AMORALMAN: A True Story and Other Lies

the dynamic of our relationship was similar to that of a cantankerous boxing coach and his scrappy young fighter, an analogy I most certainly inherited from Walt.

Every time he told me he was proud of me. It was all fiction. And I believed it. Because I wanted to. Leo recognized that. He knew exactly what story I was telling myself. And he knew long before I did.

It’s difficult to isolate any single event that conveys the enormity of his douchebaggedness.

I had convinced myself to make the pilgrimage by giving myself outs along the way:

Cody was an uncomfortable mask I couldn’t wait to take off. Away from the table, I avoided talking to both the players and the staff, out of fear of being exposed. I hid in the corners of the house reading books on my breaks; I avoided eye contact and small talk. Of course, that’s exactly what I did when I wasn’t Cody. I had been hiding in corners

Sleight-of-hand refers to the practice of using fine motor skills and psychological principles to create unnatural events through seemingly natural actions.

Rather than appreciating Grayson’s artistry, or allowing myself to simply be entertained, I spent the rest of the show focused on, dissecting, every lie he told.

In the 1950s and ’60s, Dutch magician Fred Kaps was considered one of, if not the most, well-respected conjuror of his generation. The man was a sensational performer, a brilliant technician, an innovator, equally charming on every platform and in multiple languages. After making a name for himself in Europe and the UK, Kaps was ready to take Ameri

Walter didn’t want to hurt his hands; he was protecting them. He wanted to be a magician.