Elissa Washuta. White Magic. Tin House, 2021. 424 pages. ISBN : 9781951142391
https://tinhouse.com/book/white-magic
Magical. Mystical. Haunting. These
words describe Washuta's non-fiction essay and memoir collection White Magic.
These words could equally be used to describe New Age clichés and stereotypes
about Indigeneity that Washuta astutely identifies and critiques. The careful
attention to the multiple meanings and contexts that live in every word, turn
of phrase, and cultural reference makes Washuta's work a spellbinding (pun-intended)
read which addresses the interconnected legacies of land, family, gender, and sexual
violence.
Washuta positions what it means to be a
Cowlitz woman navigating myriad layers of cultural expectations, violence, and
stereotypes while considering historical and on-going questions about agency
and survival. Magic, and whether it is cosmic, an illusion, or something that
one can cultivate, frames the range of cultural references throughout the book and
allows Washuta to produce a work of non-fiction that, as she describes, makes
insights over plot. More specifically, Washuta tells the reader early on that the
goal of the non-fiction writer is to "shape the recollected by how the
remembering changes us. The mind wants to understand what's done but not settled"
(25). Settling and unsettling as concepts appear in various contexts in this
collection: the unsettling experiences of daily life that create anxiety or
reckoning with the violent history of U.S expansion and how to unsettle this
legacy of settler colonialism today.
The essays in this volume meditate on
cultural artefacts associated in some way with magic: whether it's the witchy
aesthetic of Stevie Nicks, or the supernatural narrative of Twin Peaks, or
the uncanny ability of computerized settlers in the game Oregon Trail to
continually resurrect themselves in their pursuit of westward expansion and
displacement of Native peoples. The cultural touchstones – from music,
film, and popular culture – function as a lens through which to see the
magic and power of such works as narratives that weave their own kind of spell
on audiences, but also provide a way to create a new narrative forged out of
intertextuality that recenters the interconnectedness of time, place, and space.
Intertextuality allows for an exploration of the limits of familiarity and
relatability and raises questions about the intended audience for the
narratives that permeate the dominant cultural imagination. The textual
interrogation that comes with this intertextuality also highlights when new narratives
are necessary to overturn harmful cycles of repetition.
White Magic is a work of non-fiction that arranges its chapters into
three acts, each defined by titles that come from Tarot cards. By opening each
act with a three-card Tarot spread to establish the direction, themes, and
experiences explored in the essays, the author blends form with subject matter
and exemplifies a common thread throughout that "[a]ny
narrative is a magic trick" (400). The organization of the book also emphasizes
the dramatic features of the text; like acts in a play, Washuta teases that her
narrative has a rising and falling action, but these narrative trappings are
ultimately ones she invites us to question and reconsider as she suggests time
and again that the human experience cannot be neatly folded into narrative
conventions or even be viewed linearly. Washuta plays with form and style,
revisiting experiences, scenes, and places from different perspectives and in a
different chronology. In the book's third and last act, Washuta experiments
with form the most in a series of diary-like entries that resist chronology,
with some entries summarizing scenes and plot points from Twin Peak and The
Prestige that function as interpretative commentaries on her own lived
experiences.
Another notable topic in the book is
Washuta's discussion of digital games Oregon Trail and Red Dead
Redemption, which immerse the player in a narrative world to replay
historical narratives (and traumas) from the nation's past. It is in the discussions
of these games that the implication of the title "white magic" feels most
prominent, as Washuta describes the cognitive dissonance of being a Native
woman immersed in the disorientating experience of playing the role of the
white settler in an act of settler sleight of hand. Simulated realities versus
historical realities versus living realities blur in these moments of gameplay
and serve as reminders of how the past and the narratives and myth of the
American west (the white magic ur-text of national mythology that excuses settler
colonialism) haunts the present.
Washuta's White Magic is a rich
volume full of metatextual and intertextual playfulness that addresses topical
and significant issues in U.S. American and Indigenous cultures today. It's a
book that ultimately explores the things that hold power over
us and how we can hold power via narrative. Washuta may write about traumas,
but she always resists narratives of victrimry and terminal creeds. Feminist
scholarship and theory has long considered how the figure of the witch can be a
symbol of cultural and patriarchal resistance, whether in the work of Barbara
Creed's The Monstrous Feminine (1993) or the more recently
translated work of Swiss theorist Mona Chollet's Sorcières (2018) (English title: In
Defense of Witches). Yet, these explorations often privilege Eurocentric
and Western notions of magic and witchery. Washuta's essays acknowledge the
pervasiveness of Western and pop culture witches and magic but don't let these
tropes and approaches dominate. Washuta's essays, instead, provide an
alternative way of viewing witchcraft and gender that brings a much-needed
Indigenous perspective. These essays
will stay with you long after you've read them.
Rebecca
Lush, California State University, San Marcos
Works
Cited:
Chollet, Mona. Sorcières. ZONES, 2018.
Creed, Barbara.
The Monstrous
Feminine.
Routledge,
1993.