an essay on free magic

• Terciel and Elinor
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AN ESSAY ON FREE MAGIC

(a manuscript fragment from the great library of the clayr).

When the Charter was made, most of the Free magic within the Kingdom was taken up and used in that creation. Many powers, entities and forces were unraveled and refashioned in part or whole into the Charter, some willingly, but many simply because they could not resist the strength of the Seven.

However, not all Free magic was constrained and used in the making of the Charter. Much of the inchoate power existed outside the bounds established by the Seven, and later intruded; some entities were strong or cunning enough to remain at liberty and keep themselves separate; and there were cases of only partial surrender to the Charter, with some relict remaining. In addition, Death itself is a realm of Free magic, both a repository of power and a place of refuge where many Free magic entities hid from the making of the Charter.

In the immediate aftermath of the making of the Charter there were tens of thousands of remnant powers, entities and artifacts of Free magic still within the Kingdom. Over the next three or four hundred years the majority of these were destroyed, transformed, subsumed, banished or imprisoned by the descendants of the Seven who bore some part of their powers: the Wallmakers (whose Charter stones had a primary role to play), the Abhorsens, the Royal family and the Clayr.

However, despite all efforts, much Free magic remained and has been constantly reinforced by both entities and unformed power coming in from Death, and creatures and artifacts from the Great Rift to the north. It has been estimated there are still thousands of entities and other Free magic things within the Kingdom, the self-willed and self-aware ones in particular biding their time, waiting their opportunity to assert themselves.

For one characteristic all Free magic entities share with the primal nature of the magic itself is to resist any constraint or direction, unless it be overpoweringly strong. Only the truly strong-willed can wield Free magic, because Free magic entities constantly seek to be in command of their own destinies, rather than be commanded.

Free magic thus can only be used at great risk. The raw stuff of Free magic will always turn against anyone who seeks to use it, and the Free magic entities that often have to be enlisted as intermediaries to access that power are in a state of constant near-rebellion, seeking some loophole to escape their bonds and overcome their master or mistress. Paradoxically, the most successful long-term users of Free magic are often Charter mages, and in particular the Abhorsens. While the two magics are antithetical, Free magic always seeking to escape the Charter, and the Charter always seeking to bind Free magic, it is possible to find a balance where both can be used, though Charter magic must be in the position of greater strength. The Abhorsens, strong in Charter magic, use it to trammel and hedge some small amount of Free magic so that it can be more safely used. This is essential to their arts, Death being a place where Free magic holds greater sway than Charter magic, which is strongest in Life.

To many others, Free magic has a great attraction because it does not require devotion and surrender to the Charter, and the dedicated learning and discipline that wielding Charter magic requires. If a source of Free Magic can be found -- either in an entity or some other repository of power -- and successfully bent to the sorcerer's will, then the sorcerer can do almost anything by simply commanding the magic to carry out their desires.

Unfortunately for human sorcerers, not only is there a constant struggle to master the Free magic, the very nature of it is also detrimental to human flesh, blood and bone. However, even this does not typically dissuade the most power-hungry. If their will is strong enough, they can fashion a new body composed of Free magic, construct a body of some more impervious substance, or take over and inhabit someone else's body, though this too will corrode in time. Among the more famous examples of a Free magic sorcerer being overtaken by a creature they sought to use is the case of the man or woman known as the Great Shaman, who came from the far north in the reign of –

(The manuscript ends here. Annotated with "This appears to be by the same author as our incomplete edition of "Reflections of a Retired Spice Merchant and Sometime Mage", held in the open biographical collection of the second spiral. Cross-referenced in Finds should more turn up.")

An Essay on Free Magic

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An Essay on Free Magic is a short text released on the Old Kingdom Website and included in the Australian edition of Clariel: The Lost Abhorsen (Allen & Unwin (Australia), 2014). [1] It was possibly intended as a teaser for the upcoming novel Clariel .

Plot Summary [ ]

This is an extract from a text written by the same author as "Reflections of a Retired Spice Merchant and Sometime Mage" (most likely a reference to the spice merchant mentioned by the Elder of Nestowe in Sabriel ) found in the Second Spiral of the Great Library of the Clayr .

(list of new information mentioned -> please integrate in the other articles )

• Free Magic entities hid in Death (a Free Magic realm itself) from the making of the Charter .
• After the making of the Charter, thousands of Free Magic entities remained, but over the next 300-400 years most were bound or destroyed ( Charter Stones and Wallmakers played an important role here.
• Odd powers trying to help Free Magic come from the Great Rift in the north.
• Free Magic only submits to those stronger than it - it is free-willed, always seeking to escape its bonds.
• Free Magic corrupts human flesh, so users can make new bodies from stronger materials or take over other humans and use their bodies.
• EDIT: After re-reading both stories, I can confirm that there is no mention or reference to the "Great Shaman" in To Hold the Bridge . The antagonist in To Hold the Bridge is an unnamed male necromancer (revealed when the story states, " His Dead bashed once more at the door..."). The appearance of this necromancer was not described or revealed, aside from his gender identity. Since it is confirmed to be a male necromancer, the theory that it is Clariel has been disproven.

Sources [ ]

• ↑ http://www.isfdb.org/cgi-bin/title.cgi?1778194

An Essay on Free Magic: A Manuscript Fragment from the Great Library of the Clayr

32 pages, ebook

First published October 1, 2014

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An Essay on Magic

Favorite Quote: "It does not do to dwell on dreams and forget to live."

~Magic~ Magic is something that everyone has heard of, yet not everyone believes it exists. Magic is everywhere; It may disguise itself in all sorts of different ways, like in the presence of a book series that becomes a phenomenon, or a movie that takes you to a different world while you're still sitting in your seat; But it exists just the same. One of the most popular types of magic in this day and age is movie magic. Movie magic is the art of creating things for the big screen, that will take it's viewers though a whole new experience without ever having to leave their chair. The most popular aspect of movie magic is called "visual effects." Visual effects are objects created by computer generated software that are designed to take movie goers deeper into the film industry than ever before. One highly successful movie series that uses visual effects in just about every aspect of the storyline, is the Harry Potter series. In these movies, you get a chance to take flight with a fire breathing dragon, come face to face with a vicious werewolf, speak to a talking hat, and even soar through the air on an enchanted broomstick; All though the use of visual effects. Another type of movie magic, is a director's ability to bring written words to life. Movies which are based on popular books seem to be the most best-selling tickets at the box office, because many people want to see how their favorite characters have evolved from page to screen. The first Harry Potter movie was released on November 14th, 2001, introducing the actors and actress who would soon be known as the "Harry Potter trio." Daniel Radcliffe, Rupert Grint, and Emma Watson have been the main stars of each of the six Harry Potter films that have been released so far. Through the years, fans have literally grown up with the three, just like they have grown up with the series. For many, seeing Harry Potter get turned into a movie is like real magic, because they never imagined they would be able to see him in person, instead of just seeing him in their minds when they read about him. Harry Potter is the biggest worldwide phenomenon that has existed for more than 10 years. The books and movies have been translated into more than 65 languages, and are sold in over 200 different countries. (Wikipedia.com). British author J.K. Rowling first got the idea for Harry Potter in 1990, while she was on board a train going into London. "I was looking out the window, when I suddenly started thinking about wizarding children who go to a magical school on a train," Rowling says when asked about the day that the idea for Harry Potter came to her. (Hilary.com - Interview with J.K. Rowling). The author says that she began writing the first book in the series, Philosophers Stone that same evening; the night Harry Potter was born. It took J.K. Rowling five years to finish writing her first novel, and then another two years to get it published: "It took my agent, Christopher, a year to find a publisher. Many of them turned it down. Then finally in August of 1996, Christopher called to let me know that he had an offer from Bloomsbury. I couldn't believe my ears. After I hung up, I screamed and jumped into the air. My daughter Jessica, who was sitting in her high chair, enjoying her tea, looked thoroughly scared. And the rest as you may guess, is history." (J.K. Rowling) The rest was indeed history. Through the 13 years that the Harry Potter books have been in print, over 600 million copies have sold; making the series the most popular books in history. Even though the final book in the series was published almost three years ago, the magic of Harry Potter is still going strong. The latest magical event that Potter fans have to look forward to, is a theme park titled "The Wizarding World of Harry Potter" which is an entire park designed to make it's visitors feel like they've literally just fallen into one on the books. Visitors to the park get to experience the village of Hogsmeade (a place from the Harry Potter books), by going into the unique shops to buy a flying broomstick, and restaurants to have a taste of butterbeer. The park also features a ginormous replica of Hogwarts castle, which can also be explored by guests. Inside the castle, there is a ride that features many visual effects, including holograms, talking portraits, and sound effects from the movie that seem to come from nowhere. Park creators describe the theme park simply as "Magic brought to life!" (Universal Park Designer, Thierry Coup). In this day and age, Harry Potter is the most famous magician around, but many don't know that before Harry went to Hogwarts, their was another famous wizard that had to find his way through magic; His name, was Merlin. The BBC television show titled Merlin, is set in the time around the sixth century, telling the story of the young Merlin as he learns how to control his magical abilities while living in Camelot working as a servant for Prince Arthur. When Merlin first discovers his magical abilities, he leaves his home village of Ealdor to live and work with Gaius, an alchemist in Camelot. Gaius gives a home to Merlin, becoming a sort of father figure to him as he helps him to learn about his abilities. The only problem they face however, is the fact that all sorcery is forbidden in the city of Camelot, so they must practice in secret whilst learning about the mysteries of the city. Much like Harry, Merlin has a destiny about him that he must fulfill before his lifetime ends. A prophecy was given to him by the imprisoned dragon under the kingdom, which stated that Merlin must protect Price Arthur at all costs, so that one day his reign as King will come, and sorcery can be returned to Camelot. Merlin is an adventurous show that is filled with humor, romance, darkness, and of course, magic. Although both Harry Potter and Merlin are very alike in many ways, they're also very different as well. Harry Potter is known for using his magical abilities to defend himself against his enemies and to help others, sometimes a little too much. Merlin on the other hand, although he uses his powers to save Prince Arthur in almost every episode of the series, he often uses them for humorous tasks such as making chores do themselves when he doesn't have enough time, or making items float around when people have their back turned. Another difference between the two wizards is the way they administer their powers. Harry Potter uses a wooden wand that literally chose him; A wand that consists of magical artifacts spun together by magic, to use his powers. Merlin however doesn't use a wand, he simply holds out his hand while he says an incantation, and with eyes glinted gold, his spell is complete. Merlin and Harry Potter are both fictional tales of magic set in different time periods; Making their stories differ from each other, but also showing the resemblances they partake in. Despite the diversity of the two stories, they are both based on the same concept. Magic. Although the majority of magic most heard about is through tales found in storybooks and movies, everyday magic is a concept that more people can relate to. Everyday magic can range anywhere from the slight of hand tricks that magicians preform in front of live audiences, to the simple things that nature brings in Springtime. This range of magic is the widest of them all, because so many people have different views on what magic really is. Magician's work is considered magic because it leaves people perplexed and full of wonder. Audience members are in full awe after a trick is done, and they can't help but marvel how it was done. Many people consider nature to be magic because of how things seem to happen overnight, such as leaves changing from green to gold in the Fall, and flowers bursting into bloom in the Spring. Magic appeals to people all over the world because it offers an escape from reality; One can simply chose to believe in it with no stings attached. When a person reads a tale of magic such as Harry Potter, they can leave their world behind by dropping into one where almost anything is possible; For a few short hours, everything is perfect. The only downfall of that however, is that eventually the story will come to an end, and everyone will have to come back to reality, where things aren't always so perfect. Even if you don't realize it, magic has had an impact on your life in one form or another; Even if you don't believe in it, it's there nonetheless. Bibliography Rowling, J. K. Harry Potter Series. New York: Scholastic. 1998-2007. Print. Merlin. David Moore, James Hawes. Colin Morgan, Bradley James, Angel Coulby. Shine Limited, BBC One. 2007-2010 http://www.bbc.co.uk/merlin/ NA. Wikipedia.com "Harry Potter." April 15th, 2010 http://en.wikipedia.org/wiki/Harry_Potter Heather Riccio. Interview with Author J.K. Rowling. Hilary.com. n.d. April 15th, 2010. http://www.hilary.com/career/harrypotter.html NA. Universalorlando.com n.d. April 16th, 2010 http://www.universalorlando.com/harrypotter/

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The Timeless Magic of the Book in the Age of Technology: Hermann Hesse on Why We Read and Always Will

By maria popova.

I recently decided to teach myself to write with my left hand. This unorthodox pastime was sparked in part by rereading the vintage treasure Essays for the Left Hand by the pioneering Harvard psychologist Jerome Bruner, one of the loveliest and most underappreciated books written in the twentieth century. Since it was National Poetry Month, every day for the month of April I wrote out a poem a day with my left hand.

Beyond the tangible satisfaction of mastery painstakingly acquired, the endeavor had one unexpected and rather magical effect — it opened some strange and wonderful conduit through space and time, connecting me to the version of myself who was first learning to read and write as a child in Bulgaria. Generally lacking early childhood memories, I was suddenly electrified by a vividness of being, a vibrantly alive memory of the child’s pride and joy felt in those formative feats of the written word, of wresting boundless universes of meaning from pages filled with lines of squiggly characters.

Somehow, as we grow up and learn to read, the thrill of mastery hardens into habit and we let the magical slip into the mundane. We come to take this wondrous ability for granted.

No one has restored the transcendence of the written word more beautifully than Nobel-winning German-born Swiss writer and painter Hermann Hesse (July 2, 1877–August 9, 1962) in a sublime 1930 essay titled “The Magic of the Book,” found in his posthumously published treasure trove My Belief: Essays on Life and Art ( public library ).

Hesse writes:

Among the many worlds that man did not receive as a gift from nature but created out of his own mind, the world of books is the greatest… Without the word, without the writing of books, there is no history, there is no concept of humanity. And if anyone wants to try to enclose in a small space, in a single house or a single room, the history of the human spirit and to make it his own, he can only do this in the form of a collection of books.

The question of what books do and what they are for is, of course, and abiding one. For Kafka, books were “the axe for the frozen sea within us” ; for Carl Sagan, “proof that humans are capable of working magic” ; for James Baldwin, a way to change our destiny ; for Neil Gaiman, the vehicle for the deepest human truths ; for Polish Nobel laureate Wisława Szymborska, our ultimate frontier of freedom . Falling closest to Galileo, who saw reading as a way of having superhuman powers , Hesse considers the historical role of the written word:

With all peoples the word and writing are holy and magical; naming and writing were originally magical operations, magical conquests of nature through the spirit, and everywhere the gift of writing was thought to be of divine origin. With most peoples, writing and reading were secret and holy arts reserved for the priesthood alone. […] Today all this is apparently completely changed. Today, so it seems, the world of writing and of the intellect is open to everyone… Today, so it seems, being able to read and write is little more than being able to breathe… Writing and the book have apparently been divested of every special dignity, every enchantment, every magic… From a liberal, democratic point of view, this is progress and is accepted as a matter of course; from other points of view, however, it is a devaluation and vulgarization of the spirit.

And yet Hesse offers an optimistic counterpoint to the techno-dystopian narratives that have continued to spell out the death of the book in the almost-century since his essay. Writing just a few years after Virginia Woolf’s spirited admonition against the evils of cinema , Hesse argues that new media forms — radio and film then, the internet now — pose no threat to the book, for the book is singular in its spiritual value to human life:

We need not fear a future elimination of the book. On the contrary, the more that certain needs for entertainment and education are satisfied through other inventions, the more the book will win back in dignity and authority. For even the most childish intoxication with progress will soon be forced to recognize that writing and books have a function that is eternal. It will become evident that formulation in words and the handing on of these formulations through writing are not only important aids but actually the only means by which humanity can have a history and a continuing consciousness of itself.

In a remarkably prescient passage, he adds:

We have not quite reached the point where younger rivals like radio, film, and so forth have taken everything away from the printed book, but only that part of its function which is dispensable. […] What the crowd does not yet suspect and will perhaps not discover for a long time has already begun to be decided among creators themselves: the fundamental distinction between the media through which an artistic goal is attempted. When this divorce is final, to be sure, there will still be sloppy novels and trashy films, whose creators are unstable talents, freebooters in areas in which they lack competence. But to the clarification of concepts and the relief of literature and her present rivals this separation will contribute much. Then the cinema will be no more able to damage literature than, for example, photography has hurt painting.

What lends the book this unshakable stability, Hesse argues, is precisely its magical character — a character immutable and irreplaceable however much our media might change. He writes:

The laws of the spirit change just as little as those of nature and it is equally impossible to “discard” them. Priesthoods and astrologers’ guilds can be dissolved or deprived of their privileges. Discoveries or poetic inventions that formerly were secret possessions of the few can be made accessible to the many, who can even be forced to learn about these treasures. But all this goes on at the most superficial level and in reality nothing in the world of the spirit has changed since Luther translated the Bible and Gutenberg invented the printing press. The whole magic is still there, and the spirit is still the secret of a small hierarchically organized band of privileged persons, only now the band has become anonymous.

In a tremendously poignant sentiment that illustrates today’s culture-making, culture-breaking difference between artists and writers, on the one hand, and “content-creators” on the other — that is, presaging our vacant contentification of cultural material — Hesse adds:

Leadership has slipped out from the hands of priests and scholars to some place where it can no longer be called to account and made responsible, where, however, it can no longer legitimatize itself or appeal to any authority. For that stratum of writers and intellectuals which seems from time to time to lead because it shapes public opinion or at least supplies the slogans of the day — that stratum is not identical with the creative stratum.

That creative stratum, he argues, consists of timeless works that continue to enchant the public imagination decades or centuries or millennia after their creation, be they the ancient Eastern philosophies newly embraced by the West or the works of Nietzsche, “unanimously rejected by his people, after fulfilling his mission for a few dozen minds, became several decades too late a favorite author whose books could not be printed fast enough.” Hesse uses the word “poet” in that largest James Baldwian sense and in the very act of reaching us from beyond the finitude of his own lifetime, he stands as a testament to his own point:

We can observe every day how completely marvelous and like fairy tales are the histories of books, how at one moment they have the greatest enchantment and then again the gift of becoming invisible. Poets live and die, known by few or none, and we see their work after their death, often decades after their death, suddenly rise resplendent from the grave as though time did not exist.

And what they give us upon rising is precisely that magic of the book, so perennial and inextinguishable, yet so easily forgotten and taken for granted:

If today the ability to read is everyone’s portion, still only a few notice what a powerful talisman has thus been put into their hands. The child proud of his youthful knowledge of the alphabet first achieves for himself the reading of a verse or a saying, then the reading of a first little story, a fairy tale, and while those who have not been called seem to apply their reading ability to news reports or to the business sections of their newspapers, there are a few who remain constantly bewitched by the strange miracle of letters and words (which once, to be sure, were an enchantment and magic formula to everyone). From these few come the readers. They discover as children the few poems and stories … and instead of turning their backs on these things after acquiring the ability to read they press forward into the realm of books and discover step by step how vast, how various and blessed this world is! At first they took this world for a little child’s pretty garden with a tulip bed and a little fish pond; now the garden becomes a park, it becomes a landscape, a section of the earth, the world, it becomes Paradise and the Ivory Coast, it entices with constantly new enchantments, blooms in ever-new colors. And what yesterday appeared to be a garden or a park or a jungle, today or tomorrow is recognized as a temple, a temple with a thousand halls and courtyards in which the spirit of all nations and times is present, constantly waiting for reawakening, ever ready to recognize the many-voiced multiplicity of its phenomena as a unity. And for every true reader this endless world of books looks different, everyone seeks and recognizes himself in it… A thousand ways lead through the jungle to a thousand goals, and no goal is the final one; with each step new expanses open.

Half a century before Bob Dylan asserted that “the world don’t need any more songs [because] there’s enough songs for people to listen to, if they want to listen to songs,” Hesse makes the same point — a point with which, as any regular reader would know, I very much agree — about books:

Every true reader could, even if not one new book were published, spend decades and centuries studying on, fighting on, continuing to rejoice in the treasure of those already at hand.

What lends reading its ultimate magic, Hesse asserts, is that this vast body of the written word is at once immensely varied and reducible to the simplest, most universal human truths:

The great and mysterious thing about this reading experience is this: the more discriminatingly, the more sensitively, and the more associatively we learn to read, the more clearly we see every thought and every poem in its uniqueness, its individuality, in its precise limitations and see that all beauty, all charm depend on this individuality and uniqueness — at the same time we come to realize ever more clearly how all these hundred thousand voices of nations strive toward the same goals, call upon the same gods by different names, dream the same wishes, suffer the same sorrows. Out of the thousandfold fabric of countless languages and books of several thousand years, in ecstatic instants there stares at the reader a marvelously noble and transcendent chimera: the countenance of humanity, charmed into unity from a thousand contradictory features.

My Belief remains a boundless treasure of Hesse’s genius, aglow with his luminous wisdom on everything from art to happiness to old age to the legacies of creative titans like Goethe, Dostoyevsky, Walt Whitman, Hans Christian Andersen, D.H. Lawrence, and Carl Jung. Complement it with Hesse’s beautiful correspondence with Thomas Mann , E.B. White on the future of reading , and Neil Gaiman on why we read and tell stories .

— Published June 7, 2016 — https://www.themarginalian.org/2016/06/07/the-magic-of-the-book-hermann-hesse-my-belief/ —

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Sanderson’s First Law

Introduction

I like magic systems. That’s probably evident to those of you who have read my work. A solid, interesting and innovative system of magic in a book is something that really appeals to me. True, characters are what make a story narratively powerful—but magic is a large part of what makes the fantasy genre distinctive.

For a while now, I’ve been working on various theories regarding magic systems. There’s a lot to consider here. As a writer, I want a system that is fun to write. As a reader, I want something that is something fun to read. As a storyteller, I want a setting element that is narratively sound and which offers room for mystery and discovery. A good magic system should both visually appealing and should work to enhance the mood of a story. It should facilitate the narrative, and provide a source of conflict.

I’d like to approach the concept of magic in several different essays, each detailing one of the ‘laws’ I’ve developed to explain what I think makes good magic systems. As always, these are just my thoughts. Though I call them laws, they’re nothing more than simple guidelines that have worked for me. Just like it’s sometimes good to violate rules of grammar, authors can violate my theories and still have good books. However, I do think that by following these, you can work to develop more potent and memorable magic in your books.

Sanderson’s First Law of Magics: An author’s ability to solve conflict with magic is DIRECTLY PROPORTIONAL to how well the reader understands said magic.

When I applied to be on the programming of my very first Worldcon (following my sale of Elantris, but before the book was actually released) I saw that they were doing a “How does the magic work?” panel. I eagerly indicated that I’d very much like to be a part of it, and to my delight, the committee put me on it.

It was my very first panel at the convention. I arrived somewhat bleary-eyed after an extended flight from Utah to Boston, but managed to find my way up to the front of the room, notes prepared, ideas prepared, sharpened, and ready to be unsheathed. I sat on the end of the table, and so was the first to speak when the moderator asked “All right, let’s begin with the simple question. How should magic work?”

I said something I took as a GIVEN. After all, I’d read it in Orson Scott Card’s writing book (I highly recommend the chapter on magic) and had used it as a rule of thumb for some time. It was the thing that I assumed was the first law of magic systems.

“Well,” I said. “Obviously magic has to have rules.”

And every other person on the panel disagreed with me violently. “If you have lots of rules and boundaries for your magic,” they explained, “then you lose your sense of wonder! Fantasy is all about wonder! You can’t restrict yourself, or your imagination, by making your magic have rules!”

I was dumbfounded. Suddenly, I realized that most of the reading I’d done on the subject had been produced by a segment of the population who liked a particular kind of magic. However, there appeared to be another complete school of thought on the matter. I struggled to defend myself for the rest of the panel, and left thinking that everyone else there must have really weak magic systems in their books.

Then, I thought about it for a while. Can’t someone have a good story that does things differently from the way I do it? Can’t you have magic without explaining lots of rules and laws for their magic? Tolkien didn’t really explain his magic.

Yet, if the stories don’t have rules and laws for their magic, don’t they risk Deus Ex Machina (contrived endings) in their books? From the beginnings of the fantasy genre, its biggest criticism has been that it has no consistency. John Campbell, one of the most influential and important editors in the history of science fiction, once argued:

The major distinction between fantasy and science fiction is, simply, that science fiction uses one, or a very, very few new postulates, and develops the rigidly consistent logical consequences of these limited postulates. Fantasy makes its rules as it goes along . . . The basic nature of fantasy is “The only rule is, make up a new rule any time you need one!” The basic rule of science fiction is “Set up a basic proposition—then develop its consistent, logical consequences.”

I disagree with this soundly—but in Mr. Campbell’s defense, fantasy has come a long way since the sixties (when he wrote that in Analog.) Fantasy doesn’t have to be about stories where the authors simply make up whatever they need. Still, I think that it is a criticism we fantasy writers need to be aware of and wary regarding. If we simply let ourselves develop new rules every time our characters are in danger, we will end up creating fiction that is not only unfulfilling and unexciting, but just plain bad.

And so I began to develop my first law as a way to include magic systems that don’t follow very strict rules, but which also don’t undermine their plots. Let me state my law again: An author’s ability to solve conflict with magic is directly proportional to how well the reader understands said magic.

This leaves room for those who want to preserve the sense of wonder in their books. I see a continuum, or a scale, measuring how authors use their magic. On one side of the continuum, we have books where the magic is included in order to establish a sense of wonder and give the setting a fantastical feel. Books that focus on this use of magic tend to want to indicate that men are a small, small part of the eternal and mystical workings of the universe. This gives the reader a sense of tension as they’re never certain what dangers—or wonders—the characters will encounter. Indeed, the characters themselves never truly know what can happen and what can’t.

I call this a “Soft Magic” system, and it has a long, established tradition in fantasy. I would argue that Tolkien himself is on this side of the continuum. In his books, you rarely understand the capabilities of Wizards and their ilk. You, instead, spend your time identifying with the hobbits, who feel that they’ve been thrown into something much larger, and more dangerous, than themselves. By holding back laws and rules of magic, Tolkien makes us feel that this world is vast, and that there are unimaginable powers surging and moving beyond our sight.

However, there is something you have to understand about writing on this side of the continuum. The really good writers of soft magic systems very, very rarely use their magic to solve problems in their books. Magic creates problems, then people solve those problems on their own without much magic. (George R. R. Martin’s “A Song of Fire and Ice” uses this paradigm quite effectively.)

There is a reason that Gandalf doesn’t just fly Frodo to Mount Doom with magic, then let him drop the ring in. Narratively, that just doesn’t work with the magic system. We don’t know what it can do, and so if the writer uses it to solve a lot of problems, then the tension in the novel ends up feeling weak. The magic undermines the plot instead enhancing it.

So, if you want to write soft magic systems, I suggest you hold yourself to NOT letting your magic solve problems for your characters. If the characters try to use the magic, it shouldn’t do what they expect it to—as the reader doesn’t know what to expect either. Use the magic for visuals and for ambiance, but not for plot. (Unless it’s there to screw up things for the characters. That’s always okay.)

On the other side of the continuum, we have hard magic. This is the side where the authors explicitly describes the rules of magic. This is done so that the reader can have the fun of feeling like they themselves are part of the magic, and so that the author can show clever twists and turns in the way the magic works. The magic itself is a character, and by showing off its laws and rules, the author is able to provide twists, worldbuilding, and characterization.

If the reader understands how the magic works, then you can use the magic (or, rather, the characters using the magic) to solve problems. In this case, it’s not the magic mystically making everything better. Instead, it’s the characters’ wit and experience that solves the problems. Magic becomes another tool—and, like any other tool, its careful application can enhance the character and the plot.

I would place Isaac Asimov on this side of the continuum. It’s a bit irregular of me to use a man who, from essays I’ve read, was generally disapproving of the fantasy genre. (Asimov argued that fantasy was about dumb people—men with swords—killing smart people in the form of wizards.)

However, I think Isaac’s robot stories are a perfect example of a Hard Magic system. In his robot stories, Asimov outlines three distinct laws, then never adds any more and never violates those laws. From the interplay of those three laws, he gave us dozens of excellent stories and ideas.

Note that by calling something “Hard Magic” I’m not implying that it has to follow laws of science, or even that there have to be explanations of WHY people can use this magic. All I’m talking about is the reader’s understanding of what the magic can DO. Take superheroes, for instance. You may be tempted to assume that superhero magic is a “Soft” magic system. After all, the powers are often ridiculous with reasons for existing that defy any kind of logic or science. (IE: “I got bit by a radioactive spider, then gained the powers of a spider!”)

However, superhero systems are very much Hard Magic systems. Remember, we’re looking at this as writers, not as scientists. Narratively, superhero magic tends to be rather specific and explicit. (Depending on the story.) We generally know exactly which powers Spider-man has and what they do. He 1) Can Sense danger 2) has superhuman strength and endurance 3) Can shoot webs from his hands and 4) Can cling to walls. While in the comics, he does sometimes gain other strange powers (making the system softer), he does generally stick to these abilities in the movies.

Therefore, we’re not surprised when Spider-man shoots a web in a bad guy’s face. We’ve established that he can do that, and it makes sense to us when he does it. It is narratively a Hard Magic system, rather than a Soft Magic system.

The Middle Ground

Most writers are somewhere in the middle between these two extremes. A good example of what I consider to be near the center point would be Rowling’s Harry Potter books. Each of these books outlines various rules, laws, and ideas for the magic of the world. And, in that given book, those laws are rarely violated, and often they are important to the workings of the book’s climax. However, if you look at the setting as a whole, you don’t really ever understand the capabilities of magic. She adds new rules as she adds books, expanding the system, sometimes running into contradictions and conveniently forgetting abilities the characters had in previous novels. These lapses aren’t important to the story, and each single book is generally cohesive.

I think she balances this rather well, actually. In specifics, her magic is hard. In the big picture, her magic is soft. That allows her to use magic as points of conflict resolution, yet maintain a strong sense of wonder in the novels.

I consider my own magic systems to be perhaps 80% hard, maybe a bit more. My own paradigm is to develop a complicated magic system which can be explained as simply as possible, but which has a lot of background and ‘behind the scenes’ rules. Many of these workings don’t get explained in the books, particularly at the first. The characters have some good understanding of the magic, but they rarely understand its complete form. This is partially because I treat my magics like sciences, and I don’t believe that we will ever completely understand all of the laws of science. Partially, also, I do this so that I can have discoveries and revelations in the novels. I like mystery more than I like mysticism.

So, following this, we have my own Mistborn series. In them, I outline many rules of the magic, then offer up a few unexplained exceptions or inconsistencies which I proceed to explain in further books. The interplay of how the different laws of magic work is vital to understanding major plot points.

How To Use This

If you’re a writer working on your fantasy magic systems, I suggest that you decide what kind of feel you want for your magic. Do you like the techno-magic like you find in my books, or in books by L.E. Modesitt Jr. and Melanie Rawn? Do you like the hybrids like you find in someone more like David Eddings or J.K. Rowling? Or, do you prefer your magic to be more vague and mysterious, like you see in Tolkien or the George R. R. Martin books? I like to read works by all of these authors, but when I write, I prefer to have rules, costs, and laws to work with in my magic, and that makes it more fun for me.

What is the most interesting to you when writing? What feel or mood seems the best match for the particular book you’re working on? (I’ve done mostly hard magic, but my kid’s series has a slightly softer—perhaps 50/50—magic system. I did this intentionally, both because of the wacky nature of the books, and because I wanted to enhance the feel of the character being thrown into a strange world he didn’t understand.)

Resist the urge to use magic to solve problems unless you’ve already explained and shown that aspect of how the magic works. Don’t give the heroes a new power whenever they need one, and be very careful about writing laws into your system just so that you can use them in a single particular situation. (This can make your magic seem flimsy and convenient, even if you HAVE outlined its abilities earlier.)

If you’re writing a hard magic system, when your character run into a problem, ask yourself “How could the characters use what they already have and know to solve this conflict?” Then, make them use what they have, instead of giving them something more. This will make the story more interesting, force your characters to stretch, and provide more fun for the reader.

If you’re writing a soft magic system, ask yourself “How can they solve this without magic?” or even better, “How can using the magic to TRY to solve the problem here really just make things worse.” (An example of this: The fellowship relies on Gandalf to save them from the Balrog. Result: Gandalf is gone for the rest of that book.)

Most of all, experiment and find out what you enjoy, then make it work for you.

Brandon Sanderson

February, 2007

(This is the SECOND draft of this essay. It will likely still be revised, and probably has a ton of typos in it.)

Read Sanderson’s Second Law Read Sanderson’s Third Law of Magic

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Cavaliers at Magic NBA Playoffs Game 3 FREE live stream: Time, channel

• Updated: Apr. 25, 2024, 2:00 p.m. |
• Published: Apr. 25, 2024, 2:00 p.m.

Cleveland Cavaliers guard Donovan Mitchell drives against a triple team from the Orlando Magic in the second half of play. Joshua Gunter, cleveland.com

• Dustin Hockensmith | [email protected]

The action in Game 3 shifts to Orlando, where the Cleveland Cavaliers will take a 2-0 lead over the Orlando Magic in the first round of the NBA’s Eastern Conference Playoffs. Game 3 is scheduled to start at 7 p.m. EDT on Thursday, April 25 with TV coverage on NBA TV and streaming on-demand .

• Watch: Live streams of the Cavs-Magic game are available with offers from FuboTV (free trial) , DirecTV Stream (free trial) and SlingTV (free trial) .

Cleveland Cavaliers at Orlando Magic

NBA Eastern Conference Playoffs - Game 3

Cleveland leads the series 2-0

When: Thursday, April 25 at 7 p.m. EDT

Where: Kia Center, Orlando, Fla.

TV channel: NBA TV

Live streams: FuboTV (free trial) , DirecTV Stream (free trial) , Sling (low intro rate) .

The fourth-seeded Cavaliers stood their ground on their home floor in Games 1 and 2 to earn an opportunity to tighten its series grip in Game 3. The Cavs and Magic played three even quarters Monday night, but Cleveland had already built a 12-point lead by the end of the first. Donovan Mitchell paced the Cavs for the second night in a row with his 23 points while starters Evan Mobley (17 points), Jarrett Allen (16) and Darius Garland (15) all did their jobs.

Watch live streams of the NBA Playoffs on NBA TV: FuboTV (free trial) | DirecTV Stream (free trial) | Sling (low intro rate)

For the second game in a row, Cleveland collectively shut down Orlando’s offense, as well. The Magic connected on just 29 of 80 shot attempts (36.3%) and were 9-of-35 from 3-point range (25.7%) while top scorers Paolo Banchero (21 points) and Frantz Wagner (18) also combined for 12 turnovers.

Shifting the action back to their home floor comes at a good time for Orlando’s young stars to play at a higher level.

The Cavaliers and Magic are set for a 7 p.m. EDT start on NBA TV. Live streams are available from FuboTV (free trial) , DirecTV Stream (free trial) and SlingTV (free trial) .

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An Essay on Magic by Robert E. Neale - Book

Between 1998-2000 Robert E. Neale wrote three important books, each one on a topic that is central to magicians: illusion, wonder, and magic itself. An Essay on Magic is Book 3 in this long-awaited, highly acclaimed TRILOGY OF MAGIC. In these pages Bob Neale articulates his important, influential general theory of magic. The theory both explains and celebrates the artful work of magicians by showing how stage magic grows out of everyday human needs and desires. Bob Neale also shows how his theory can help magicians create performances with greater significance and lasting impact. An Essay on Magic includes 38 of Bob Neale's innovative magic routines, all of which are published here for the first time. Each routine comes with a fully developed presentation. As an extra bonus, this book includes Very Small Worlds - a separate manuscript that develops two powerful new principles for astonishing magic with playing cards. PRODUCT DETAILS Paperback: 516 pages. Edited with an extensive introduction by Lawrence Hass. 62 illustrations by Kiva Singh. WORDS OF PRAISE Praise for Books 1 and 2 of Bob Neale's Trilogy of Magic Michael Weber: "Robert Neale has done something important for the art of magic. [In The Magic of Celebrating Illusion ] he has given us a book full of ways and means by which we can see past our self-imposed illusions in order to more clearly see the real magic which exists in the world.... Long live Robert Neale." Barrie Richardson: "Bob Neale is a wonder.... His ideas are arresting. His insights stretch your mind and make you shake your head with awe, wonder, and respect. And his magic routines are what Mozart would applaud with glee." Genii Magazine: " The Sense of Wonder is packed with material. Theorists and those with a love for the mathematical and topological will be thoughtfully engaged." MAGIC Magazine: "Robert Neale is a unique thinker, and The Magic of Celebrating Illusion is essential reading for [any magician] who enjoys a challenge, rather than being spoon-fed the latest one-trick DVD." Praise for Bob Neale Max Maven: "Bob Neale has a rare ability to create magic with an intellectual whimsy. The result is simultaneously provocative, profound, and just plain fun. I am a fan...." Jeff McBride: "Bob Neale is my hero.... It astonishes me how he can transform even some of the darkest situations of the human condition into light, humor, and inspiration." Eugene Burger: "Reading Bob Neale's work is always an adventure. He tugs and pushes us beyond what we think we know and suddenly rearranges things in a completely unexpected way...."

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The Gift of the Magi Essay: Summary & Analysis

Looking for The Gift of the Magi essay? Summary and analysis of the themes, characters, and irony in the short story by O’Henry are below.

• Main Characters
• Main Themes
• Personal Opinion

Works Cited

O. Henry, an American writer, is famous for his short stories with an unpredictable ending. The Gift of the Magi is one of his masterpieces, which has become a traditional Christmas tale. In this story, the author shows genuine love between young spouses, which is more precious than any material possessions. In this essay, the plot will be summarized, the main themes and characters will be discussed, and personal opinions will be given.

The Gifts of the Magi Summary

The story takes place just before Christmas, and Della Young is concerned about what she should give her husband, Jim, as a present. She counts her savings and finds only $1.87, which is not enough to buy a worthy gift. She is frustrated since she wants to present her husband with something he deserves for his hard work. Della tries to find a way out of the situation and finally comes up with an idea. The most precious thing she has is her long shining brown hair. After she looks at it in the mirror, she dresses up and goes to Madame Sofronie, a hairdresser. The woman cuts Della’s hair quickly and gives her $20.

Having enough money, Della visits several shops to find a present for Jim. She is not satisfied with anything she finds until she knows exactly what she needs. Della remembers that her husband’s most valuable thing is his gold watch, but he has to wear it with a leather strap since the original one has been broken. The woman finds a platinum chain that will perfectly suit the watch, pays $21 for it, and goes home.

When Jim arrives and sees his wife without her gorgeous hair, he becomes surprised and puzzled. Della cannot understand his reaction until she unpacks his present for her. She discovers a set of combs that she has desired for a long time, but since she does not have her long hair anymore, they appear to be useless. To comfort her husband, she hands him the platinum chain, only to find out that Jim has sold his gold watch to buy a present for her. Jim suggests they should put away their Christmas gifts and have dinner. The story ends with the statement that Della and Jim are the wisest of those who give presents.

The Gifts of the Magi Characters

Della is one of the two main characters of the story. She is young and beautiful, and she is distinguished by her complete devotion to her husband. Della appreciates him so much that she does not agree to present him with some trifle because he deserves something precious. For this reason, she dares sell her hair, which is the only treasure she possesses. She explains to Jim that she “couldn’t have lived through Christmas without giving you a present” (O. Henry 5). Apart from being deeply in love with her husband, Della is a highly emotional person. She does not hold back her tears when she is desperate and does not restrain her laugh when she is happy. Moreover, her mood can change in an instant, which happens when she grieves over her haircut, and the next moment she is anxious to give Jim his Christmas gift. Perhaps, the abundance of emotions contributed to Della’s deep affection for her husband.

Since Jim appears on the scene only at the end of the story, readers do not know his thoughts, but they see his actions. Like Della, Jim sacrificed the most precious thing he had, his gold watch, to buy a present for his wife. Thus, it may be assumed that he is as deeply in love with Della as she is with him. After all, the story is intended to show true affection, which is why the author made his characters so pure and loving.

The Gifts of the Magi Themes

The major theme of the story is pure love, which is the most valuable thing in the world. It is unconditional since Della and Jim do not need anything special from each other; they are just happy to be together. When Della counts her scarce savings, she does not even think to blame her husband for earning little money. On the contrary, she is happy to be his wife and wants to give him the best present she can afford ( Study Guide 5). Due to the couple’s sacrifices, the author compares them to the magi who brought presents to baby Jesus (Zhang and Wang 657). However, he says that Jim and Della are wiser because they gave each other the most precious gift in the world, which is pure love (Zhang and Wang 657). Thus, the story conveys the idea of a relationship that should be pursued by everyone.

The Gift of the Magi also tackles the theme of wealth and poverty. According to Nagel, the story “resonates throughout American marriages, many of which went through periods of economic struggle at some point” (102). Indeed, the Young family is very poor, and Della has to haggle with vendors over every single penny (Tong 207). Even though they hardly make ends meet, Della and Jim are happy because they possess a much greater treasure than money – their love. As Zhang and Wang rightly stated, “There is no pure love in the world of money while there is no money in the world of love” (657). The story, therefore, conveys the idea that material possessions do not play a significant role in human life because deep affection is the only thing that matters.

The Gifts of the Magi Critique

Although the story is written to show readers pure love and encourage them to pursue this feeling in their lives, it seems slightly unreasonable when regarded from a realistic rather than a romantic point of view. The exchange of useless gifts would not have happened if the spouses had discussed their desires and plans with each other. Perhaps, they could have agreed upon a festive dinner or something pleasant for both, which would have saved their money and their personal treasures. After all, communication is a crucial part of a strong relationship. Therefore, instead of sacrificing something precious to surprise one’s partner, one had better inform him or her of one’s plans to avoid possible unpleasant consequences.

In conclusion, The Gift of the Magi is a kind and inspiring story about two young people truly loving each other. Their love is revealed by their willingness to sacrifice the most valuable things they own to bring joy to each other. Apart from the theme of affection, the story is concerned with the concepts of poverty and wealth. It asserts that rich people are not those with much money but those who love and are loved in return.

Nagel, James. The American Short Story Handbook . John Wiley & Sons, 2015.

O. Henry. The Gift of the Magi . Strelbytskyy Multimedia Publishing, 2018.

Study Guide for O. Henry’s ‘The Gift of the Magi.’ Gale, Cengage Learning, 2015.

Tong, Lu. “A Brief Analysis on the Typical Writing Styles of O. Henry.” Advances in Economics, Business and Management Research , vol. 30, 2016, pp. 205-208.

Zhang, Yue, and Lijun Wang. “On Different Types of Love Stories Written by O. Henry.” Journal of Language Teaching and Research , vol. 6, no. 3, 2015, pp. 656-661.

The Gifts of the Magi FAQ

• What Is the Theme of The Gift of the Magi? The main theme in the story by O’Henry is unconditional love. Sacrificing their most precious things to make the other one happy, Della and Jim show that love is more important for them than any material possessions.
• What Is the Irony in The Gift of the Magi? The most ironic episode in The Gift of the Magi takes place when Della opens the box with the gift from Jim. When she sees the tortoise shell combs, for a moment, she forgets that her hair isn’t long enough so she can use them.
• What Point of View Is The Gift of the Magi? The Gift of the Magi is written in the third person point of view. The narrator is a non-participant. The story is told using pronouns like “she,” “he,” “they,” and “it.”
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2024, January 2). The Gift of the Magi Essay: Summary & Analysis. https://ivypanda.com/essays/the-gift-of-the-magi-by-o-henry/

"The Gift of the Magi Essay: Summary & Analysis." IvyPanda , 2 Jan. 2024, ivypanda.com/essays/the-gift-of-the-magi-by-o-henry/.

IvyPanda . (2024) 'The Gift of the Magi Essay: Summary & Analysis'. 2 January.

IvyPanda . 2024. "The Gift of the Magi Essay: Summary & Analysis." January 2, 2024. https://ivypanda.com/essays/the-gift-of-the-magi-by-o-henry/.

1. IvyPanda . "The Gift of the Magi Essay: Summary & Analysis." January 2, 2024. https://ivypanda.com/essays/the-gift-of-the-magi-by-o-henry/.

Bibliography

IvyPanda . "The Gift of the Magi Essay: Summary & Analysis." January 2, 2024. https://ivypanda.com/essays/the-gift-of-the-magi-by-o-henry/.

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Leticia Mooney

Author. Consultant. Coach. Life Reader.

[Essay] On Magical Books

In his Ditmar-finals-listed novel Bound , Australian author Alan Baxter ‘s protagonist Alex Caine is taken over by a magical book. His Alex Caine series has just been released in hardcopy, and I’ve started re-reading Bound in anticipation of getting into the subsequent two novels. Well, I was until I got inspired to write myself, which is why you and I are both here right now.

In Bound and the situation with Caine, Baxter contends, through the literary device of the difficult situation in which his protagonist finds himself, that books not only contain magic but are themselves magical. It’s an argument that books can contain secrets, and that, if one is well enough aligned with what they have to say, books can impact wisdom and ideas, and that the very act of consuming this knowledge can cause profound and immediate change in someone. In Baxter’s world of magesign and Kin, those with the power to read magical books are able to comprehend things about the world in a deeper, more meaningful and highly connected way, which gives them extraordinary power. Perhaps I read more into it than I ought to, but it is its own way of articulating the idea that one’s place in the world can be irreparably – perhaps a better word might be irrevokably – changed, simply by consuming words written by someone else.

The idea of magical books is not new. We find it as far back as the fifteenth century, a time when the Catholic Church was convinced that the printing press was a tool of the devil.[1] Delving into northern European legend shows us that books have, in some way, always been considered transformative, magical things. You can dive into that rabbit hole here .

At face value at this time of our Western lives (in 2016), the notion of the magical book is simply a literary and fantastical device. We have seen this idea of books coming alive in fiction since… well, since forever.  We come to know them as children. Kids’ stories are full of the transformative nature of magic, as are legends of all types of civilisations through time. We have seen books like these in everything from Harry Potter to Bedknobs & Broomsticks .

The idea that books transform people, cause the acquisition of deep knowledge, and reveal worlds to people is a deeper idea than perhaps it seems simply by examining fiction. Beyond the brilliant ideas of magical books for children and legends designed for sociomoral certitude; and beyond the notions that every imaginative reader has always entertained ( imagine! Finding a Book of Magic that can teach you magic and magical things! ), the notion that books are agents of change, desirable and otherwise, is given light in many areas of life.

The most notable of these is of course in sociopolitical commentary, and even in politics itself. The idea is fervently carried by people with all kinds of intentions. Books are upheld as beacons of positive change by those invested in personal development, education, and human evolution. Books are similarly derided as tools of moral decrepitude by those invested in censorship, control, and various flavours of religious fervour.

The idea of books being magical has also been upheld by those of us in neither camp; most notably by people like you : People who invest time in reading, often for reading’s sake. As a reader you already know that whole worlds are there for your pleasantly selfish grasping. You allow the masturbatory mental frolick of a good book to fill you with glee, and will happily follow along wherever it takes you. You are open to the knowledge that other people can give you, and understand how one book can dramatically change how you see the world around you. And you understand how books change as you change, an understanding you come to simply by the tiny act of re-reading a favoured work at different times in your life.

For many avid readers, the magical nature of books is something that is unquestionably true. Once you have followed Paul Coelho on his pilgrimage, been part of the rain of odd creatures from the sky alongside Haruki Murakami, ridden in the ear of a giant with Roald Dahl, or even colluded, however hesitantly, in the (often disgusting) hilarious situations of Tucker Max, you will not deny that books can profoundly change you.

Writers, too, acknowledge that books are magic; they are magical in the writing, magical in the publishing and reception, magical in the experience. Just one example of this is in Ann Whitford Paul’s essay The Magic of Books , which I encourage you to go and read.

And yet, this change is something we laugh about, in the lighthearted banter we toss between our enlightened selves as though it were a fun game of tennis. Few people really appreciate how profound this change truly can be.

Did you know that reading forges new neural pathways? According to one study , because readers mentally simulate every new situation that they encounter in a narrative, meshing it into their own experiences, the brain itself actually changes. In this 2011 article in The Guardian , the antidote to western culture’s drop in empathy is proposed to be the activity of reading… because reading causes a deeper insight into the inner lives of people. As the author notes:

This transformation only takes place when we lose ourselves in a book, abandoning the emotional and mental chatter of the real world. That’s why studies have found this kind of deep reading makes us more empathetic, or as Nicholas Carr puts it in his essay, The Dreams of Readers , “more alert to the inner lives of others”. ( Read the full article here .)

Martha Burns in the following year (2012) wrote that reading is akin to the ‘real-time collaborative effort of a symphony orchestra’, because of the coordinated way in which the brain handles the activity of reading. And, further, that this is why strong readers get stronger: The brain learns to help you to help it get stronger at this kind of coordination. In a fascinating discussion about the activity of reading, Burns demonstrates that this is also why those who find it difficult to read struggle with it until that coordination is under control. The only way to get better at this kind of coordination – like all kinds of physical coordination – is to practice .

This kind of coordination itself does all kinds of magical things: It improves empathy, something that appears to have become common knowledge by now; but it also helps people to process visual information. Perhaps more amazingly, it dramatically improves the ability for people to process speech information, which means that great readers are also better listeners than those who don’t read.

For those who are talented at reading, and talented at meditation, the malleability of the brain is not anything unusual. In fact, those people may find themselves capable of making all sorts of incredible changes within their physical lives simply by thinking about them. While not so long ago this was considered to be bogus, hippie-dippie fluff , the idea that thinking and visualisation does create noticeable physical change is addressed by a number of modern books about what we now refer to as neuroplasticity. Sandra & Matthew Blakeslee in their title The Body Has a Mind of Its Own succinctly demonstrate this in chapter four, aptly subtitled, ‘When thinking is as good as doing’. Here’s an excerpt: [2]

After one week, motor imagery practice led to nearly the same level of body map reorganization as physical practice. As far as your motor cortex is concerned, executed and imagined movements are almost identical … When you mentally rehearse a movement, all but one of the brain regions that control your movements become active in the absence of movement … While many types of mental practice are undoubtedly helpful, motor imagery is the only technique that alters your body maps in the same way physical practice does.’

As the Blakeslees go on to demonstrate, you don’t need to do as much physical practice if you combine it with visual practice.

Visualisation practice is a kind of simulation that we can do inside our own little minds, not something for which we require any technology. This means therefore, that if, by reading, you are experiencing other situations by virtue of simulation, and if by simulation and visualisation you are actually training yourself to do things differently, then perhaps books truly are magical things.

This idea of the magical nature of books is important when we consider issues that can dramatically change the direction of whole societies, like censorship and the banning of books.

While we might like to think that the banning of books is limited to the strictures of communist and fascist nations of the past, it would be fanciful and ignorant to indulge such a thought. In fact, in this terrifyingly titled clickbait from 2010, Why we want parents to try to ban books the author argues that fact that parents try to ban books shows that the books are doing their jobs: Affecting people strongly enough to transform them. The author goes on to worry that parents don’t lodge complaints like they used to, because of either reduced reading or reduced impact, hence the terrifying title.

In fact, it’s not until we start to dig below the surface of censorship to try and understand why books are banned that we realise the truth of the magical power of books. Popular articles like this one list things like sexual explicitness, homosexuality, language that offends, violence, drugs (I’m surprise rock’n’roll isn’t on the list too, or chocolate, or good food, or philosophical discussions between literate friends…) as being ‘reasons’ why books are banned. On the surface of this difficulty, we wouldn’t be out of place by arguing that the push to ban (or, as our American friends euphemistically say, ‘challenge’) books is simply one way of controlling society’s point of view.

This itself is unhelpful because it tells us that books are dangerous, but not why . Sure, the decline of morals is an easy pitch, but it’s one that we expect to see. That alone makes it unlikely to be the real reason.

The truth of it is not that books are going to show people different points of view (which they do); it is not that they highlight other ways that people can live (which they do); and it is not because they give us insights into different points of view (which they do); it is because in doing so they have the potential to change people, and in so doing to transform a social unit larger than one person. And, truly, this change can be dramatic sometimes. I have had more than one experience of reading that shifted my perspectives so much that for half a day I was unable to speak, and came out of my personal ruminations with a greater appreciation for elements of life to which I had previously been ignorant.

This is the magical power of the book. For societies in which the control of perspectives is critical to the functioning of those societies — and we can see this even in the consistent propaganda that washes past us every day about other cultures, about things that are apparently bad for us, about all of the apparent violence, horror, and awfulness of the world — controlling the ways in which people think is A1 on the list. Books have the ability to undermine such population control, simply because they can inspire a spark of significant transformation. In allowing a person to experience other situations by proxy, the magic does its work. The impact is at an energetic and empathetic level: It causes people suddenly to change their minds; it persuades, demonstrates, illustrates, and enhances or shifts the feelings that people have about the state of their worlds.

And I say ‘their worlds’ because it is more than just a political change. Books can change the way that you relate to people, the way you think about your life, ethics, religion, and culture. They can open doors to new topics, issues, and arguments you might never encounter otherwise.

The reason why this is terrifying from a population control perspective is that this action is gigantic. And it is hidden. It’s an extremely personal experience, one that is difficult to articulate and challenging to share. Our most personal transformations are rarely ones that we discuss, and readers know this with greater sensitivity than most. You can sit in one place and appear perfectly unchanged from the front cover to the back, even though your entire world might have moved to another place, and the way you see yourself and your relationship with the world is no longer what it was.

This deeply personal relationship we have with authors and their ideas may be one of those reasons why books do have their own personalities and lives. For Alex Caine, magical books swirl with magesign, clearly magical to those who can see it. As ridiculous as it sounds, this magic is not unfamiliar to readers either.

Those of you who maintain personal hardcopy libraries know this about books. You know that books call to you in inexplicable ways. They communicate with you from the shelves, draw you to them. In a library that is your own, your books are family, each one a portal to another world. Nestled together unassumingly on a library shelf, they are passive containers of often explosive ideas, wild fantasies, and incredible images. But if they don’t like sitting next to each other, they tell you so. When books don’t like their present locations, they call to you, make you realise that something isn’t quite right, and will entice you to them until you move them. I’m not the first reader to experience this wail of discomfort from my personal library:

I believe it then to be quite simply true that books have their own very personal feeling about their place on the shelves. They like to be close to suitable companions, and I remember once on coming into my library that I was persistently disturbed by my ‘Jane Eyre’. Going up to it, wondering what was the matter with it, restless because of it, I only after a morning’s uneasiness discovered that it had been placed next to my Jane Austens, and anyone who remembers how sharply Charlotte criticised Jane will understand why this would never do. ~ Hugh Walpole. [3]

This is a magic that none of us understand, that none of us truly wish to understand. It is also one that you can play with. Standing in bookshops, I play a game with the books in front of me. I ask them, which of you do I need to read? And then follow my instinct until I feel like I know where to stop. The books to which I feel most deeply connected are books that I’ve found in this way: They’ve been read in amazement, treasured, and loved.

This is why magical books brought to life by fantasy authors like Alan Baxter take hold of my imagination, make me wish that they were real things, that I could see their magic. But the truth is they are real things, and even if I can’t see their magic, it doesn’t mean that the magic isn’t real. It just means that I take the magic for granted.

[1] Davies, Owen. 2009. Grimoires: A History of Magic Books . Oxford University Press: New York. Page 44.

[2] Blakeslee, Sandra and Blakeslee Matthew. 2008. The Body Has a Mind of Its Own . Random House: New York. Page 60.

[3] Rugg, Julie and Murphy, Lynda. 2006. A Book Addict’s Treasury . 2006. Frances Lincoln: London.

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An Essay on Magic: On the Nature and Significance of Stage Magic (The Trilogy of Magic) Paperback – September 14, 2015

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Magic vs. Cavaliers: Free live stream, TV, how to watch Game 3

• Published: Apr. 25, 2024, 5:54 p.m.

Cleveland Cavaliers guard Donovan Mitchell puts up a shot against Orlando Magic forward Paolo Banchero in the second half of play. Joshua Gunter, cleveland.com

• Brian Robb | [email protected]

The Cavaliers will look to take a commanding 3-0 series lead on Thursday night when they face the Orlando Magic in a pivotal Game 3. Cleveland has leaned on their defense in the opening two games of the series but the challenge gets tougher now in Orlando as they face a hungry Magic team looking to tally their first postseason win with this core.

• WATCH THE GAME FOR FREE HERE

Fans looking to watch the game can do so on NBA TV. There are also streaming options available including  fuboTV ,  DirecTV Stream  and  Sling .

How to watch Game 3 between the Magic and the Cavs:

Who:  Orlando Magic vs. Cleveland Cavaliers

When:  Thursday, April 25 at 7 p.m. EST

Where:  Amway Arena, Orlando, FL

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PHILADELPHIA (AP) — Joel Embiid and the 76ers had just dropped two straight playoff games in New York that left them feeling like — well, like their playoff series against the Knicks was far from over.

“We’re going to win this series,” Embiid said.

A bold statement from last season’s NBA MVP, for sure. It’s one the Sixers — and Orlando and the Lakers — have to believe is possible with all three teams facing 2-0 deficits heading into a trio of Game 3s on Thursday in the NBA playoffs.

All three teams are returning home, a needed confidence boost with their seasons pretty much at stake. No NBA team has ever won a playoff series after trailing 3-0. The Knicks, Cleveland and Denver all look to get closer to a first-round win on the road.

The Cavs led from start to finish in both games inside Cleveland’s rowdy Rocket Mortgage Fieldhouse, where the deafening crowd noise may have had something to do with the Magic’s lack of any shooting touch.

Orlando was abysmal from the field in Games 1 and 2, shooting a combined 34.3% while making just 17 of 65 3-pointers (26.1%). Worse, the Magic, who entered the playoffs with the worst offense statistically of any team in the field, are missing open, uncontested shots.

Being back on their home floor will help, and Cavs coach J.B. Bickerstaff expects the Magic to up the physicality.

“They’re going to be a different team at home,” he said. “They were all year (29-12). Being a younger team, but being able to play in front of your crowd, gives you that confidence that you can.”

The Lakers haven’t played a home game since April 9, playing five straight on the road that included the play-in tournament and two playoff games in Denver.

“It feel likes it’s been forever since we played here,” Lakers star LeBron James said. “Hopefully (the fans) are excited because we’re looking forward to it.”

KNICKS at 76ERS

New York leads 2-0. Game 3, 7:30 p.m. EDT, TNT

— NEED TO KNOW: The Knicks played like a team headed toward a sweep in the first two games in New York. The Nova Knicks -- former Villanova Wildcats Jalen Brunson, Josh Hart and Donte DiVincenzo -- can expect an unhappy crowd for their Game 3 homecoming. There are 2016 and 2018 national championship banners in the Wells Fargo Center rafters. The trio have been fantastic in their efforts trying to raise a banner at Madison Square Garden. Brunson finished with 24 points despite going 8 for 29 from the field. Hart had 21 points and 15 rebounds, and DiVincenzo scored 19 points in Game 2.

— KEEP AN EYE ON:  The officiating . In its Last 2 Minutes report, the NBA said 76ers coach Nick Nurse twice attempted to call timeouts that were “neither recognized nor granted by the officials” during the decisive Game 2 possession. The NBA also determined Tyrese Maxey was fouled twice before his turnover that led to the  go-ahead 3-pointer by DiVincenzo  in the Knicks’ 104-101 victory in Game 2. Embiid used an expletive after the game in saying the officiating had been unacceptable for missing the attempted timeout and the foul.

— INJURY WATCH: Sixers guard De’Anthony Melton could make his return in Game 3 after sitting out most of the second half of the season with a spinal injury. Melton averaged 11.1 points and was a key contributor early in the year. Melton practiced Wednesday and said his body has responded well to going up and down the court.

— PRESSURE IS ON: It’s on Embiid and the 76ers. The Sixers went 25-16 at home this season, so that could help. But they folded down the stretch at home in a Game 6 loss to Boston in the Eastern Conference semifinals and then lost Game 7 on the road. The Sixers may as well start packing up their lockers if they lose Game 3.

CAVALIERS AT MAGIC

Cleveland leads 2-0. Game 3, 7 p.m. EDT, NBA TV/fubo

— NEED TO KNOW: The Cavaliers have played particularly well, which is either a good sign that they’ll improve or scary if they advance. Cleveland is 15-0 when leading a series 2-0. Last year’s painful first-round exit against New York remains a driving force. The Magic have a playoff game at their home arena for the first time since April 21, 2019 -- and will be seeking their first home playoff win since April 26, 2011. Orlando made the playoffs in 2020, the year that the season was finished without fans at the Disney complex in Lake Buena Vista, Florida. That’s just outside of Orlando, but not the team’s true home arena.

— KEEP AN EYE ON: The Wagner brothers. Orlando’s toughness starts with Franz and Moritz, who play hard and often on the boundaries of what might be considered dirty. They set the tone for the Magic and will undoubtedly be looking for any way to fire up their teammates and the home crowd.

— INJURY WATCH: Magic guard  Jalen Suggs returned to play  the second half in Game 2 despite suffering what appeared to be a serious left knee injury. Suggs is Orlando’s best on-ball defender and the Magic can’t afford to be without him.

— PRESSURE IS ON: Orlando’s Paolo Banchero. If the Magic are going to get back in the series, Banchero, who is averaging 22.5 points but 7.5 turnovers in two games, has to take his game to another level. The Cavs’ interior size is bothering the second-year forward, who is getting his first taste of how different things are in the postseason.

NUGGETS at LAKERS

Denver leads 2-0. Game 3, 10 p.m. EDT, TNT

-- NEED TO KNOW: Jamal Murray missed 15 of his first 20 shots and Denver behind by 20 in Game 2 to the Lakers. But there’s a reason the Nuggets are the defending champions. Murray got hot — and so did Denver. He went 6 for 8 for 14 points in the fourth quarter and  swished a step-back 15-footer  over Anthony Davis at the buzzer for a 101-99 win.

-- KEEP AN EYE ON: Rui Hachimura and Austin Reaves. Two key members of the Lakers’ supporting cast have been completely ineffective in the series. Hachimura has scored 10 total points while inexplicably taking only 11 shots in 69 minutes of play, while Reaves has just 18 points in two quiet outings. With almost no scoring help from two starters who should be doing more, the Lakers haven’t been able to keep up with Denver’s more balanced offense.

— INJURY WATCH: Lakers swingman Jarred Vanderbilt is reportedly hoping to play in Game 3 after sitting out since Feb. 1 with a sprained right foot. Although he contributes little on offense, Vanderbilt’s defensive intensity could conceivably help the Lakers’ attempts to slow down Jamal Murray, who scored 22 points in Game 1 and hit the winning jumper at the buzzer in Game 2.

— PRESSURE IS ON: The Lakers. They got their worst possible first-round matchup, and it’s been just as bad as feared, even though they were competitive in each of the first two meetings in Denver. They’ve lost 10 consecutive games to the Nuggets, including six straight in the past two playoffs. Another loss in Game 3 would all but end the series, so James and Davis will have to go all-out in Game 3 just to keep Los Angeles from losing all hope.

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An Essay on Magic

~Magic~ Magic is something that everyone has heard of, yet not everyone believes it exists. Magic is everywhere; It may disguise itself in all sorts of different ways, like in the presence of a book series that becomes a phenomenon, or a movie that takes you to a different world while you’re still sitting in your seat; But it exists just the same. One of the most popular types of magic in this day and age is movie magic.

Movie magic is the art of creating things for the big screen, that will take it’s viewers though a whole new experience without ever having to leave their chair. The most popular aspect of movie magic is called “visual effects.” Visual effects are objects created by computer generated software that are designed to take movie goers deeper into the film industry than ever before. One highly successful movie series that uses visual effects in just about every aspect of the storyline, is the Harry Potter series. In these movies, you get a chance to take flight with a fire breathing dragon, come face to face with a vicious werewolf, speak to a talking hat, and even soar through the air on an enchanted broomstick; All though the use of visual effects. Another type of movie magic, is a director’s ability to bring written words to life.

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Movies which are based on popular books seem to be the most best-selling tickets at the box office, because many people want to see how their favorite characters have evolved from page to screen. The first Harry Potter movie was released on November 14th, 2001, introducing the actors and actress who would soon be known as the “Harry Potter trio.” Daniel Radcliffe, Rupert Grint, and Emma Watson have been the main stars of each of the six Harry Potter films that have been released so far. Through the years, fans have literally grown up with the three, just like they have grown up with the series. For many, seeing Harry Potter get turned into a movie is like real magic, because they never imagined they would be able to see him in person, instead of just seeing him in their minds when they read about him. Harry Potter is the biggest worldwide phenomenon that has existed for more than 10 years.

The books and movies have been translated into more than 65 languages, and are sold in over 200 different countries. (Wikipedia.com). British author J.K. Rowling first got the idea for Harry Potter in 1990, while she was on board a train going into London.

“I was looking out the window, when I suddenly started thinking about wizarding children who go to a magical school on a train,” Rowling says when asked about the day that the idea for Harry Potter came to her. (Hilary.com – Interview with J.K. Rowling). The author says that she began writing the first book in the series, Philosophers Stone that same evening; the night Harry Potter was born.

It took J.K. Rowling five years to finish writing her first novel, and then another two years to get it published: “It took my agent, Christopher, a year to find a publisher. Many of them turned it down. Then finally in August of 1996, Christopher called to let me know that he had an offer from Bloomsbury.

I couldn’t believe my ears. After I hung up, I screamed and jumped into the air. My daughter Jessica, who was sitting in her high chair, enjoying her tea, looked thoroughly scared. And the rest as you may guess, is history.” (J.

K. Rowling) The rest was indeed history. Through the 13 years that the Harry Potter books have been in print, over 600 million copies have sold; making the series the most popular books in history. Even though the final book in the series was published almost three years ago, the magic of Harry Potter is still going strong. The latest magical event that Potter fans have to look forward to, is a theme park titled “The Wizarding World of Harry Potter” which is an entire park designed to make it’s visitors feel like they’ve literally just fallen into one on the books.

Visitors to the park get to experience the village of Hogsmeade (a place from the Harry Potter books), by going into the unique shops to buy a flying broomstick, and restaurants to have a taste of butterbeer. The park also features a ginormous replica of Hogwarts castle, which can also be explored by guests. Inside the castle, there is a ride that features many visual effects, including holograms, talking portraits, and sound effects from the movie that seem to come from nowhere. Park creators describe the theme park simply as “Magic brought to life!” (Universal Park Designer, Thierry Coup). In this day and age, Harry Potter is the most famous magician around, but many don’t know that before Harry went to Hogwarts, their was another famous wizard that had to find his way through magic; His name, was Merlin. The BBC television show titled Merlin, is set in the time around the sixth century, telling the story of the young Merlin as he learns how to control his magical abilities while living in Camelot working as a servant for Prince Arthur.

When Merlin first discovers his magical abilities, he leaves his home village of Ealdor to live and work with Gaius, an alchemist in Camelot. Gaius gives a home to Merlin, becoming a sort of father figure to him as he helps him to learn about his abilities. The only problem they face however, is the fact that all sorcery is forbidden in the city of Camelot, so they must practice in secret whilst learning about the mysteries of the city. Much like Harry, Merlin has a destiny about him that he must fulfill before his lifetime ends. A prophecy was given to him by the imprisoned dragon under the kingdom, which stated that Merlin must protect Price Arthur at all costs, so that one day his reign as King will come, and sorcery can be returned to Camelot.

Merlin is an adventurous show that is filled with humor, romance, darkness, and of course, magic. Although both Harry Potter and Merlin are very alike in many ways, they’re also very different as well. Harry Potter is known for using his magical abilities to defend himself against his enemies and to help others, sometimes a little too much. Merlin on the other hand, although he uses his powers to save Prince Arthur in almost every episode of the series, he often uses them for humorous tasks such as making chores do themselves when he doesn’t have enough time, or making items float around when people have their back turned. Another difference between the two wizards is the way they administer their powers.

Harry Potter uses a wooden wand that literally chose him; A wand that consists of magical artifacts spun together by magic, to use his powers. Merlin however doesn’t use a wand, he simply holds out his hand while he says an incantation, and with eyes glinted gold, his spell is complete. Merlin and Harry Potter are both fictional tales of magic set in different time periods; Making their stories differ from each other, but also showing the resemblances they partake in. Despite the diversity of the two stories, they are both based on the same concept. Magic. Although the majority of magic most heard about is through tales found in storybooks and movies, everyday magic is a concept that more people can relate to.

Everyday magic can range anywhere from the slight of hand tricks that magicians preform in front of live audiences, to the simple things that nature brings in Springtime. This range of magic is the widest of them all, because so many people have different views on what magic really is. Magician’s work is considered magic because it leaves people perplexed and full of wonder. Audience members are in full awe after a trick is done, and they can’t help but marvel how it was done. Many people consider nature to be magic because of how things seem to happen overnight, such as leaves changing from green to gold in the Fall, and flowers bursting into bloom in the Spring. Magic appeals to people all over the world because it offers an escape from reality; One can simply chose to believe in it with no stings attached.

When a person reads a tale of magic such as Harry Potter, they can leave their world behind by dropping into one where almost anything is possible; For a few short hours, everything is perfect. The only downfall of that however, is that eventually the story will come to an end, and everyone will have to come back to reality, where things aren’t always so perfect. Even if you don’t realize it, magic has had an impact on your life in one form or another; Even if you don’t believe in it, it’s there nonetheless. Bibliography Rowling, J. K.

Harry Potter Series. New York: Scholastic. 1998-2007. Print. Merlin. David Moore, James Hawes.

Colin Morgan, Bradley James, Angel Coulby. Shine Limited, BBC One. 2007-2010 http://www.bbc.co.uk/merlin/ NA.

Wikipedia.com “Harry Potter.” April 15th, 2010 http://en.wikipedia.org/wiki/Harry_Potter Heather Riccio. Interview with Author J.

K. Rowling. Hilary.com. n.d.

April 15th, 2010. http://www.hilary.com/career/harrypotter.html NA.

Universalorlando.com n.d. April 16th, 2010 http://www.universalorlando.com/harrypotter/

Related posts:

• The Start of Magic
• Orpheus and Magic
• Hong Kong Disneyland: Where Is The Magic
• Harry Potter Free Essay Sample
• Selfishness

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How to Watch Today's Cleveland Cavaliers vs. Orlando Magic NBA Playoff Game 3: Start Time, Live Stream

The Orlando Magic and Cleveland Cavaliers head to the Sunshine State for Game 3 of their NBA playoff series.

The Orlando Magic return home to the Kia Center for Game 3 of their first-round  NBA Playoffs series against the Cleveland Cavaliers. Currently, Cleveland leads the series 2-0 so tonight's game is a must-win for Orlando. Tip-off between the Eastern Conference foes is scheduled for 7:00 p.m. ET.

Watch Today's Game on Sling TV

The Cavaliers are coming off a 96-86 win in Game 2 on Monday. They won Game 1 with a score of 97-83, making Cleveland the first team to allow fewer than 90 points in their first two games of a postseason series since the San Antonio Spurs in the 2017.

Here's everything you need to know about how to watch the Cleveland Cavaliers vs. Orlando Magic NBA Playoff game, including the full series schedule and best livestream options.

How to Watch the Cavaliers vs. Magic Playoff Games Without Cable

The third game of a best-of-seven playoff series between the Orlando Magic and Cleveland Cavaliers will air on NBA TV. If you don't have cable, you can watch today's game with a live TV streaming subscription to Sling TV or FuboTV.

Watch Cavaliers vs. Magic Game 3 on Sling TV

The Sling Orange + Sports Extra package offers access to NBA TV to stream Orlando Magic vs. Cleveland Cavaliers Game 3. Right now, there is a Sling TV deal offering $25 off your first month — bringing the Orange package down to just $15 and the comprehensive Orange + Blue package to $35. The Sports Extra add-on costs an additional $11 per month. 

NBA Playoffs on Sling TV

With its Orange + Blue plan, Sling TV offers access to ESPN, TNT and ABC to watch the 2024 NBA Playoffs without cable. For NBA TV you'll also need the $11 Sports Extras add-on. Right now, Sling Orange + Blue is $25 off your first month.

With Sports Extra

You can also save $30 when you prepay $90 for three months of the Sling TV Orange tier.  Sling TV comes with 50 hours of free cloud-based DVR recording space, perfect for recording the 2024 NBA Playoffs if you're not home to watch it live.

Watch Cavaliers vs. Magic Game 3 for free on FuboTV

With FuboTV's sports-focused live TV streaming service , you'll get access to NBA TV and over 200 other channels. A Fubo subscription costs $79.99 per month, but the streamer is offering a seven-day free trial right now. Grab the free trial offer to stream today's Magic vs. Cavaliers playoff game for free.

NBA Playoffs on FuboTV

FuboTV offers ESPN and ABC as well as a NBA TV add-on to watch most of the NBA Playoff games. Grab the free trial to watch today's game at no cost.

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FuboTV also has nearly every channel you'll need to watch the 2024 NBA playoff games. Subscribers can also watch the Mavericks vs. Clippers games on TNT by subscribing to Max's Bleacher Report Sports Add-On tier. Fubo also comes with 1,000 hours of cloud DVR storage.

What time is Cleveland Cavaliers vs. Orlando Magic Game 3?

Game 3 of the NBA playoff series between the Orlando Magic and Cleveland Cavaliers will be played on Thursday, April 25, 2024 at 7:00 p.m. ET (4:00 p.m. PT).

Orlando Magic vs. Cleveland Cavaliers First Round Schedule

The first-round series between the Magic and Cavaliers began on Saturday, April 20, 2024. Here is the full schedule to catch all the action. 

GAME 1:  Magic vs. Cavaliers; Saturday, April 20 (1 p.m. ET, ESPN)

GAME 2:  Magic vs. Cavaliers; Monday, April 22 (7 p.m. ET, NBA TV)

GAME 3:  Cavaliers vs. Magic; Thursday, April 25 (7 p.m. ET, NBA TV)

GAME 4:  Cavaliers vs. Magic; Saturday, April 27 (1 p.m. ET, TNT)

GAME 5:  Magic vs. Cavaliers; Tuesday, April 30 (TBD, TBD)*

GAME 6:  Cavaliers vs. Magic; Friday, May 3 (TBD, TBD)*

GAME 7:  Magic vs. Cavaliers; Sunday, May 5 (TBD, TBD)*

* = If necessary

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Latest news.

Senior NPR editor resigns after accusing outlet of liberal bias

An editor for National Public Radio resigned Wednesday just days after he inflamed the ongoing culture war about mainstream media with an essay about what he considers the news outlet’s liberal leanings.

Uri Berliner, who was a senior business editor, wrote an essay for the right-leaning online publication The Free Press in which he said he believes NPR is losing the public’s trust. 

NPR, a nonprofit radio network, has an “absence of viewpoint diversity,” he wrote in the essay, which was published April 9. It “has always had a liberal bent,” but now an “open-minded spirit no longer exists within NPR,” he wrote.  

The essay triggered a wave of scrutiny of NPR from conservatives, some of whom responded to it with calls to defund the news organization, which receives federal funding through the Corporation for Public Broadcasting. NPR says on its website that federal funding is “essential” to NPR but that “less than 1% of NPR’s annual operating budget comes in the form of grants from CPB and federal agencies and departments.”

In a resignation statement on X, Berliner briefly elaborated on the reason for his departure, which came days after NPR reported that it had suspended him for five days without pay following the op-ed’s release. 

NPR’s chief business editor, Pallavi Gogoi, had told Berliner about its requirement to secure approval before he appeared in outside media, according to NPR’s report.

“I don’t support calls to defund NPR,” Berliner wrote. “I respect the integrity of my colleagues and wish for NPR to thrive and do important journalism.  But I cannot work in a newsroom where I am disparaged by a new CEO whose divisive views confirm the very problems at NPR I cite in my Free Press essay.” 

Berliner did not immediately respond to a request for comment Wednesday. A representative for NPR said it “does not comment on individual personnel matters.” 

Berliner’s essay gained traction on X, with many conservatives homing in on his thoughts about NPR’s political makeup. He wrote: “In D.C., where NPR is headquartered and many of us live, I found 87 registered Democrats working in editorial positions and zero Republicans. None.” 

He also criticized NPR’s coverage, or lack thereof, of certain stories, such as the Mueller report, Hunter Biden’s laptop, the origins of Covid-19 and systemic racism following the murder of George Floyd.

High-profile supporters of Berliner’s essay, including former President Donald Trump and X owner Elon Musk, shared criticism of NPR and its CEO, Katherine Maher. 

“NO MORE FUNDING FOR NPR, A TOTAL SCAM! EDITOR SAID THEY HAVE NO REPUBLICANS, AND IS ONLY USED TO ‘DAMAGE TRUMP.’ THEY ARE A LIBERAL DISINFORMATION MACHINE. NOT ONE DOLLAR!!!” Trump wrote on Truth Social on April 10.

Musk wrote on X that the “head of NPR hates the Constitution of the USA” in response to a clip of Maher discussing the challenges in fighting disinformation and honoring the First Amendment right to free speech.

Meanwhile, some journalists at NPR pushed back against Berliner’s accusations.

“Morning Edition” co-host Steve Inskeep shared his take in a post on his Substack newsletter , saying he believes Berliner failed to “engage anyone who had a different point of view.”

“Having been asked, I answered: my colleague’s article was filled with errors and omissions,” he wrote, adding, “The errors do make NPR look bad, because it’s embarrassing that an NPR journalist would make so many.”

NPR’s chief news executive, Edith Chapin, also denied Berliner’s assessment of the newsroom in a memo to staff members, according to NPR .

“We’re proud to stand behind the exceptional work that our desks and shows do to cover a wide range of challenging stories,” she wrote. “We believe that inclusion — among our staff, with our sourcing, and in our overall coverage — is critical to telling the nuanced stories of this country and our world.”

Maher also said Monday in a statement to NPR : “In America everyone is entitled to free speech as a private citizen. What matters is NPR’s work and my commitment as its CEO: public service, editorial independence, and the mission to serve all of the American public. NPR is independent, beholden to no party, and without commercial interests.”

Daysia Tolentino is a culture and trends reporter for NBC News.

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• Essay Database >
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Sample Essay On What Creates Magic In An

Type of paper: Essay

Topic: Writing , Literature , Magic , Creativity , World , Thinking , Life , Shakespeare

Words: 2250

Published: 03/04/2020

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What is magic? In my opinion, magic is something that is difficult to explain with words. Magic captures your being like an invincible claw and forces you to think about things that you would not normally think about. However, the steps of creating magic in an essay are similar as to the process of magician who creates magic in a show. Magicians cannot just create magic from nothing. They have to cast a spell or do some invincible moves to convert their energy into magic. The steps that we are using in creating an essay are like casting a spell because we turn our energy and thoughts into words. Things that make an essay magical unconsciously force the readers to bring out their emotions and understanding of the author’s intention. Due to this, steps of writing an essay are very important because they are the most essential in creating magic in an essay. In my opinion, choosing a good topic, being creative, using the correct vocabulary, creating an attractive world, making readers think deeply about authors’ messages in the essay, and having good examples are the steps that create magic in every essay. Choosing a good topic is the first step of creating magic in an essay. A good topic can capture people’s attention and attract them in reading the essay. People can be a good source for finding interesting and unusual stories. Each person on this planet is a story of its won and there are no two identical persons with the same destinies. There are many moving stories around us, and there are many issues that worth discussing and praising. We cannot discuss everything in one essay, so we have to identify a topic and mainly discuss about that topic in the essay. However, everyone’s interests, hobbies, feelings, and understandings of the topic are different. Therefore, it is very important that the author knows the reason for writing the essay and target the intended audience. If the author knows that the readers’ age and educational background, he can develop his essay easier and choose its words appropriately. For instance, the authors of children’s books will not use proficient vocabulary because their readers are children and the vocabulary has be to appropriate for this age group. In addition to this, writers need to decide whether they will praise or criticize things based on the topic in the essay. Praise should be pitched at the right level, and criticize should be directed at the point. Authors need to convince their readers in the reasons for praising or criticizing. Therefore, authors need to have their own standpoints in order to praise or criticize, and they need to have a lot of evidences to prove their viewpoints. If their evidences are convincible, they can make the readers believe they are right about something they try to express. Moreover, if the evidences that they use to support their concepts are strong and valid, they might trigger readers’ emotions. Therefore, picking a good topic creates magic in an essay because it arouses interest of the readers in an essay. Use of the correct vocabulary is also very important for creating magic in an essay. The word is a powerful tool that can wake up the most hidden emotion. The different word choice creates the different meaning of sentences, and these sentences create an essay. The graceful vocabulary makes the essay more attractive to the readers. The vocabulary makes readers understand authors’ concepts more easily, and helps them to enter the world created by authors. Authors should describe the surrounding in details so that the readers can imagine the background of the essays more easily. They can introduce the readers into their mind by using a correct vocabulary, and the carefully chosen words can bring out the emotions of readers. Also, the vocabulary represents author’s viewpoint of the essay. When the author is using strong words, readers feel strongly about the topic that the authors want to express. We can look at the essays of eminent writers; the vocabulary that they are using is very different from the informal, everyday vocabulary. For instance, the vocabulary the one of the most known writers, William Shakespeare, used is very hard for understanding for many of my peers. If we put aside the fact that his plays were written in The Middle English, his thoughts are dark and even today many interpreters of William Shakespeare have counterarguments of what he wanted to say with his plays and characters. This indefinite disapproval and arguments makes Shakespeare attractive as a writer even today. Magic that Shakespeare created in his literature incorporates the steps of having a good topic, being creative, and using the correct vocabulary. Depending on the reader’s current emotional state, each reading of Shakespeare can be differently interrelated. The scholars discuss and argue about the meaning of sentences in his plays. In my opinion, no one would discuss or argue about the meaning of his plays if he used different and approachable vocabulary. To conclude, using vocabulary wisely creates magic in an essay because it affects the deepness of an essay. Being creative is another important step of creating magic in an essay because people are more interested in something that has a new and different approach. People are bored with the reading of the same format of an essay. Also, people love creative essays this tone of creativity breaks the routine of their lives. Most people’s lives are constant repetitions of the same actions and they forget how to be creative in their lives. When people reassess their lives, they notice that their lives are filled with working hours, sleep, and watching television. However, the creativity in essay writing is a key that takes us away from our reality. An essay can be our shelter where we can declare our thoughts without being judged and scrutinized. We can enter the world that is created by the author, and experience the different life that the characters have. Therefore, authors need to have something that is unique, and it should be something interesting for the target audience. For example, there are many books about wizards and magic, but what makes Harry Potter, written by J. K. Rowling from 1997 to 2007, the most popular one? My opinion is that it is because Harry Potter is very creative and the approach to the world of wizards in different than in other books. However, the topics that the authors can write about is limited, and then how should they make it different from the others? The first step includes identification of the topic and the brainstorming. Ideas are important, and the variety of ideas contributes to developing a good essay. The moment of inspiration is important. No one knows when the inspiration will appear. When something inspires you, and you think you have to write something because the inspiration has fully occupied your mind, you can write a good essay. In my opinion, having inspirations and creativity gives to the essay magic because readers are interested in something new and different. Creating a world that is attractive to people or a world that can draw people’s attention is another spell that creates magic in an essay. In “Economy,” (Thoreau) Walden lives alone besides the Walden Pond for two years. He builds his house by himself, and he hunts animals, cultivates crops to support him. He creates a living place that is far away from the city and people to meditate and write. Searching for the loneliness to inspire his hidden thoughts about life, he founds pleasure and calmness. He quietly unloads the city, and writes alone with his heart. In my perspective, Thoreau creates a world which can draw most people’s attention. The world that he lives in and the way he lives his life are attractive to readers. He advocates a simple life not because he wants people to be frugal, but because he wants people to live in accordance and harmony with the nature. He writes about lifestyle in the book because he wants people to know that they can live in a way which will make them become aware of this world. His life is simple and boring, but his spirit is colorful and fantastic. The example of finding piece and simplicity of deep and profound thought is presented in Economy. Our lives cannot be perfect, and I think this is the reason why creating a world in an essay can create magic. Sometimes we have to bow our necks to reality, but those people in essays do not. They live the lives we dream, and we have the find a little bit of our dreams and longings in these works. I experience everything that the characters of the writers are experiencing. Therefore, whenever I feel lost in my life, I find a book and hide myself in the world that author creates. Also, making people wonder and share their thoughts about the message the author is expressing creates magic in an essay. Thoreau states that “men labor under a mistake” (8), in “Economy,” Walden. Thoreau thinks that people are looking for unnecessary luxury and hoping that luxury can bring them the joy of life. However, by the time people buy lucrative things, they realize that they have wasted a lot of time. The message Thoreau is expressing is important because most people do not realize it until they read the essay. Thoreau makes people think deeply about their works and their attitude of luxury. Also, Thoreau thinks that people are the slaves of fields. Thoreau is cleverly uses literary device to force people to think about the human need to own more and collect material goods endlessly. People work hard on their fields because they wish to have a better harvest, but they do not need so many crops to survive. Moreover, in “Where I Lived, and What I Lived For,” Walden, Thoreau writes, “Why is it that men give so poor an account of their day if they have not been slumbering” (42)? This is an idea that deserves contemplation because I think people are still slumbering today. People do not know what they are looking for, so they feel that they have done nothing in their entire lives. Thoreau is making people re-examine their attitudes towards life. Thoreau also states, “I did not wish to live what was not life” (42), in “Where I Lived, and What I Lived For,” in Walden. He thinks that people live their lives blindly by following other people’s way. We have to keep discovering our lives in order to know what exactly life is. Therefore, he thinks that children know more clearly about life than men because there is no one to define life and impose rules. Children play life, enjoy life, and discover life by themselves. However, those men who think they are wiser because they have more experience are not wise because their experiences are from their failures (44). Thoreau is reminding that we should learn and discover life by the life itself, but not others. He makes people think about what is life and how should we learn by life? His thinking about life is worth for people to think deeply. In my perspective, making readers think deeply about the message that author is trying to deliver is a magic of creating a connection between the readers and the author. The process of making people to think makes people understand author’s thoughts clearly. Prove an essay by having good examples creates magic in an essay as well. In Walden, Thoreau gives many good examples to prove his topic and make his essays more reliable. In “Solitude,” Walden, Thoreau states, “Society is commonly too cheap. We meet at very short intervals, not having had time to acquire any new value for each other. We meet at meals three times a day, and give each other a new taste of that old musty cheese that we are” (58). He shows that people can learn only a little from each other, so they should not waste their time socializing with other people. Thoreau uses the example of how people meet each other, and what people acquire from each other to prove that this society is commonly too cheap. By having this example to support Thoreau’s thoughts about the society, people will be easier to believe in his essay. Also, Thoreau argues that, “I am no more lonely than the Mill Brook, or a weathercock, or the north star, or the south wind, or an April shower, or a January thaw, or the first spider in a new house” (59), in “Solitude,” Walden. Thoreau thinks that people have to live alone in order to explore their lives by themselves, so he uses these things to prove that humans can live alone. Having good examples to prove the topic sentence will make an essay become more reliable and convincing. In my opinion, good examples cast a magic spell in an essay because they make readers believe in Author.

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Magic vs cavaliers free live stream: time, tv channel, how to watch, odds, share this article.

The Orlando Magic will face the Cleveland Cavaliers in game 2 on Monday at Rocket Mortgage FieldHouse.

Clevland jumped out to a 1-0 series lead by beating Orlando 97-83 in game 1. Donovan Mitchell scored 30 points and Jarrett Allen grabbed 18 rebounds in the win. Four players scored at least 14 points for the Cavaliers.

Paolo Banchero was 9-17 from the field while scoring 24 points in his playoff debut. He has been one of the most slept-on players in the NBA this season and has a bright future ahead of him. Banchero will need to kick it up another notch to give Orlando a chance in this series.

Here is everything you need to know to watch and stream the action.

Orlando Magic vs. Cleveland Cavaliers

• When: Monday, April 22nd
• Time: 7 p.m. ET
• TV Channel: NBA TV, Bally Sports Ohio, Bally Sports Florida
• Live Stream:  fuboTV  ( watch now for free )

NBA Odds and Betting Lines

NBA odds c ourtesy of  Tipico Sportsbook .  Odds were last updated Monday at 9 a.m. ET.

Orlando Magic (+175) vs. Cleveland Cavaliers (-5.5)

Want some action on NBA? Place your legal sports bets on this game or others at Tipico Sportsbook.

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Cavs vs. Magic Game 3 FREE STREAM: How to watch today, channel, time

• Updated: Apr. 26, 2024, 12:17 a.m. |
• Published: Apr. 25, 2024, 7:42 a.m.

The Cavs will take a 2-0 series lead down to Florida for Game 3 against the Orlando Magic in the Eastern Conference quarterfinals on April 25. The game is available on multiple streaming services. Joshua Gunter, cleveland.com

• Robert Fenbers, cleveland.com

ORLANDO, Fla. – The Cavs replicated their smothering defense against the Orlando Magic in Game 2 of their NBA playoff series to take a 2-0 lead. Now the battle shifts to the Sunshine State tonight where the Magic will hope to break through their offensive chains. Game 3 of the Eastern Conference quarterfinals will take place at the Kia Center on April 25.

The game will be broadcast live on NBA TV, Bally Sports Ohio and Bally Sports Florida with a tipoff at 7:07 p.m. Eastern. But fans who have cut the cord can catch the action for free by utilizing streaming options like Fubo and DirecTV Stream , which both offer a free trial. Sling TV (available in select markets) is also offering a promotional discount for new customers.

The NBA airs a handful of games nationally on NBA TV while giving the team’s local TV partner exclusive in-market broadcast rights. That’s what’s happening in the Cleveland-Orlando matchup. If your TV provider doesn’t carry Bally Sports Ohio, you will be locked out, even if it does carry NBA TV. You can get around it by signing up for a free trial with Fubo or DirecTV Stream and canceling before the trial ends to avoid being charged,

Cleveland’s vaunted defense continued to stifle Orlando , pulling out the 96-86 victory in Game 2. The Cavs are 16-0 this season when holding their opponents under 100 points. It was the fourth time this season the Cavs have held an opponent under 90 points. Of the 16 remaining teams, the Cavs have the best defense in the playoffs after two games.

Cleveland held Orlando to 21 or less points in three of the four quarters. They have limited the Magic to that range in five of the eight quarters in the series thus far.

The Magic shot 36.3% from the field, including 9 of 35 from beyond the arc. Paolo Banchero once again proved to be the only offensive weapon, notching 21 points, three assists and three rebounds. The rest of the starting five went 13 of 39 (33.3%) in a dreadful encore. Franz Wagner went 5 of 17 from the field for 18 points, seven rebounds and two assists.

Jarrett Allen continued his interior dominance, gobbling up 20 rebounds, eclipsing 38 for the series, which is already more than his entire output in last year’s five-game first-round debacle against the New York Knicks. In addition to 16 points, three assists, three blocks and two steals, Allen supplied nine offensive rebounds, which helped contribute to an 18-9 second chance points advantage.

Donovan Mitchell delivered another solid contribution with 23 points, eight rebounds and four assists. Evan Mobley added 17 points and seven rebounds while Darius Garland chipped in 15 points, including four 3s. Cleveland hit 12 from deep on the night.

The Cavs clipped the Magic in the fastbreak, 18-11. They also won the rebounding battle, 48-41. Cleveland claimed the points in the paint, 36-32.

Orlando’s potent bench was once again unable to grab a sizeable advantage against Cleveland’s reserves. The Magic outscored the Cavs 21-18 in that category. It’s been one of the few statistical victories of the series, and one they are desperate to exploit.

Orlando was 29-12 at home this season. What will the new scenery bring for an offense in quicksand with time running out?

Here are more details about Game 3 and how to watch it via various TV and streaming options:

• What: Cleveland Cavaliers vs. Orlando Magic, NBA Playoffs Eastern Quarterfinals Game 3
• When: Thursday, April 25, 2024
• Time: 7 p.m. Eastern
• Where: Kia Center, Orlando, Fla.
• Channels: NBA TV, Bally Sports Ohio, Bally Sports Florida
• Best streaming options: Fubo (free trial), DirecTV Stream (free trial) and Sling TV ($10 off first month)
• Cable Channel Finder: AT&T U-Verse , Comcast Xfinity , Spectrum/Charter , Optimum/Altice , Cox, DirecTv , Dish , Verizon Fios

Below is part of a breakdown on how Jarrett Allen has helped the Cavs rediscover their defensive identity from cleveland.com Cavs beat writer Chris Fedor.

Jarrett Allen has something in common with former Cavs center Anderson Varejao:

A distinguishable hairstyle.

Allen, with an old-school afro that adds a few inches to his listed 6-foot-9 frame. Varejao, an iconic poofy mane with signature curly locks that bounced as he aggressively motored around the court in the wine and gold for more than a decade — a hairdo, and relentless play style, that affectionately earned him the nickname “Wild Thing.”

But that’s not the only commonality. In his second postseason with the Cavs, Allen is channeling his inner-Wild Thing, attempting to copy the legend’s insatiable appetite for rebounds.

“The perfect guy I always look to with stuff like this is Andy,” Allen said late Monday night following Cleveland’s 96-86 win over the Orlando Magic. “He was an excellent rebounder all throughout his career. Was he the best overall? No. But every time he went on the court, he wanted it. I just look to that — and I try to replicate that.”

That approach has helped the Cavs to a commanding 2-0 series lead in this lopsided best-of-seven matchup with the wide-eyed, out-of-place and physically overmatched Magic.

It’s how Allen looked last April against the beefy, burly New York Knicks that repeatedly punished the thinner Cleveland frontcourt on the glass — one of the primary talking points following a five-game first-round flameout that ended with Allen making comments about the lights being too bright and becoming a targeted symbol of the team’s lack of physicality.

Timid. Weak. Soft.

All those harsh labels were attached to Allen, who was forced to distance himself from the toxicity of social media. His toughness was questioned. His standing within the team’s core was debated. In a blink, his career was being defined by one horrendous series. He had been turned into an unflattering meme.

But back on the postseason stage, Allen is starting to rewrite the narrative.

“I think he’s a prideful individual, and I think the way it happened last year, you could see it’s a motivating thing,” teammate Donovan Mitchell said. “I think he’s shown it himself to us all season. I had no doubt that this is who he would be. I think sometimes you have a bad playoff series. Believe me, I know how that is. For him to respond this way, it’s phenomenal to see. He’s been phenomenal and he’s been huge for us in so many different ways.”

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