology shift does not alter the fundamental principles involved. The core concept is straightforward, yet its simplicity can make it challenging to convey effectively. Many existing explanations lack the depth necessary for practical application. Fitzkee’s contribution lies in his comprehensive discussion of contact mindreading, elucidating its principles, clarifying misconceptions, and guiding performers on how to foster a conducive mental environment for their subjects. He encourages readers to practice and persist in mastering these techniques.

Beyond outlining the foundational principles of contact mindreading, Fitzkee provides detailed instructions for practical application. He includes a chapter featuring fifteen specific tests, such as locating a concealed knife or ring, identifying the owners of assorted hats, playing a simple melody on the piano, and unraveling a murder mystery. Additionally, he offers a concise yet effective opening speech that can be tailored to suit individual performers.

Contact Mind Reading is a well-crafted booklet, bound in soft covers, containing thirty-five pages of insightful content. While the author acknowledges that success in these subtle techniques is not guaranteed for every reader, he asserts that this booklet serves as an excellent starting point for anyone aspiring to become a contact mind reader. Once mastered, these skills provide a remarkable ability to impress audiences spontaneously, without the need for special equipment or prior preparation. This is a worthy aspiration, and the affordable price of Fitzkee’s booklet makes it a low-risk investment for those interested in the art of mind reading.