During the height of the Cold War, the Central Intelligence Agency (CIA) employed an American sleight of hand artist, a magician by the name of John Mulholland to provide instruction on illusion and deception as part of the sinister and shadowy MKULTRA program. Two of his texts have survived and been declassified, and are reproduced here, along with a brief history of some of the CIA's spookiest programs.
The history portion; "The Legacy of MKULTRA and the Missing Magic Manuals" will entertain, delight, and provoke conspiracy theorists everywhere. This section touches on operations of the Cold War, formerly classified experimentation, and gadgets from the sublime to ridiculous. It also discusses the long-standing relationship between magicians and intelligence operations going back to WW I. There are some super vignettes about Harry Houdini and his stagecraft in there too.
The first text by Mulholland is mostly about covert (covert; "An operation that is so planned and executed as to conceal the identity of or permit plausible denial by the sponsor.") administration of liquids or pills, and petty theft. The first section, however, is a superb discussion of the mechanics and psychology of sleight of hand, with a special emphasis on dispelling myths.
The second text is about clandestine (clandestine; "An operation sponsored or conducted by governmental departments or agencies in such a way as to assure secrecy or concealment.") signals between operators. Again, this is based on performance magic, like the cues an assistant will give the magician during a mind reading act. Again, worth while reading for aspiring sleight of hand artists.
This book will benefit students of the history of the Cold War, the CIA, and espionage in general, as a novel snapshot of efforts by the US intelligence community between WWII and the fall of the Soviet Union. Folks interested in real-life James Bond tricks and techniques will love this book. Magicians and other practicioners of illusion will find material of interest here from a master of the craft, even though the intent of the effects, the mindset of the audience, and enthusiasm for morally dubious behavior might be pretty icky.
As a historian and amateur illusionist, this was a darkly facinating book.
E. M. Van Court