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Gloye, Eugene E. Archive of Autograph letters on Magic, late 1950s to mid 1960s, document the working methods, technical experimentation, and intellectual framework of a mid twentieth century American magician engaged in both performance and psychological analysis of illusion. Written primarily to fellow magician Don Tanner, these letters provide direct evidence of how tricks were conceived, refined, and communicated within professional networks, revealing the intersection of apparatus design, sleight of hand, and audience perception. Gloye?s dual role as performer and psychologist situates the correspondence within broader developments in performance theory and applied psychology, supporting research into the history of magic, entertainment culture, and the study of deception. Eugene Gloye authored 23 magic books including "For Magicians Only," "Fantastic Tricks with Plastic Cups," and "Theatrical Magic," Archive of sixteen letters spanning approximately the late 1950s through the mid 1960s, containing detailed discussions of trick construction, performance strategy, and experimentation with materials and methods.Throughout the letters, Gloye discusses numerous tricks he devised or refined, often providing detailed explanations of their mechanics and performance nuances. His correspondence reveals a deep engagement with magical apparatus, sleight of hand, and psychological deception. One of the more detailed discussions in the letters revolves around Gloye?s development of Fan-Ta-Cups, which evolved from an earlier trick he had devised, Fan-Ta-Bill. On September 5, 1961, he describes how the trick was born: ?I first got the idea for this cup trick about 14 years ago when I was experimenting with a bill trick which I eventually put on the market. The bill trick also uses a celluloid gimmick and was an adaptation of Liquid Appear. Since I thought of the cup trick at the time of my Fan-Ta-Bill, I decided it was fitting to call it ?Fan-Ta-Cups.?? He further explains that while the idea had been percolating in his mind for years, he hadn?t developed a complete routine for it until recently. Inspired by the classic three-shell game, he worked out a performance structure that he believed would make it more engaging. In a letter from July 11, 1961, Gloye excitedly shares his thoughts on using hollow plastic golf balls for new magic tricks: ?I am convinced that this new golf ball will open up many new trick possibilities. The fact that they come in several colors is also interesting.? This suggests that Gloye was experimenting with different materials for manipulation tricks, possibly related to vanishing or color-changing effects. Gloye also played with magical history, concocting a hoax to see how the magic community would react. In the September 5, 1961 letter, he reveals his plan: ?Last December I got an idea for a variation on the Tip-Over Box. It?s just a slightly different way of building it. At first, I was going to put it in my ?New Look? series but then as we were talking about it, I commented that this trick should have been in Hoffmann. This led to the devilish idea of writing it up in Hoffmann style and publishing it in Genii as a lost page from the original book.? He notes that Bill Larsen and another friend were in on the plan, and they wanted to see if the trick would be accepted as a legitimate discovery. Another standout trick mentioned in the letters is Gloye?s adaptation of Billy McComb?s routine using a flap slate and a force deck. On January 31, 1961, he explains: ?My version (which I tried for the first time several days ago with huge (?) success) uses one deck and a flap slate. The deck is made like a peek deck but with two cards only. All faces are the same, and all concealed cards are the same. Cards which audience sees are trimmed and glued at one end to a second group of 26 duplicates.? This approach ensured that the spectator would believe they had freely chosen a card when, in fact, the outcome was predet.
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