Written by the master magician himself, this fascinating work reveals the secrets behind how Houdini escaped numerous death-defying stunts and exposed a variety of fake spiritualists. He also gives instructions for 44 eye-catching stage tricks, as well as other fascinating material. 155 illustrations.

Posters, photography, and objects from the height of Spiritualism and the history of magic gain renewed power when seen through today’s lens. The human desire to connect with the dead since the mid-19th century gave rise to a fascination with the supernatural and the magical. Mediums and magicians from Harry Houdini, Margery the Medium, Howard Thurston, and the Fox Sisters offered “communication” with the departed at séances and magic shows, two interrelated forms of popular culture that relied heavily on illusions and stagecraft. This is the first illustrated volume to gather the art and objects that made medium and magician performances iconic during the Spiritualism movement and beyond, a time when people actively debated and wondered, "can spirits return?" An international selection of paintings, photographs, posters, stage apparatuses, film, publications, and other objects reveal how audiences were entranced and mystified by these experiential performances, captivating willing believers and garnering skeptics as they navigated the intersecting realms of science and spirituality. From the origins of the iconic Oujia board to spirit photography, this book is a treasure trove.

The volumes in this set, originally published between 1974 and 1992, draw together research by leading academics in spiritualism, and provide a rigorous examination of related key issues. The collection examines spirituality from a broad range of disciplines, from the spirituality in the Christian church, spirituality in Africa, and Afro-American religions, as well as examining the areas of channeling, mediumship and spirit possession. In this 3-volume set, there are two incredibly unique and insightful bibliographic source collections, examining both primary and secondary source listings across the subject of spiritualism and one volume providing field research into spirituality in the Christian church and in the occult. This collection is an incredibly useful tool for researchers examining the broad area of spiritualism and will be of interest to researchers, academics and students of anthropology, religion and sociology.

Originally published in 1992, Channeling is a comprehensive bibliography on the subject of channeling. The book defines channeling as any message received or conveyed from transcendent entities and covers material on the history of channeling, those that have claimed to transcend death, contact with UFOs and contemporary channeling groups. The book acts as a research guide and seeks to outline the historical roots of channeling, explaining its major teachings and considers its significance as a spiritual movement. It provides sources from books, booklets, articles, and ephemeral material and offers a comprehensive list of both primary and secondary materials related to channeling, the bibliography takes the most diverse and useful sources of the time. This volume although published almost 30 years ago, still provides a unique and insightful collection for academics of religion, in particular those researching spiritualism and the occult.

"In this powerful and brutally honest book, Keene exposes the secrets of the séance room, including ghostly apparitions, floating trumpets, 'spirit sex, ' and other tricks used by mediums to exploit believers."--Cover.

Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. Photography and Doubt reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism? Edited by Sabine T. Kriebel and Andrés Mario Zervigón, Photography and Doubt is the first multi-authored collection specifically designed to explore these questions. Its 13 original essays, illustrated with 73 color images, explore cases when the link between the photographic image and its referent was placed under stress, and when photography was as attuned to its myth-making capabilities as to its claims to authenticity. Photography and Doubt will serve as a valuable resource for students and scholars in art history, visual and media studies, philosophy, and the history of science and technology.