Results by title

In her autobiography Seeds of Disquiet, Cheryl Heppner writes of experiencing severe hearing loss twice. Spinal meningitis caused a profound loss of hearing when she was six, and for the next 18 years she worked hard to live the life of a “normal” hearing person. Through exhaustive work in speech therapy and speechreading, she excelled in school and college, performing Herculean feats without the assistance of trained interpreters or notetakers.

       Then, when she was 25, two strokes left her completely deaf. For the next 20 years she worked to recreate her life through sign language and the Deaf community. The process stunned her by revealing how much she had missed before. Initially embittered, Cheryl Heppner later went on to use her astonishing energy as an advocate for deaf and hard of hearing people.

       Seeds of Disquiet celebrates her accomplishments, the most significant of which, perhaps, was her reconciliation with her loved ones from her former life with her new outlook.

Sensing Precarity tunes into the sonic ramifications of the COVID-19 pandemic to reveal how moments of crisis are commonly framed as moments of rupture. Combining traditional ethnography with media analysis, creative writing, and poetry, Sensing Precarity reveals how what Ailsa Lipscombe calls “the medicalization of the everyday” is a long-standing phenomenon, one acutely experienced by disabled and chronically ill communities. Lipscombe asks: how do the sights, sounds, behaviors, expectations, and interpretive lenses of medical environments (and activities) inflect or infect everyday spaces and activities? The study argues that during crises, encounters with precarity—real, potential, and imagined—instigate widespread engagement with notions of embodiment and relationality, and that in this context, bodies are understood as both being at risk and posing risks for others.

What happens when cochlear implants, heralded as the first successful bionic technologies, make their way around the globe and are provided by both states and growing private markets? As Sensory Futures follows these implants from development to domestication and their unequal distribution in India, Michele Ilana Friedner explores biotechnical intervention in the realm of disability and its implications for state politics in the Global South. 

A signing and speaking deaf bilateral cochlear implant user, Friedner weaves personal reflections into this fine-grained ethnography of everyday negotiations, activist aspirations, and the space of the family. She places sensory anthropology in conversation with disability studies to analyze how normative sensoria are cultivated and the pursuit of listening and speaking capability is enacted. She argues that the conditions of potentiality that have emerged through cochlear implantation have, in fact, resulted in ever narrower understandings of future life possibilities. Rejecting sensory hierarchies that privilege audition, Friedner calls for multisensory, multimodal, and multipersonal ways of relating to the world. 

Sensory Futures explores deaf people’s desires to create habitable worlds and grapple with what their futures might look like, in India and beyond, amid a surge in both biotechnical interventions and disability rights activism. With implications for a broad range of disability experiences, this sensitive, in-depth research focuses on the specific experiences of deaf people, both children and adults, and the structural, political, and social possibilities offered by both biotechnological and social “cures.”

Given the explosion in recent years of scholarship exploring the ways in which disability is manifested and performed in numerous cultural spaces, it’s surprising that until now there has never been a single monograph study covering the important intersection of popular music and disability. George McKay’s Shakin’ All Over is a cross-disciplinary examination of the ways in which popular music performers have addressed disability: in their songs, in their live performances, and in various media presentations.

By looking closely into the work of artists such as Johnny Rotten, Neil Young, Johnnie Ray, Ian Dury, Teddy Pendergrass, Curtis Mayfield, and Joni Mitchell, McKay investigates such questions as how popular music works to obscure and accommodate the presence of people with disabilities in its cultural practice. He also examines how popular musicians have articulated the experiences of disability (or sought to pass), or have used their cultural arena for disability advocacy purposes.

Shifting Blind Identities in Higher Education features accounts of how blindness and low vision intersect with other dimensions of identity for both students and faculty in higher education. Contributors from a range of institutional contexts illuminate “common but not comparable” experiences, as well as importantly different ones, and explore different intersections of identity while navigating higher education spaces. Each chapter addresses these questions: What is the relationship between seeing and selfhood? What choices do students and faculty make about how they experience and represent the intersections of their vision condition and other dimensions of their identity? What do authors wish others to understand, consider, let go of, and/or embrace regarding their experiences of navigating higher education with blindness or low vision?

Writing in their own unique voices, each author shares details of their lived experiences; analyses of how those are shaped by institutions, social norms, and individuals; and offers action steps for how everyone can make higher education more welcoming to and supportive of not only those with blindness or low vision but also those with a wide diversity of identities and experiences. Shifting Blind Identities in Higher Education inspires both insight and action into cultivating a more accessible and inclusive space in higher education. 

Written by three veteran interpreters with deep roots in the Deaf community and the performing arts, Sign Language Interpreting for Theatre is the first of its kind: a comprehensive guide to the art of sign language interpreting for the theatre as a collaborative practice. Drawing from their years of experience of interpreting On- and Off-Broadway and blending the theoretical with the practical, Lynnette Taylor, Stephanie Feyne, and Candace Broecker Penn provide guiding principles, best practices, processes, and strategies for creating dynamic, collaborative, culturally grounded sign language translations for theatre performances. Written in an engaging, conversational style, chapters include in-depth discussion of both theory and practice, providing techniques for translation and stagecraft along with practical insights for issues such as interpreting team attributes, character depiction, working with scripts, song translations, interpreting for young audiences, and interpreting virtual and recorded performances. With its emphasis upon dialogic interpretation, shared responsibility, and alliances, this guide is an indispensable resource for interpreters, educators, and theatre professionals.

Signed Languages: Discoveries from International Research collects the thirteen freshest, most innovative papers presented at the sixth Theoretical Issues in Sign Language Research conference in 1998, the largest of its kind ever convened. Presented together in this timely compendium, the research reflects the current trend toward focusing on international signed languages that previously have been ignored, including those of Sweden, Israel, Venezuela, and northern Nigeria.

The anthology is divided into six sections: Phonology, Morphology and Syntax, Psycholinguistics, Language Acquisition, Sociolinguistics, and Poetics. In Part One, articulatory constraints and the sign language of the Netherlands are addressed. In Part Two, researchers tackle noun classifiers, nonhanded signs, and verb classes in the signed languages of Sweden, the United States, and Israel respectively. Part Three offers the study, "Functional Consequences of Modality: Spatial Coding in Working Memory for Signs."

Language acquisition is analyzed in both adult learners and deaf children in Part Four. Part Five reports on the relationship between language and society around the world, focusing particularly on the signed languages of Venezuela and northern Nigeria. Part Six considers the techniques employed in British Sign Language poetry and ASL poetry.

Marcia Calhoun Forecki has written an engrossing, personal account of her life with Charlie, an adorable, active, deaf seven-year-old. Speak to Me! is the story of an ordinary hearing person confronted with an overwhelming reality—the fact that her son is deaf. Forecki’s struggle as a single parent to care for her child, to find the “right” schools, and to establish communication with her son will strike a familiar chord in all hearing parents of deaf children. All readers, parents or not, will be touched by the mixture of pathos and humor in this well-written account.

In her poignant, affecting autoethnography, Stories of Raising Boys, Julie-Ann Scott-Pollock investigates the meaning of disability, gender, race, and privilege in contemporary culture. Scott-Pollock is a white mother living with a physical disability raising four boys—Theo, a three-year-old risktaker; Tony, ten, who lives with seizures; Vinny, eight, who is gender expansive; and five-year-old Nico, who is also gender expansive and experiences anxiety. They live on the southeastern U.S. coast with their father, Evan, and their baby sister, Rosalie.

Through narrative analysis, Scott-Pollock compares and contrasts her circumstances to the ways in which adult interviewees manage the same lived experiences as her sons. She also includes their opinions about masculinity and identity, as well as parenting boys. In doing so, Stories of Raising Boys deepens the cultural complexity of parent–child relationships and expands our collective understanding of how they form and emerge. In addition, Scott-Pollock uses a metaphor of swimming through the ocean near her family’s home to illustrate resisting marginalization while also promoting strong cultural identities, especially in turbulent waters.

Stories of Raising Boys offers an absorbing cultural reflection on the intersectionality of identity, power, and privilege. 

The biography of a poet seminal to postwar American poetry

The poet Larry Eigner (1927–1996) was a key figure in New American poetry, which grew out of the Black Mountain School and San Francisco Renaissance, and a major influence on the Language poets. Eigner also had cerebral palsy as the result of an accident at birth. It is fortuitous that the poet lived his life in two locations vibrant in both poetics and disability activism. Except for brief periods attending camp and school, he lived with his parents in Swampscott, Massachusetts, until the age of 51. Later, he moved to Berkeley, California, at the height of the disability rights movement. In the 1950s, Eigner attended Camp Jened, which later became famous in the film Crip Camp.

Bartlett’s biography covers every significant phase of Eigner’s life: his childhood and young adulthood when he began typing poems with one finger on the manual typewriter that was a bar mitzvah gift; his first publications and the maturation of his poetic interests through correspondence with poets of the era; and after his move to Berkeley, the ever-expanding circle of friends, poets, caretakers, and collaborators he established there. The result is a deeply insightful account of an utterly distinctive voice whose influence widens and deepens with each new generation that encounters him.
 

Laura Redden Searing (1839-1923) defied critics of the time by establishing herself as a successful poet, a poet who was deaf. She began writing verse at the Missouri School for the Deaf in 1858, and, under the pseudonym Howard Glyndon, soon found herself catapulted into national prominence by her patriotic Civil War poems. Abraham Lincoln himself bought her books, the most critically acclaimed being Idylls of Battle and Poems of the Rebellion, published in 1864. Her poem “Belle Missouri” became the song of the Missouri Volunteers, and she was sent by the St. Louis Republican newspaper to Washington as a war correspondent.

       Despite her success, detractors decried her poetry simply because she was deaf, asking how she could know anything of rhyme, rhythm, or musical composition. She quieted them with the simple elegance of her words and the sophistication of her allegorical themes. Readers can enjoy her work again in this volume, which features more than 70 of her finest poems. They also will learn her feelings about the constraints imposed on 19th-century women in her epic narrative of misunderstanding and lost love “Sweet Bells Jangled:”

Out of sight of the heated land
Over the breezy sea;
Into the reach of the solemn mist
Quietly drifted we.

Her restoration will be an event welcomed by poetry aficionados everywhere.