Hatch, who lives in semiretirement in a small town in northern Utah, finished his translation of “Jews in Magic” four years ago and is strategizing about how to get it published, with annotations and photographs. At 68, he is a kind of one-man historical preservation society dedicated to Dammann.

“There’s a saying that we all die three times,” Hatch said. “The first death is the physical one, when your heart stops beating. The second is when your body is consigned to fire or the grave. And the third is the last time someone utters your name. Life was so cruel and unfair to him, I just thought, it’s a worthy cause to keep Dammann’s name alive for as long as I can.”

Everyone Has a Theory

Since Dammann’s death, the ranks of Jewish conjurers has only grown. Among the notable: David Copperfield, David Blaine, Ricky Jay, Teller — who is the silent half of Penn & Teller — and Uri Geller, who, for the record, has long denied that his spoon bending is a trick. Gloria Dea, born Gloria Metzner, was the first magician to play Las Vegas. Max Maven, born Philip Goldstein, was one of the world’s most admired mentalists.

Why have Jews been so prominent in magic? In his book, Dammann does not speculate. So in January, I visited MagiFest, one of the country’s largest conventions of magicians, held annually in Columbus, Ohio. I went to hear Hatch give a lecture about Dammann, but the convention proved the ideal setting for an informal survey on the question.

MagiFest was three days of lectures and performances with more than 900 attendees, all gathered on the second floor of the Renaissance Hotel. Much of the action took place at a group of round tables where magicians, both professional and amateur, demonstrated and taught sleights and effects, mostly with playing cards. “Jamming,” as these informal sessions are called, went on until about 2 a.m. each night.