1st edition 1932

Neo-Magic serves as the cornerstone of Sharpe’s literary contributions to the world of magic. In this insightful work, Sharpe delves into the essence of what makes magic truly enchanting. He begins with an examination of art and its connection to magic, articulating what he believes is necessary for magic to be regarded as a fine art. Topics such as originality, presentation styles, program design, and overcoming stage fright are thoroughly explored.

From the preface of the second edition:

Over many years, I have sought to determine whether the question “Is conjuring a Fine Art?” can be answered with a simple “Yes” or “No.” I have concluded that neither response is adequate; the question itself is flawed. It should be reframed as: “Can conjuring (or any subject) be considered a Fine Art?” The answer hinges on whether the practitioner embodies the qualities of a Fine Artist. Fine Art cannot exist in isolation; each piece must be evaluated individually, and the viewer’s perception is shaped by personal reactions. What may appear as a trivial work to one observer could represent the artist’s highest pursuit of beauty, while a piece that captivates another may have been a mere commercial effort for its creator. Ultimately, it all depends on one’s spiritual growth.

• PREFACE TO THE SECOND EDITION
• ACKNOWLEDGEMENT
• ODE TO A MAGICIAN
• INTRODUCTION
• CHAPTER I. CONJURING AS A FINE ART
  • I. The Nature of Art
  • II. The Nature of Conjuring
  • III. Critical Objections to Conjuring as an Art
  • IV. Showmanship
  • V. Order of Merit of Conjuring Effects
  • VI. Popularity
• CHAPTER II. GRADES OF ART
  • I. False Art
  • II. Formal Art
  • III. Naturalistic Art
  • IV. Imaginative Art
  • V. Absolute or Abstract Conjuring
• CHAPTER III. THE ORIGINATOR
  • I. Conjurers Classified
  • II. Originality
  • III. Systematic Invention of Formal Effects
  • IV. Forms of Assistance
  • V. Analysis of Magical Plots
  • VI. New Dramatic Plots
  • VII. Copyright
• CHAPTER IV. PATTER
  • I. Types of Patter
  • II. Narrative Patter
  • III. Composition of Patter
  • IV. Making Magic Convincing
  • V. Complication and Climax
  • VI. Tragedy and Farce
  • VII. Comedy in Conjuring
• CHAPTER V. THE CONJURER
  • I. The Inventor and Manufacturer
  • II. The Executive Conjurer
  • III. Desirable Qualities in a Conjurer
  • IV. Mastering the Craft
• CHAPTER VI. PRODUCTION
  • I. Necessity of a Producer
  • II. Advertising
  • III. Styles of Presentation
  • IV. The Magical Sketch
  • V. Logic
  • VI. Consistency
  • VII. Unfounded Suspicion
  • VIII. On Leaving the Stage
  • IX. Dramatic Types
  • X. Preparing Against a Contretemps
• CHAPTER VII. PRODUCTION (continued)
  • I. Audiences
  • II. Choice of Apparatus
  • III. More About Audiences
  • IV. Order of Effects
  • V. Surprise, Repetition and Transition
  • VI. Holding Attention
  • VII. Separate Item vs. Sequenced Programme
  • VIII. Pattern Programmes
  • IX. Incidentals
• CHAPTER VIII. PRODUCTION (continued)
  • I. Interest
  • II. Stage Fright
  • III. Emotional Appeal
  • IV. Scene
  • V. Schools of Conjuring
  • VI. The Legitimate Use of Apparatus
• CHAPTER IX. PRODUCTION (continued)
  • I. Action
  • II. Sound
  • III. Music
• CHAPTER X. THE CRITIC
  • I. Constructive Criticism
  • II. Objects of Criticism
  • III. Exposure
  • IV. Magic and Music
  • V. Exposing Minor Effects
  • VI. Exposing Sleight of Hand and Stage Magic
  • VII. Immunity of the Artist
  • VIII. Better Conjuring
  • IX. Mediums of Exposure
  • X. Conclusion