Conley's book, Magic Archetypes: The Art Behind the Science of Conjuring, is a delightful, but somewhat difficult, book to review. It's easy to dismiss the book at first glance, it consists of just over 100 pages of old drawings and interesting typography, and really there aren't very many words in the book because several pages consisting of nothing but images. It covers no tricks, no gaffes, and not a single sleight. Yet, its one of the most magical books I've ever read for it does contain several secrets; secrets which are hundreds of years old and largely overlooked by modern magicians. But like most things worth knowing, these secrets will only reveal themselves to the open minded and thoughtful reader.

Still with me? Then you might be the kind of magician who will enjoy this book. If you're already familiar with the magical archetypes of the Trickster, Sorcerer, Oracle, and Sage; as discussed in Mystery School, then you'll immediately find this book a worthwhile companion volume.

If this is your first encounter with archetypical magic, or archetypes in general, Conley provides a well-written and gentle introduction to the concept of these enduring, and meaningful, models. Don't feel that you need to be a Jungian psychologist to understand the meanings and theory behind them, they'll probably resonate with you right away, which is really the point behind it all.

The images presented in the book are hundreds of years old, with most originating in the 1600s, but some much older than that. Conley provides each with an evocative title and a quote that speaks to what he imagines the image might suggest. For example, page 18 has a 16th century engraving of a "horn of plenty" held upright by heavenly hands. Conley offers these accompanying words "Brimming Over: The magician produces an abundance. The cornucopia promises freedom from want." There are scores of other possible interpretations, of course, and the reader is encouraged to discover their own. The author provides helpful suggestions for doing so near the back of the book, which allows you to read it once borrowing his imagination, and then again (and again) with your own.

Here's a personal example that might give you a feel for the types of discoveries that can reveal themselves when you study this book. The cornucopia image and accompanying text described earlier stirred up memories of when I used to perform the Square Circle at birthday party shows. I used it as a way to magically introduce some props that I would use later in the show--a couple of scarves and a piece of rope--but Conley's observation about abundance and "freedom from want" now leads me to imagine another approach. Instead of producing everything at once, returning to the Square Circle to acquire just the right prop, exactly when it was needed, might have been a stronger approach. Additionally, the items I was producing were satisfying only my desires, could I have elevated the power of this piece by also producing items of interest to the birthday child or the audience as a whole? Interesting questions, and those just from a single item in a book whose every page is filled with untapped potential.

If all that seems too "out there" for you, then at a more tangible level you can appreciate the meticulous research that it took to put this volume together, complete with citations for each image and quote. You can also enjoy the appendix with re-creates Jeff McBride's Abracadazzle show using imagery from the book, and demonstrates how, indeed, these old engravings are relevant in the 21st century.

I'm giving this five stars for its fine production, its uniqueness, and because I can't imagine how it might be improved. Ultimately, as a book with liberal doses of art, science, and philosophy its worth will be a subjective judgment. But if it speaks to you, there is much to be heard.