As a young blind girl, Georgina Kleege repeatedly heard the refrain, “Why can’t you be more like Helen Keller?” Kleege’s resentment culminates in her book Blind Rage: Letters to Helen Keller, an ingenious examination of the life of this renowned international figure using 21st-century sensibilities. Kleege’s absorption with Keller originated as an angry response to the ideal of a secular saint, which no real blind or deaf person could ever emulate. However, her investigation into the genuine person revealed that a much more complex set of characters and circumstances shaped Keller’s life.

Blind Rage employs an adroit form of creative nonfiction to review the critical junctures in Keller’s life. The simple facts about Helen Keller are well-known: how Anne Sullivan taught her deaf-blind pupil to communicate and learn; her impressive career as a Radcliffe graduate and author; her countless public appearances in various venues, from cinema to vaudeville, to campaigns for the American Foundation for the Blind. But Kleege delves below the surface to question the perfection of this image. Through the device of her letters, she challenges Keller to reveal her actual emotions, the real nature of her long relationship with Sullivan, with Sullivan’s husband, and her brief engagement to Peter Fagan. Kleege’s imaginative dramatization, distinguished by her depiction of Keller’s command of abstract sensations, gradually shifts in perspective from anger to admiration. Blind Rage criticizes the Helen Keller myth for prolonging an unrealistic model for blind people, yet it appreciates the individual who found a practical way to live despite the restrictions of her myth.

This engrossing studyinvestigates the connections between hearing and deafness in experimental, Deaf, and multicultural theater. Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf aesthetic and how to grasp the meaning of moments of “deafness” in theater works that do not simply reinscribe a hearing bias back into one’s analysis. She employs a model using a device for cross-sensory listening across domains of sound, silence, and the moving body in performance that she calls the “third ear.”

Kochhar-Lindgren then charts a genealogy of the theater of the third ear from the mid-1800s to the 1960s in examples ranging from Denis Diderot, the Symbolists, the Dadaists, Antonin Artaud, and others. She also analyzes the work of playwright Robert Wilson, the National Theatre of the Deaf, and Asian American director Ping Chong. She shows how the model of the third ear can address not only deaf performance but also multicultural performance, by analyzing the Seattle dance troupe Ragamala’s 2001 production of Transposed Heads, which melded classical South Indian use of mudras, or hand gestures, and ASL signing.

The shift in attention limned in Hearing Difference leads to a different understanding of the body, intersubjectivity, communication, and cross-cultural relations, confirming it as a critically important contribution to contemporary Deaf studies.

Traditionally, deaf education has been treated as the domain of special educators who strive to overcome the difficulties associated with hearing loss. Recently, the sociocultural view of deafness has prompted research and academic study of Deaf culture, sign language linguistics, and bilingual education. Linda Komesaroff exposes the power of the entrenched dominant groups and their influence on the politics of educational policy and practice in Disabling Pedagogy: Power, Politics, and Deaf Education.

Komesaroff suggests a reconstruction of deaf education based on educational and social theory. First, she establishes a deep and situated account of deaf education in Australia through interviews with teachers, Deaf leaders, parents, and other stakeholders. Komesaroff then documents a shift to bilingual education by one school community as part of her ethnographic study of language practices in deaf education. She also reports on the experiences of deaf students in teacher education. Her study provides an analytical account of legal cases and discrimination suits brought by deaf parents for lack of access to native sign language in the classroom. Komesaroff confronts the issue of cochlear implantation, locating it within the broader context of gene technology and bioethics, and advocates linguistic rights and self-determination for deaf people on the international level. Disabling Pedagogy concludes with a realistic assessment of the political challenge and the potential of the “Deaf Resurgence” movement to enfranchise deaf people in the politics of their own education.

With the rate of cochlear implantation reaching 80% to 90% of all deaf children, some as young as five months old, Surgical Consent: Bioethics and Cochlear Implantation arrives at a critical juncture. This comprehensive collection features essays by Priscilla Alderson, Inger Lise Skog Hansen, Hilde Haualand, volume editor Linda Komesaroff, Paddy Ladd, Harlan Lane, Karen Lloyd, Eithne Mills, Paal Richard Peterson, Gunilla Preisler, Kristina Svartholm, and Michael Uniacke. These worldwide renowned ethicists, educators, and Deaf leaders express their diverse perspectives on the bioethics of childhood cochlear implantation according to their discipline and a number of themes of inquiry: human rights, medical and social ethics, psychology, education, globalization, identity, life pathways, democracy, media, law, and biotechnology.

Drawing on current research, this volume presents the varying reactions around the globe to the high rate of implantation. These views contrast sharply with the medical perspective of deafness overwhelmingly promoted through the media and by the cochlear implantation industry. At the same time, the contributors aim to disrupt the binaries that have long dominated the field of deafness — speech versus sign, instruction through speech and sign systems versus bilingual education, and medical intervention versus cultural membership in the Deaf community.

Surgical Consent begins and ends with the voices of Deaf people. Their articulate and, at times, raw insights clearly delineate the issues of power, positioning, and minority-majority group relations that are inherent in the dominant hearing culture’s understanding of diversity and globalization.

Shared signing communities consist of a relatively high number of hereditarily deaf people living together with hearing people in relative isolation. In the United States, Martha’s Vineyard gained mythical fame as a paradise for deaf people where everyone signed up until the 19th century. That community disappeared when deaf people left the island, newcomers moved in, married locals, and changed the gene pool. These unique communities still exist, however, one being the Akan village in Ghana called Adamorobe. Annelies Kusters, a deaf anthropologist, traveled to Adamorobe to conduct an ethnographic study of how deaf and hearing people live together in the village. In her new book, Kusters reveals how deaf people in Adamorobe did not live in a social paradise and how they created “deaf spaces” by seeking each other out.

      Deaf Space in Adamorobe reveals one example of the considerable variation in shared signing communities regarding rates of sign language proficiency and use, deaf people’s marriage rates, deaf people’s participation in village economies and politics, and the role of deaf education. Kusters describes spaces produced by both deaf and hearing people as a cohesive community where living together is an integral fact of their sociocultural environments. At the same time, Kusters identifies tension points between deaf and hearing perspectives and also between outside perspectives and discourses that originated within the community. Because of these differences and the relatively high number of deaf people in the community, Kusters concludes it is natural that they form deaf spaces within the shared space of the village community.