Maddie Reilley’s Final Paper: Divided on Language

            Throughout disability studies, the discussion is often centered around the “abled” or the “disabled,” but is this idea as black and white as it seems? When discussing Autism, in particular, the conversation of the “spectrum” comes into play, bringing along stereotypes of what it means to be autistic, what people with autism “should” look or “should” act like. Melanie Yergeau poses this discussion in “Introduction: Involution,” from Authoring Autism, asking if “there can ever really be an in-between” (Yergeau 2) or if it instead is an absolute dichotomy between those with autism and those without. It is here that I am arguing that autistic writers have set forth to define and demonstrate this dichotomy through their writings and creative discussion of how their autism, particularly their understanding of language and use of language, creates a divide between the two groups when it comes to everyday discussion, as well as the discussion around autism itself.

            To begin, it’s important to understand Yergeau’s own discussion and proposition of dichotomy or no. Yergeau argues that “autism is typically characterized by what it contrasts” (Yergeau 2) presenting autism as an “antithesis” to the non-autistic, which she argues is demonstrated by the stories of those who raise autistic children and those who actually have autism as well. Yergeau’s primary examples include the discussion of “poop talk,” as discussed by parents of autistic children, “who have (presumably) never smeared their own [poop]” (Yergeau 3). Yergeau discusses these narratives as seen from the “other” perspective, and then recounts her own experience with remembering her own potty-training experience. She tells that time as more difficult than learning how to read discussing the “decoding of sensations, recognizing the tightness meant which function” (Yergeau 6) as things that have “long eluded” her. This distinct difference Yergeau discusses through “poop talk” is only the beginning of exploring the dichotomy recognized by autistic people between them and those without autism. While Yergeau is able to recognize the difficulties of her own potty-training and the ease that came with learning to read, those neurotypical parents focus more on the “anomaly” of  how autistic children respond to feces, and the  placement of autistic children as “victim-captives.” It’s through this small narrative the Yergeau presents the subtle beginning to the dichotomy defined by the autistic community itself. Even those who know the child the best, cannot fully understand them, or recognize their abilities in the way that the autistic person can, drawing a line between those with, and those without, autism.

            Another autistic creator, DJ Savarese, expresses similar ideas as Mukhopadhyay in his poem “Alaska.” Savarese utilizes the image of winter in Alaska, to bring forth this same idea of separation and divide between Savarese and his non-autistic facilitators. For Savarese, this divide is separated by those who “yearn for freedom,” (people with autism) and those who “live forever” (the non-autistic). In examining other works, this “freedom” that Savarese discusses is brought to light to be communication and understanding. In his essay “Communicate With Me” Savarese expresses his desire for people to talk with him, and not his facilitator, whether it be by waiting patiently, or making direct eye contact to show that they care about what he has to say. In his own process of communicating, Savarese must “free [his] body to respond” (Savarese 5). This discussion of language being “Freedom” is what separates the “you” and the “they” in the poem. Whoever the poetic speaker is addressing is holding onto the leaves, symbolizing Savarese and his desire for the “freedom” of conversation that he seeks, and the stigma that his conversation must be guided by his able-bodied facilitators. Savarese directly speaks out against this in his essay, asking people to “look at and talk to him” (Savarese 7), instead of addressing his facilitator, as if they are the ones having conversation for him.

            On the same topic of the differences between how those with and without autism can use and understand language, Amanda Baggs, another author with autism discusses what language presents itself as and how she can understand language differently than the non-autistic. In her commentary piece entitled “Up in the Clouds and Down in the Valley: My Richness and Yours,” Baggs discusses her relationship with language, recognizing that:

            language was built mostly by non-autistic people, with the obvious results, and [her] biggest frustration is this: the most important things about the way [she] perceives and interact with the world around [her] can only be expressed in terms that describe them as the absence of something important. (Baggs 3)

This distinct lack that Baggs’ has to utilize language in the way that is seen as “normal,” along with her argument that “language was built by non-autistic people” demonstrates the difference between those with and without autism, and the consideration that would be needed to truly find a middle ground between the two groups, given their differences in social interactions.

            Baggs later goes on to describe how using traditional language “takes place in the clouds” (Baggs 18), with its multiple layers and the need to balance physical language, expressive language, and figurative language. For people with autism, these concepts can be difficult to grasp alone- facial expressions and sarcasm can be daunting and decoding them isn’t a natural process. This line between what society has determined to be “language” has become a recognizable divide in the autistic community. Making “typical” societal discussion between the autistic and the non-autistic creates a divide between interactions of the two groups, without having to learn a new way of speaking.

            In terms of disability, the conversation has always been led by the nondisabled. In the autistic community in particular, advocates and activists with this diagnosis have begun to speak about the current language barriers between those with and without autism, which creates a clear dichotomy between the two communities. This divide, however, could be closed and mended, if the non-autistic community could seek to listen, and truly seek to understand the autistic counterparts, instead of just assuming that their “language” is universal.

Word count 1008

I pledge that I neither gave nor received unauthorized help on this assignment.

Breakout room 2

Eliana: This book is very diverse in it’s content, like the intentional misgendering of charcters.

Maddie: Yeah, this book and the rest of what we’ve discussed has talked a lot about the intersectionality of disability and it’s relation to sex, gender, and race.

Daniel: The author very intentionally includes discussions on class and other intersectionality, not necessary a full on allegory, but definitely an intentional discussion

Emily (we couldn’t quite understand due to wifi, but was attempting to contribute to the discussion of authors intention.)

Dr. Foss asks us about Aster and leaves

Maddie: Aster is an active demonstration of the societal expectations that her disability prevents her from fulfilling. Theo originally calls her his intellectual superior, in a way of support?, but doesn’t realize the full capability that Aster has

Sonia: People in the book expect Aster and Theo to be romantically involved, but they feel more than friendships, but not whole-heartedly romantic. Theo expects here to define those goals and she just cant.

Maddie: Did you guys think anything about the POV changes, did it work as well in Good Kings Bad Kings?

Sonia: I think it was more distracting, especially since it was in third-person limited 90% of the time. The switching provided different perspectives but the lack of consistency took away from the story.

Eliana: I can see the pros and cons of different povs, but this novel had a lot of characters that all had agency, and the limited pov took away from the agency that they could have had. In terms of disability, the pov can help show how disability plays into the novel

Maddie: The limited third person perspective provides the readers with a thought of what Aster herself is limited to.

Foss: What about the setting?

Daniel: The setting allows us to have some type of reflection on our society. The fact that the futuristic setting, leaving Earth, could demonstrate that we had to leave because we destroyed the Earth. The demonstration of race with Theo shows that not much changed from the past to the future.

Maddie: The movement of humanity to space, but the repetition of the same events could be a representation of that cliche of “repeating the same things over and over again is insanity” which could relate to Dickinson’s piece on Madness. he societal acceptance of their mass madness, but the rejection of what they view as “mad” because it’s different, despite being supposedly “Advanced”

Maddie’s Major Project: A poem and A Painting

As we have talked about frequently in this course, the discussion surrounding disability is frequently led and had be those who do not have a disability. Simi Linton in her paper, “Reassigning Meaning” discusses how the disabled community is making moves to reclaim the topic of disability by replacing word that were previously seen as derogative or “inappropriate” to take back the discussion of disability. I chose to create a piece that discusses the presence of disabled voice in disabled literature, and how the nondisabled community seeks to maintain control of a group they are not involved with.
The poem, written in prisoner’s constraint style, is mean to signify the intentions of the disabled, speaking out against the society that places them in a box that they have made, giving them a role to play that they did not get to choose. In a way, this poem is also a response to Jillian Weise’s “Nondisabled Demands,” combating the role that the nondisabled are playing in that poem with the voice of the disabled. The format of the poem, however, indicates that the place the disabled are being pushed into is still heavily active, despite the voices from the disabled to seek their own voice and name themselves.
To speak more specifically about the words in the poem, and the analysis of that piece itself, there is a high number of uniting pronouns like “we” and “us” while the “misnomers” are separate from the group speaking. While misnomers itself typically isn’t used to discuss people, it is also meant to symbolized terms that the nondisabled community attempts to give the disabled community in order to be “politically correct,” but, as the poem suggests, the disabled community is seeking to rise above that and wash that thinking clean. As we see by the large number of disabled authors we have read in this class, they seek to break away from the appraisal of the normal, the negative stereotyping, and tiptoeing done by the nondisabled. The presence of the poem at all is also meant to signify this same voice, as I am a student with a disability constructing this response and representing with what has resonated with me throughout this course.
I also hoped to portray commentary from Oscar Wilde’s “The Birthday of Infanta,” and Jillian Weise’s “The Old Questions,” discussing the fascination the non-disabled have with the disabled community and the need to place them on a stage for being different. The poem and its white space stand out, clearly the focal point of the piece, but all lowercase writing places it as something that isn’t attempting to jump out, but it’s rather been exposed by its placement.
The painting that contains this poem is meant to be a continuation of this theme. The straight lines that created the poem are meant to represent how society desires to place everything in an easy-to-define box, but the mixing of colors dictates that the intersectionality of society makes those boxes impossible to separate. By placing the poem in its own solid box of white, it also demonstrates how society, specifically the nondisabled community that chooses to write about characters with disabilities, views the stereotypes of the disabled as something “other” and what can only be held by those in that community.



we are visionaries

misnomers misname

us as semi-conscious

masses

accuse us

smear our names

in awe we’ve risen

we recover our names

we move in

remove our “ruin”

we rain

we rinse

we rise

Room 2 Discussion

Jessie: This is the first book I’ve read that has this many characters that have a disability. I listen through an audiobook and the voices bring a new light to the characters that really connect to the emotion of the story.

Sonia: Yeah Mia’s story is really difficult to read, but the intersectionality of trauma and disability that is presented here is something important to see, especially with the POV writing, which really connects you to the characters.

Maddie: The representation of Disability and Romantic relationships is also something that is really important to see, instead of the hypersexualization that we viewed previously.

Emily: I wish that there were less narrators, but I feel really drawn to a few of them. The representation of some of these characters having an angry personality and opinion is different from disabled stereotypes that are presented.

Sonia: The representation is also totally valid, they give a healthy viewpoint of justified anger.

Jessie: I appreciate Ricky and Jimmie. Having it read to me assists with my own disability and allows me to follow their story. Giving the different perspectives gives a different view of the world the author has created. Joanne’s perspective vs the other disabled “kids” vs the parents (who are dealing with having to provide for these kids what the facility can’t) vs Michelle and how she is struggling with her role in the corporation. Getting to see all of those factors together is really rewarding. It’s super complex, and presented in a wonderful way.

I personally believe the story is centered around Joanna and the way that the surrounding characters are going to help her improve the facility.

Sonia: The multiple narrators has to be done right, and I think that this author does. The speaking styles change for each character. They are all unique and it works really well, demonstrating their personality through narration styles.

Jessie: I agree, some books have really flat characters that don’t develop or change, but this novel is able to change and demonstrate development and gives you an image that you can see.

Maddie: I do think sometimes though, characters don’t change for reasons and teach intentional lessons that not changing has consequences. In this book, the growth and change are intentionally placed to see how trauma develops and shapes those with disabilities and also gives credit to representing those with disabilities as able to grow and change given resources and opportunity.

Emily: That’s why I think that the character selection here is also important, otherwise it could very much be a conversation about “poor disabled kids and the good adults who take care of them”

Sonia: There also a huge capital lens through Michelle’s character, which makes you doubt her intentions.

Thoughts on “Old Questions”

This poem is one of my favorite pieces we have read in this class. The feeling of emptiness throughout the poem, with the speaker halfway responding to the italicized thoughts, essentially creating a representation of staring of into space while someone else is talking.

The last line with “She has found the back of his knees,” is so shocking. The emptiness that has carried through the poem, and her attention to what is going on in other rooms shoes the wanting to be normalized. She doesn’t want to be recognized for her disability, but wants to be able to just be a girl in another room.

Thoughts on Lahiri

Bibi’s story is deeply disturbing for a number of reasons, but what stands out the most to me is the “cure” proposed for Bibi and the assumption of female hysteria. Bibi’s life long battle with epilepsy was assumed to be cured by a man, and to put it quite literally, sex with a man. Yes, this is something Bibi wanted, to be recognized as a “true woman” and find a husband to be married, but the placement of that as her only hope is really disturbing. Bibi goes through this entire story. carefully monitored, watched, and even assisted by the other women, who try to make her feel as if she is able to be “one of them” despite the stigma and assumptions made about her condition. It’s only when Bibi finds a man and becomes pregnant that she is truly left alone, for months. This places Bibi in a place of isolation, worse than the one she was previously experiencing.

The rejection caused by Bibi’s epilepsy is one that is publicly recognized. This places Bibi’s pregnancy at even more of a shock, but Bibi allows that man to keep his secrets and not be known as someone who “dirtied” her or interacted with her in such an intimate way at all. Instead, she gives him the “privacy” that she herself was never afforded and continues to have to live a life of exile, despite her desire to be a mother finally being fulfilled.

Thoughts on Nondisabled Demands

This thought might not be the most fully developed idea, but…. in reading this poem, I was instantly hit by the 3rd stanza. It begins with the end of a sentence which started in the second stanza, leaving us with “if you don’t come out and say it. / Everyone knows the default mode/ of a poem is ten fingers, ten toes.” Instantly, my mind went to this thought of passing. The grouping of these three lines connects to the idea of being able to live with a disability that isn’t instantly recognizable. My question, however, is more based on the title. Does this grouping, placed in a poem called “Nondisabled Demands,” represent those lines coming from a disabled person, saying that it’s hard to tell who really has a disability, or is it criticizing the demand placed forward by nondisabled that those with a disability need to strive to pass?

I connect this stanza as more of a criticism, especially considering the half line (13) “Here’s what we’ll do. We’ll rope you.”

Maddie’s Response to Oscar Wilde’s “The Birthday of Infanta”

Disability in literature has been met with numerous issues throughout history. As discussed in papers such as Simi Linton’s “Reassigning Meaning,” it has been an uphill battle to find fair and appropriate representation for those of the disabled community in literature. This change only became noticeable within the last 20 years or so, as political agendas, policies, and overall societal conversations begin to try and shift away from the ableist narrative. Despite it’s more recent rise to the spotlight, Oscar Wilde’s “The Birthday of Infanta,” discusses the lack of understanding and acceptance for members of the disabled community, and how they are often left with the glorification of their disability for amusement.
Wilde’s piece, written in 1891, talks about the ableist bias and lack of understanding exhibited by the general population. For Infanta’s birthday, a circus troupe comes to preform, bringing along all types of wonderful and exciting acts, including “the little Dwarf.” The Dwarf is recognized for the children’s fascination with his “waddling on his crooked legs and wagging his huge misshapen head from side to side” (Wilde 13). The Dwarf, however, finds joy in the amusement he provides to the children, specifically Infanta.
Through his walks in the garden, spurred on by the delight of pleasing Infanta, the Flowers themselves speak to the Dwarf’s “perfect horror,” going so far as to even suggest that his best course of action could be suicide. Instead of focusing on the physical onset of his disability, and the negative words that the Flowers say, just because they don’t find him beautiful, the Dwarf finds his joy with the Birds and the Lizards, who touch their wings to him and accept his presence.
Wilde’s choice to leave the Dwarf finding comfort in the animalistic characters of birds and lizards speaks to the presumed nature of the character himself. He is less than human, left to finding friendship and community with the animals. Anything that represents beauty rejects him.
This extended symbology comes to fruition when the Dwarf encounters his own face in a mirror and begins to interact with “the monster.” The Dwarf isn’t afraid of his own reflection, but instead, recognizes it as “grotesque” before realizing that it mimics him. Instead of turning away, he proceeds to investigate it more, until he realizes that his reflection is standing before him. The Dwarf can’t take this heartbreak and the own rejection of his image. In falling down, sobbing, the children come, and they only find it funny, laughing.
The interaction with the reflection demonstrates that, once again, the Dwarf is fine to be with the “monster,” until he realizes that that is how other people see him. The mirror isn’t a literal mirror, but instead symbolizes a greater realization of how those without disability see him, and what they recognize him for. It’s not the joy and understanding that the birds and lizards recognize in him, instead, it’s the outward image that nobody can look past, much like the Dwarf reaching out and only finding the cold, smooth mirror’s surface.
His death, also continues the same thought, as Infanta leaves with “’For the future let those who come to play with me have no hearts,’” (Wilde 55), removing the idea of any life from the Dwarf at all. Infanta wishes to have similar guests to amuse her but doesn’t wish that they can truly feel, removing the idea of “humanity” from the Dwarf, failing to recognize his heartbreak, its cause, or the joy he gave her in life.

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