So, I’m in the middle of a massive change right now and, at the same time, I have also recently done myself the (mixed) favour of getting two full days of colour-work done for a tattoo that covers almost a quarter of my body…
Suffice it to say I’m hecking tired and I’m gonna stay that way for a bit and I did it to myself and that’s what really hurts >_<.
To make up for the lack of posts – but *not* the lack of creativity and general witchery – this post essentially contains a photo dump of (some) recent projects and artistic goings on amidst ::wooooooo:: big change ::woooooooo:: ^_^
Recent shots of my desk – homemade beeswax candles, card readings, and musical practice. You may recognise the first image as the thumbnail for my most recent video post. Terribly cringey and an algorithmic shot in the foot… sorrynotsorry!Before and after mending a rip in my skirt (not pictured is the black cotton backing I incorporated into the stitching) & some homemade earrings (paper layers, glue, varnish; real wishbones, cleaned and varnished; paper mache clay, gold paint, varnish.)Recent shots of glamour altar (including perfumes, paper mache clay horns, and ultraviolet pigments) & a shot of the colours my tattoo artist was mixing and blending directly onto my skin!Adventures in making my own nail polish colours! Ultraviolet green (in various layer combinations)… I called it “Poison Apple” but my partner wants to call it either “Mutant Ninja Ooze” or “Aggressively Green”… thoughts?Random OOTD shots of the general vibe I’ve beeen going for these days! Complete with Evenstar & glow in the dark bugs and sex dice! ^_^
That’s all for now folks. Have fun storming the castle!!!
The paradox of wanting a place online to express creative process (or the development of visual languages, portfolios, bodies of work…) is that the effect can only be viewed over time and in retrospect. Time passes between visible stages – in my case probably a lot of it – because the internet is where we come when we have full sentences to say, or photos to share, or sketchbooks to showcase and so on. That’s why I like it here! I want to show those things.
The trick is understanding how to pace that expression and what constitutes something ‘share-worthy’ in the context of our platform goals. But let me explain that better…
Each person is going to have different aims for any platform they choose to build. They may establish goals at the outset, they may develop and change them as they progress, and they may or may not ‘end up’ where they thought they would be. Ideally, along the way, a person will be able to say “yes, this is what I mean to say/share and here is why”. Each point in that journey would reflect what & who they are as authentically as possible… right? It would represent them accurately… right?
This is how the internet – especially sites like youtube – work in real time.
But what do you do when the way you process information and think about creativity doesn’t break down in a granular fashion like that? I very much doubt that anyone in my life could look at any one thing I’ve made or said and understand not only why it exists and what function it plays in the larger whole BUT ALSO that I approach what I do like… not just an album of family photos, but years of albums of family photos!
My inner archivist is showing. My favourite books, documentaries, and radio broadcasts etc about artists are always the ones that talk about the greater stylistic trajectory on which an artist functioned over time. Some academic saying, “well, what you have to remember is that by this time, post war, so and so had only just come into contact with such and such a philosophical circle… it would be years before they were all more closely knit and years before they relocated and that reflected in the fragmented nature of their style at this time. Part of my research is dedicated to tracing the development of [insert now classic leitmotif here] in their body of work!”
So… If I write too many poetry posts in a row, that’s awkward if this isn’t a poetry blog and I don’t ‘brand’ myself as a poet. Am I supposed to ‘cultivate an audience’ that has the patience for that? Is that my ‘brand’? I’ve written poetry my whole life, but I’m not a poet. I make most of my own clothes, but I’m not a fashion designer/costumer/commissioned sewist… I like folklore, slow living, flowers, skirts and candles, but I’m DEFINITELY NOT cottage core. I wear lots of black, I’m #deathpositive, I love macabre dance music, I’m interested in decay and darkness and strange fantastical worlds and corsets…but I’m not ‘a goth’. The list goes on. You get the idea.
Or… if I write that for the past months I have been not only making several changes in my personal life – not least of which are increasing the accuracy of the lexical gaps around my sexuality and gender (xenine, bi, & flammasexual… if you’re curious) and a potential change in living arrangements – but I have also been very slowly working on improving my health and seeing the results as I continue the journey of leaving neurodivergent burnout… what exactly about that do I show you online?
This isn’t *directly* reflected in my sketchbooks (yet?). I have continued to sew. With the exception of the pearl-beaded hair net (and second-hand boots) featured at the top of this post, I’m not ready to show what I’ve been working on until I can think of a more cohesive way to put it (because… again… my personal preference is to provide at least *some* context for ‘content’)… I have been called slow in the past and while it was meant in a mean way, it’s not necessarily untrue.
One thing I will endeavour to do is begin migrating some of what I collect as inspo/reference on my personal pinterest over onto the tumblr account I have associated with this platform. At least, on tumblr, it’s understood that the point is in the aggregation of images and posts … rather than in the minutiae or specifics of any one image. I have my work cut out for me though, I have multiple pin boards organised by topic, time period, and to some extent a hierarchy of intention for each… and some of them have more than 1000 images in them! It’ll be fun though, I hope? This idea seems to have given me a better sense of what each of my sub-platforms (tumblr, Youtube/Makertube, blog) are separately for.
Another thing I can say is that I am continuing to make my own soaps and experiment with homemade cosmetics & perfumes (I have to re-make my lip balm after someone I recently ‘met’ not only sampled it but also literally *licked me* in a pub… long story) as well as some store-bought makeup… and because that familiarised me with working with beeswax, I have progressed to making my own candles too! ^_^
Lastly, here are a few recent photos. I take photos of my readings alllll the time… though not with any consistency. I’ve been having a blast dancing more, especially for a few hours each Friday night, which of course is desperately sweaty work. I’ve taken to lighting candles, putting on my projector light, pouring myself a glass or two of ice cold Jade Absinthe (my FAVOURITE is Esprit Edouard yum yum yum yum yum!!!) and dancing the night away. It certainly feels ritualistic. ^_^
Thus, resisting the urge to explain everything to death, I have now posted something resembling an update. Don’t get to granular about it, folks, but resonate with whatever point appeals to you on a very much non-static continuum.
For the weekend that’s in it (Imbolc), I actually do want to reflect on how the time since Midwinter has progressed. It is not my intention, in general, to force posts that are relevant to each of the quarter and cross-quarter days – or to reflect on quintessentially comtemporary “witchy” themes at those times. If the genuine desire is there and the aims for the post are authentic I will do so, of course, but not otherwise.
Turn of the century fruit relish/ketchupHomemade bread, sauteed kale, & medieval pork loin in spiced wine with brown ale to drink.Gingersnaps and nog with rum and cinnamon, all homemade.Prep, set table, and spiked after-drinks of our Midwinter meal.
The last six weeks can be defined as internally chaotic. Everyone I talk to at the moment seems to be having a similar experience – it’s emotionally intense, it leads to and feeds off of dysregulated behaviours and coping mechanisms. In my case, I am struggling to regulate my time online. For example, I’ve gone down a whole rabbit hole recently by obsessively following commentary on developments in the pop music industry and the ongoing fallout from 2024 (::cough cough:: a-certain-Canadian-rapper-who-I’ve-never-liked’s lawsuits ::cough cough::). It’s not uncharacteristic for me to do this – sudden hyperfixations aren’t new – but it’s leading to far too much screen time, to the detriment of my other passions and pursuits, and I can tell what I’m really doing is running from myself… spending time ‘anywhere but here’.
I AM slowly getting a handle on it. Patience and self-directed kindness are key. These days, being overly punishing or strict in my self-talk feels incredibly puritanical in origin and style. I want to make adjustments because I *want* to, not because I’ve self-flagellated with *false* moralisations** about productivity, worth, and depth.
For the time being, I am not posting on youtube or making any videos. I don’t know when I will come back but I KNOW I need time away… long enough to detox. I’ve always enjoyed making videos but hated the process of having them published. Posting them publicly has always felt like an exercise in waiting for my cookie while talking myself around the possibility that no cookie will be forthcoming, that I don’t even need the cookie, wondering why I’m even seeking a cookie, am I seeking a cookie?, I don’t even like cookies!!!*** … It’s time for a break until I can think more clearly about that.
Instead, I have redesigned this blog to be more in line with the direction I’ve wanted to pursue. I have taken the various gallery pages and poetry pages down because they felt too static. I’m less inspired by presenting my portfolio at the moment and more inspired by working through my personal artistic/conceptual processes in an informal setting. I would like things to emerge more organically and dynamically here… I would like to post when I wish to without having to worry quite so much about polished presentation.
A sketch of a dream/nightmare, August 2024 & my 2024 copy of Benebell Wen’s Metaphysician’s Day Planner. Of COURSE my cover customisation is always extra.
My creative endeavours have been geared towards world building for a long time, obviously, but in the last… hm, more than six months… I have felt the need to buckle down and start sketching, drafting, practicing and looking up techniques, and fleshing out what I mean when I refer to visiting the Otherworld or going into The Labyrinth. My The Labyrinth. I want to practice drawing some of it’s architecture… I want it’s music to be audible, even in paintings or drawings or the clothes I ‘bring back’. I want to develop a stronger more identifiable visual vocabulary to help give form to the way I experience and move through the world(s).
Left to right: Almost finished drawing for Major Arcanum Key 18 (few tweaks left); reproduction printed chintz for next sewing project; a quick journal doodle; two homemade perfume oils; this year’s Metaphysician’s Day Planner 😀
I have rearranged my altar and made (subtle?) adjustments to the visual symbolism around me. My magical practice is shifting (especially in the absence of witchtube and tarottube…which I haven’t followed for some time.) Everything is more organic, more me-ish now. Nothing remarkable or more meritorious than others, just more specific and suited to me than is relevant to most online ‘communities’ or ‘search & discovery’ algorithms.
Recent books have been Jorge Luis Borges’ “Labyrinths”, Terri Windling’s “The Wood Wife”, Peter S Beagle’s “The Last Unicorn” and “In Calabria”, Patricia A. McKillip’s “The Tower at Stonywood”, Ray Bradbury’s “Something Wicked This Way Comes”, all of Le Guin’s “Earthsea” materials, Lao Tzu’s “Tao Te Ching” (the Penguin classics translation by D. C. Lau), articles about Alan Garner’s Alderly Edge loose trilogy (I’ve read Weirdstone a few times… not keen on the rest really), more articles on medieval magic, and a bunch of books I’m forgetting at the moment. (Oh, I read all of the Terri Pratchett “Witch” books and several of the “Death” books for the first time.)
Most of the above books are re-reads specifically selected for the post Christmas/New Year ‘season’ but I don’t think it’s insignificant that I finally regained the ability to read last year after ca. 10 years. I’m back to building sensory worlds. I’m back to perceiving and walking through my imagination. I’m back to being able to retain imaginative detail in a way that I haven’t in a long time. At last, my fingers are itching like they used to bring that into creative fruition.
Left to right: Lao Tzu & Borges; a sketch of a childhood nightmare (“Golden Slumbers”) playing around with two point perspective; a raglan jumper I’m knitting for my partner (I found Irish sourced DK wool! … can’t get Shetland wool anymore due to GPSR).
…So to return to this idea of chaos, running from myself, fixating on ‘anywhere but here, in MY life’, I understand it. I can’t speak for everyone but I was raised and socialised to flinch from my self-expression. I am capable of and even prone to terrible potency and it can be scary and destructive. But now I’ve officially**** been a witch for almost 8 years (and I’m 37, not 17). Not a whole lot scares me for long and, of paramount importance, I have learned to turn around and walk straight towards the source of my shadow and fear. Like Sparrowhawk.
In all the heightened emotions, chaos, internal dynamics, and even external gnostic perceptions of the past six weeks, it really does feel like I’m pushing against the inertia of top soil after a long dormant period. Imbolc is the start of Spring here in Ireland and what I love about that is that Spring starts before you can outwardly see it. Change begins before the first translucent shoots appear. Seasons are so liminal and full of process and development. That’s why today’s blog post is to honour and acknowledge the arrival of Imbolc, and the beginning of Spring.
~ Saoirse.
** By which I mean that the knee-jerk assumptions of the social demographic I grew up in are assumptions I disagree with but that are intrusive and persistent in my head regarding ‘how I spend my time’.
*** i.e. The joy of making and wishing to publish videos is a different/separate phenomenon than the experience of ‘being on youtube’. Youtube the platform is increasingly difficult to navigate in a steady manner. It sucks up so much time and energy (to post AND to sift/watch) that is better spent actually sketching or sewing or…literally anything else.
**** By which I mean both that I explicitly converted to a Pagan paradigm and that I adopted the term “witch” (entailing daily acts of witchcraft) just before Lughnasadh of 2017. I had written college papers on the Morrígan, comparative myth, medieval and early modern mysticism, religious commentary, and crafted my life away with art and clothes and fairy wings for YEARS at that point. But in 2017 I stopped running from ‘the label’.
What if Madame Nostradamus, our “witty little knitter”, wanted her OWN scarf? Things are gonna get properly nerdy with this one. Strap in – I have no chill!
Note ~ my knit gauge was a little tighter than called for in the double knit weight, so I used the inches chart. I preferred the slightly denser look so I didn’t bother adjusting my gauge too much.
Paintings featured (anti-clockwise):
The Arnolfini Wedding by Jan van Eyck, 1434
Portrait of Christina of Denmark by Hans Holbein the Younger, 1538
Portrait of a Young Woman/Isabella of Spain and Denmark by Jan Gossaert, 16th c.
Portrait of a Lady by Rogier van der Weyden, c. 1460
Cornelis Aerentsz van der Dussen by Jan van Scorel, c. 1535
The Wedding Dance by Pieter Bruegel the Elder, 1566
A Young Princess (Possibly Dorothea of Denmark) by Jan Gossaert, 1530
Music featured:
Je suis d’Allemagne – Je suis trop jeunette by Ensemble Unicorn (Album ~ “Art & Music: Raphel – Music of his Time”)
Comment qu’a moy lonteinne by Falsobordone (Album ~ “1350 Music for a Plague”)
I wanted to discuss some basic inspiration & information that went into this project as well as some aspects of what the reality of sewing historically inspired clothing looks like… and of course some of how this applies to (my) witchcraft.
First – on my channel I have addressed a few of the reasons I prefer corsetry but, at some point, I will write a blog post with a proper explanation of the practicalities of corsetry in my life. That day is not today.
Q: What are my design references and aesthetic aims? What am I hoping to achieve visually?
This tends to shift around a bit but stays loosely within the parameters of 1) my time periods of interest and what potential I think they have for overlaps in design and 2) silhouette and colour blocking. Additionally, I like to evoke a mood and set of associations: a medieval decadence (in terms of color and texture); the proportional strangeness & darker shades of Northern Renaissance painters (Petrus Christus, Roger van der Weyden, Jan van Eyck etc); and a tongue-in-cheek reference to Victorian societal dysfunction (I like inverting value judgments based in puritanical virtue, assumptions around sexual permissiveness and mental health differences, reliance on religious institutional hierarchy etc.)
… A witch, at any given time period, would have existed largely in the same clothing expected of most people around her (and may well have identified with them religiously too). I like to explore that dissonance… An almost severe black silhouette with cheeky splashes of colour, perhaps? Dress me like a puritan but invert my cross!!!
Q: What about construction details? Isn’t it squeezy!? Did you make any mistakes!??!??
In terms of construction, I wanted practical movement and a well placed waist-line. I wanted better bust accommodation and garter straps for my socks! (On shorter sock days, I use garters just below the knee, fastened to the outside.) The basis from which I built this custom corset pattern was an early 1910s corset style called a ‘long-line’ corset*. This is not to be confused with the early Edwardian ‘s-bend’ corset. I am already exceptionally curvy and I wanted something that was elongated and smoothing to accommodate my more medieval days. (Corset didn’t exist in the middle ages). Think, John William Waterhouse paintings as a visual starting point… or something by Eleanor Fortescue Brickdale.
The added benefit to this type of corset is that it is structurally already quite difficult to lace down too far. It’s a very flexible fit. The waist line cinches where the tummy and spine is the squishiest and most flexible – which serves as an anchor point – and the rest of the corset provides gentle support radiating out from there, up and down.
Without romanticising the ‘rustic’ or glorifying deplorable 19th century working class conditions, a lot of what I am going for is based in working class clothing and practicality. Minimal waste, strategic reuse of mostly second hand fabrics, patching and mending as needed… and planning for movement and more active daily patterns. I make my own soap, I like to cook, I cut out fabrics laid on the floor, I paint, walk, run errands, and frequent pubs in what I sew and the corset is part of what *enables* that (especially as someone with bad spine, joint, and inner organ problems! It works much like a flexible, custom fit back brace with almost no singular pressure points such as a bra band or staps!)
Here is a lovely tertiary resource – a youtube video by Cat’s Costumery – on working women’s corsetry:
In terms of the reality of sewing and making mistakes, I discuss various changes and design elements in my corset video but here is some added detail:
You will see in the photos that I made the corset too big and had to fold down the last panel on either side! At some point I’ll unstitch those panels and adjust them more thoroughly…You will also see, in the photo below, that it seems I made the bust too high originally. My body has also changed slightly in recent weeks so I have re-cut the top and sloppily rebound the edge. It looks messy but it’s strong thread and fits like a glove!
I think this is SUCH a fascinating process… homecraft & creative techniques to fashion a look and way of moving embued with dark mystique!!! I’ll be happy to answer any questions in the comments or even just say hi! And there will be more posts about sewing coming soon. I’ve been up to some pretty crafty shenanigans of late!
* Some basic starting points for this kind of corsetry:
This woman’s making process is documented on her blog – I found her info and visuals helpful as *an* example of the over-bust option for these later corsets. (Please note, I no longer support the Truly Victorian pattern company.) https://historicalsewing.com/1913-blue-floral-corset
I have put together a playlist creators’ resources to do with costuming/sewing techniques on my youtube channel. It’s called “Clothing is Magic” and covers techniques, diversity, inclusivity, and various different time periods I find interesting as well as some old footage of clothes in motion!
Further resources & citations on working clothes and photographic anthropological/social/immigration documentation:
Photos of Icelanders come from a brilliant free resource – the Online Collections of the Danish National Museum (including satelite tools to hone in on where photographs were taken etc.!): https://samlinger.natmus.dk/
The photo of two girls from Norangsdalen came from another amazing online resource, the image collections of the Norwegian Folk Museum: https://digitaltmuseum.no/folkemuseet
I also recommend having a look at the work of Francis Meadow Sutcliffe – especially of women knitting by the docks!
NOTE: While there is a prevalence Nordic or Northern European imagery in this blog post, this is mainly due to a different (personal) research project on which I am working (very slowly). What I mean to illustrate is that there are practicalities of silhouette and construction that interest me in folk costume and working clothes. This post has also been limited by what is available in the public domain etc.
As promised, this is Part II of my initial foray into the topic of medieval magic. As a springboard, I will be using a chapter by Mark Williams from the Routledge History of Medieval Magic, titled “Magic in Celtic Lands”. The chapter features examples from Ireland and Wales but, for my purposes, I will focus on Ireland today.
Firstly, what is the impetus for this line of enquiry? The most immediate reason is that I’m obsessed with the middle ages and I function, personally, within ‘the’ Irish mythological framework. Our textual evidence of Irish myth originates or begins in the middle ages in spite of its narrative setting in the Iron Age. Personally, I tend to take the academic view that Irish myth – such as we have it – is medieval literature. More specifically, I’m interested in topics such as the ways in which the format of rosc poetry carries ‘magical’ potency; in Irish mythological tropes around prophecy; the literal singing or chanting component of ‘enchantment’ such as it appears in certain stories; and a certain recurring visual motif involving ‘bird heads’ or bird headed…ness? I’ll get into my thoughts on what this currently means for my magico-spiritual artistic practice toward the end of this post.
Some BRIEF background information… The word “Celtic”, as Mark Williams states, “is a difficult term, precise only when deployed in a linguistic context: it is used in a parallel manner to “Roman” and “Germanic” to denote a major branch of the Indo-European language family.” (123) Scholarship on the topic applies to regions linguistically Celtic whereas popular culture and imagination thinks of places like Ireland and Scotland and so on as ‘celtic lands’ (as Williams words it) or in terms of ‘celtic heritage’. Williams also notes that relating similar motifs between Ireland and Wales and calling them “Celtic” might no longer be done with confidence:
“it is increasingly acknowledged that similarities between the two countries’ literary traditions – formerly taken as evidence for a shared cultural inheritance – may in fact be medieval borrowings or independent innovations. […] The question of what medieval Irish literature in particular owed to the Bible and to the wider European world was a controversial area of critical debate for much of the second half of the last century, and the examination of magic is likely to constellate the issue once again in significant ways. The field of Irish and Welsh magic is therefore excitingly wide open, and a reconsideration of all the surviving records and representations of magical practices is badly needed.” (123)
THAT is exciting!
Dreams of diving headlong into the world of Celtic Magic Academia and never resurfacing aside (for now), I want to discuss some particulars of this chapter that jumped off the page and screamed ‘remember and explore me!’ Firstly, Williams emphasizes the potential for differences between literary magic and historical magical practice. In so doing, he introduces characteristics on the Irish ‘literary druid’ (127) and provides two examples: Cathbad (who we might perceive as ‘good’ or praiseworthy in the the stories, though he tends to get on my nerves) and Mog Ruith, with whom I am less familiar.
“Mog Ruith, in contrast, is a more morally ambiguous figure. In Forbuis Dromma Damghaire, he is Fiachu’s major secret weapon against the forces of Cormac (though Cormac has his own team of druids too), being a miracle-worker possessed of a spectacular repertoire. He can alter his size at will, set things on fire with his breath, cause rains of blood, send people to sleep for long periods and create magical animals which go after enemy champions […] At one point, he puts on a cloak and “bird-headdress” and ascends into the air.” (130)
My eyes nearly fell out when I read that last sentence. Those of you familiar with my youtube channel, you may remember the ritual costume I made for Samhain in which I crafted a bird mask and black linen veil (rather in the style of modern folkloric/pagan pageantry) for the purpose of shapeshifting and affecting change in my personal life and spiritual practice.
My video last Samhain, vlogging the #artwitch process…
I got this idea mainly from associations with the crow and the Morrígan*, my personal obsession with shapeshifting motifs, as well as a specific mention in the foretales of the Táin Bó Cuailgne, as translated by Thomas Kinsella. From Cúchulainn’s training in arms:
“[While on raid for Scáthach, his warrioress mentor] he came back the way he had gone, and met a one-eyed hag in his path. She told him to get out of her way. He said that would leave him no room to pass except the sea-cliff below them. But she begged him to get out of her way. So he let her have the path, except where he clung by his toes. She struck at his big toe as she passed him by, to knock him off the path down the cliff. But he saw her in time and gave his hero’s salmon-leap upward. Then he struck off the hag’s head. She was Eis Enchenn, the bird-headed, mother of the three last warriors to die at his hands. It was to avenge their ruin that she lay in wait for him.” (Kinsella, 33)
These stories are hardly a feminist utopia (just read a few paragraphs in either direction from this point) but – in addition to the one-eyed hag which is a descriptor that exists in other stories, including for the Morrígan, Herself – I was particularly interested in this ‘birdheaded’ detail…is it a kenning? An epithet? Was it literal or metaphorical? It seems important, especially as it occurs in a section of Cúchulainn’s stories that involves so many magically potent martial prophetesses. I don’t yet know how it is phrased in the Old Irish or any specifics about Kinsella’s translation choices here.
Thus, as regards Mog Ruith, I had never encountered an explicit mention of donning a birdheaddress for the purpose of shifting shape or flying before. Yet, from an UPG** perspective, you might say this is what I did for Samhain. I like that but I don’t need it to be objectively ‘true’. I DO need to learn Old Irish and research the heck out of this for the rest of my living days. It has also only further cemented my tendency to merge bird-symbolism and artistic practice. The alchemy of art (including costumery and stitchcraft) is that when we have extant primary evidence from our favoured time periods, we can exist in direct artistic dialogue with them. In my opinion, it makes very fertile ground for personal gnosis.
I have more to say on Mark Williams’ chapter – including another juicy tidbit about the Túatha Dé (god-peoples) and their ‘theological knowledge’ allowing them to occupy a similar ontological category to medieval demons… and how that’s born out in other medieval Irish literature… but this blog post is long enough, I think.
Until next time!
Nerdily yours, Sorsha.
* I don’t use the phrase ‘matron deity’ but I guess you could consider me a ‘devotee’ in so far as I live my life & devotional practice ‘under the auspices of Her wing’ (as I often put it.) In this post, I have used her most well known name… but I’m not necessarily only referring to one Morrígan here. ** Unverified Personal Gnosis
Citations:
Kinsella, Thomas. The Táin: From the Irish Epic Táin Bó Cuailgne. Oxford University Press, 2002. A 2002 reissue of the Oxford Universtiy Press 1970 edition, with illustrations by Louis Le Brocquy.
Page, Sophie, et al. “Magic in Celtic Lands.” The Routledge History of Medieval Magic, Routledge, Taylor Et Francis Group, London ; New York, New York, 2021, pp. 123–135.
