The breadth of "The Art of Juggling" also results in the book's often anecdotal style of presentation and sometimes spotty coverage of artists or routines. In such a short book, Ziethen cannot possibly offer either comprehensive or scholarly coverage of juggling. For example, the chapter ambitiously entitled "From Egypt of the Pharaohs to the Variety Stage" runs a scant seven pages.

 

In addition to the useful name index, Ziethen offers an annotated list of "300 Well Known Jugglers since 1945." Although such a list is welcome, one wishes to know what criterion Ziethen employed to justify inclusion in this list. Some observations such as "In the English-speaking world, the term 'juggler' stands for the conjurer or illusionist as well as for the juggler," are debatable, and other minor errors such as placing Sarasota in California could have perhaps been avoided with more careful editing.

 

Nevertheless, Ziethen's "The Art of Juggling" succeeds in as many respects as it disappoints. "The Art of Juggling" portrays the unique contributions of many performers who helped to define the art of juggling, who worked towards its develop­ment and refinement, and who oftentimes set standards in excellence and achievement that have yet to be superceded.

 

Although his book often lacks a clear focus, Ziethen does remind us of the historical role of juggling both as entertainment and as an art form, and he provides welcome glimpses of many of the in­dividuals who have developed and nurtured this art form just as it has, in many cases, nurtured and provided a livelihood for them.

 

(Thomas S. Edwards is an amateur juggler currently completing a Ph.D. in American Culture at Bowling Green State University. He is active as a translator of contemporary German literature and is a member of the American Literary Translator's Association. )