ACKNOWLEDGMENTS
White Magic is a Creative Capital Project, supported in part by an award from the National Endowment for the Arts. “White City” and “Centerless Universe” were drafted as part of the Fremont Bridge Artist-in-Residence funded by Seattle’s Department of Transportation’s 1% for Art Funds and administered by the Office of Arts & Culture. I’m not sure this book would exist without the cash and affirmation of the Artist Trust Arts Innovator Award. Non-monetary support from Hugo House (the Made at Hugo House Fellowship) and Hedgebrook kept me moving toward this book.
“White Witchery” originally appeared at Guernica. An early version of “White City” appeared at The Offing, published as an excerpt from the anthology Ghosts of Seattle Past (Chin Music Press, ed. Jaimee Garbacik). An early version of part of “My Heartbreak Workbook” was published in Pie & Whiskey: Writers under the Influence of Butter & Booze (Sasquatch Books, eds. Kate Lebo and Samuel Ligon).
I wrote the first words of this book in 2012, but I didn’t know that this book was what I was writing until five years later. I was already fully living inside the book by the time I saw what it was. My gratitude extends far beyond this too-brief list.
For reading drafts of this book or its parts, and for the encouragement and/or suggestions I needed to hear, I thank Kirsten Reach, Melissa Febos, Raena Shirali, Ruth Awad, Brian McGackin, Michelle Herman, Kathy Fagan Grandinetti, Lee Martin, Jaimee Garbacik, Cali Kopczick, Kristen Ramirez, Kristen Arnett, Byron Aspaas, Sasha LaPointe, Trevino Brings Plenty, Andrea Rogers, and Hillary Brenhouse. I am especially grateful to Julie Allain, Ken Workman, and Edith Loyer Nelson.
Many of these readers suggested source material and research avenues, as have other friends and colleagues; I’ve also had countless conversations that got me to the insights at the heart of this book. For these contributions and influences, I thank Theresa Warburton, Nick White, Marcus Jackson, Kristen Millares Young, Eloisa Amezcua, Elizabeth Dark, Shaawano Chad Uran, Mattilda Bernstein Sycamore, Cynthia Updegrave, Elissa Ball, Emily Wittenhagen, Laura Scott, Hanif Abdurraqib, Colin McNamara, Travis Askew, Richard Chiem, Becca Schuh, Tommy Pico, Paullette Gaudet, Nate Washuta, and all the other friends, relatives, and colleagues who have made this world and work make some sense. I thank Leslie Ciechanowski for helping me find myself in the chaos so that I could write this.
For their help with the important but tedious parts of book compilation and promotion, I thank Max Delsohn and David Grandouiller.
The faculty and staff of American Indian Studies at the University of Washington taught me new ways of knowing. My brilliant, caring colleagues and students at the Ohio State University have created a space of support and inspiration where this book was immediately able to turn from a mess into a narrative. To Coven, Small Twitter, and Kenny Group, I’m grateful for your friendship, for meeting my dread spirals with your good sense, and for being writers and artists I aspire to impress.
My agent, Monika Woods, believed I could make this real when I wasn’t sure, handles the crises in my anxious heart, and makes my dreams become realities. My editor, Tony Perez, approached this book on its own terms, located the flaws I was trying not to see, and guided me toward that moment when I put the final piece into this 107,703-piece jigsaw puzzle. Tin House is bringing this book into the world with incredible care. I’m deeply grateful to those who have worked on the book and its production and launch: Molly Templeton, Yashwina Canter, Jakob Vala, Becky Kraemer, Masie Cochran, Elizabeth DeMeo, Alyssa Ogi, Spencer Ruchti, Meg Storey, Allison Dubinsky, Craig Popelars, Nanci McCloskey, and everyone else who has worked to make this book beautiful and loved.
My family’s support is unwavering, and I love them with all my heart.
I’ll end as I began, by thanking Weston Morrow, my true love and best reader, whose support has changed everything. He was in the middle of this story long before I found him there.
BIBLIOGRAPHY
NOTE: Many of the sources used in the writing of White Magic were found online between 2012 and 2020. As we’ve already discussed, Online is a state of flux and the internet a mutable medium. Some of these links have already broken, and more will break. During the writing process, many were captured using the Internet Archive’s Wayback Machine. Interested readers can visit archive.org/web and enter URLs to check.
WHITE WITCHERY
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LITTLE LIES
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THE SPIRIT CORRIDOR
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ROCKS, CAVES, LAKES, FENS, BOGS, DENS, AND SHADES OF DEATH
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