FInal Exam – Page 2

Tara Platenkamp’s Final Exam: The Difference Between Reading Autism and Reading While Autistic

The demand within autistic communities for autistic authors is high. How could it not be? Every person wants to feel that their voice is being heard, whether it is by their own words being delivered to the public or through a trusted proxy. For most of the existence of the literary community, however, autistic expression has been disregarded and treated as less valuable by scholars and audiences alike. Julie Miele Rodas and Ralph James Savarese provide in their books Autistic Disturbances and See It Feelingly, through alternative perspectives on autistic rhetoric, a comparative analysis on the existence and importance of viewing literature through a neurodivergent lens.

The first issue that becomes apparent when examining literature with autistic influence in mind is the oversight which happens to the expressions of actual autistic people. Both Rodas and Savarese discuss the general dismissal that occurs towards the alternative literacies that autistic people often use to communicate. For Savarese’s son, DJ, while his main forms of communication—writing and speaking—are themselves not unusual, the manner in which he is able to communicate is. Text-to-speech communicators are strange, if you’ve never been around someone who uses one, and many people become uncomfortable around synthetic voices, as well as the inevitable delay that occurs when a person has to type instead of speaking aloud. While not always intentional, it is not uncommon for neurotypical, able-bodied people to assume that because of his disability DJ lacks intelligence. The end result is that people like DJ, who struggle to communicate in the typical way, have their words and their thoughts devalued. Rodas describes the manner in which “even autism-positive literary scholars are prone to explain autistic verbal practices as literary deficits”, neatly summing up the way which even disability scholars can (whether maliciously or not) overlook or misunderstand the intent behind autistic language, applying a neurotypical film over an autistic person’s words to make them more palatable (Rodas 182). Not only this, but the existence of autistic authors is often overlooked or deliberately ignored due to a lack of clear evidence supporting the neurodivergence of accredited writers.

One of the most problematic assumptions that can be made about literature of merit is that none of it was written or influenced by autistic people. Rodas seeks to destroy this notion of neurotypical-until-proven-neurodivergent by not only identifying patterns of autistic thought and expression throughout the literary canon, but also attempting to remove the blinders of what counts as autistic language. Autistic people, Rodas points out, “embrace an infinite variety of varieties and expressive modes”, rather than being confined by strict rules that determine an exact criterion for autistic expression (Rodas 183). In fact, Rodas encourages “reaching” for examples of autistic influence in literature for the sake of seeking out intersectional connections between autism and all other walks of life (Rodas 192). She outlines that many forms of autistic expression can seem innocuous to the uniformed eye; listing, repetition, wordplay, silence, and more all hold a place in autistic artistic rhetoric. It is only once these motifs are ascribed to autism that they begin to carry a different weight. Rodas references the lists that appear in Jorge Louis Borges’ “The Analytical Language of John Wilkins” with the purpose of pointing out how “Borges’ tongue-in-cheek inventory speaks to both the apparent worthlessness of discretionary rhetorics as well as to their potential for intelligence, invention, even humor” (Rodas 188). The reason why literature is usually assumed to be written by neurotypical people is because autistic expression is presented as less functional and meaningful. By presenting literary works that exhibit motifs which can be related to autistic rhetoric, Rodas removes the boundary between notable works of literature and works of literature written by autistic people. Not only does Rodas disregard the invisible barrier of ableism, but she also shows that elements of autistic rhetoric and expression exist outside of the vacuum of literature written about and by autistic people. It is through this acknowledgement of autistic expression holding not only value, but also normalcy, that neurodivergent rhetoric is moved from the theoretical, othered position, to one which may encourage and be engaged with by neurodivergent indivudials.

The biggest distinction to consider when discussing the examination of literature through a neurodivergent lens is the difference between reading autism and reading while autistic. Rodas’s work focuses on reading literature while searching for autistic influences; Savarese, comparatively, illuminates the ways in which stories that are superficially unrelated to the topic of autism can affect a person who is autistic, both the good and the bad. Neither of these perspectives is problematic, but are, rather, two of the necessary viewpoints when tying autism to literature. Stories have two fundamental parts: the author, and the audience. By accounting for autistic influences both in how literature is formed and how it is received by autistic people can the full scope of neurodivergent presence literature be understood. Without both these perspectives being utilized, a foundational pillar of disability studies is lost. In Savarese’s prologue, DJ says that he “‘feel[s] characters’ feelings’” and is described as “screaming at the top of his own oxygen-depleted lungs” in response to a character from Jon Krakauer’s Into Thin Air dying. This intense empathetic response might seem unimportant in regards to the novel as a whole. However, DJ’s response speaks to a greater connection between themes of misunderstanding and abuse in literature and those that appear in the autistic community. DJ is upset by the death of Rob Hall not only due to his empathetic nature, but also the experiences he himself has gone through as an autistic person. Savarese explains the feelings of “extreme helplessness” portrayed in the novel that DJ identified with, as a disabled child in foster care left without any way to communicate (Savarese 21). The identification and understanding of autistic influence in literature, as Rodas does, are necessary for furthering an awareness of autistic rhetoric, but Savarese’s accounts of his son explains why encountering and encouraging neurodivergent voices matters. Despite the fact that reading can be a trial for DJ, Savarese describes the intense way that DJ “identified” with stories, and encountering such emotional trials and overcoming them eventually gave to way to a greater grasp over his own emotional state (Savarese 15). DJ, a writer in his own right, suggested that “real change is only possible when different thinkers free people to open their eyes to new ways of being”, a direct proponent of how vital it is for autistic rhetoric to be acknowledged not only within literature, but about literature.

Autism, as well as any form of neurodivergence, is not a simple condition with easily defined borders that can be understood at a glance. However, it is because of the vast number of possible expressions of autism that make recognizing and celebrating autistic rhetoric so important. Rodas and Savarese’s writing encompass the two most foundational parts of understanding literature through a neurodivergent lens by enumerating and examining the ways in which autistic rhetoric affects established literature, and the experiencing of literature by autistic people. The cycle of author to reader that their books provide allows for a fuller understanding of autistic rhetoric in a way that does not merely encounter neurodivergence but embraces it and allows it to thrive.

Word count: 1211

Sources:

Rodas, Julia Miele, and Melanie Yergeau. Autistic Disturbances: Theorizing Autism Poetics from the DSM to Robinson Crusoe. University of Michigan Press, 2018.

Savarese, Ralph James. See It Feelingly: Classic Novels, Autistic Readers, and the Schooling of a No-Good English Professor. Duke University Press, 2018.

Cayla Stroud’s Final Examination

Intersection of Autism and Race

In Morenike Giwa- Onaiwu’s Autistics of Color: We exist We Matter someone asked her the question, “Autism is Autism right? Does race really matter?” Her argument was that the impression was becoming seemingly apparent that disability, in particular Autism, was overlooked and seen as a collective experience, not interested with the intersection of race, gender, or sexuality. Furthermore that the discussion of race as it pertains to autism is silenced. It is of great importance that we are to examine the lives affected by both the impact of race and disability matters. Moreover, when one is asked to “simplify” themselves or experiences it is an attempt to invalidate one’s identity and voice.

I’d like to start by breaking down the frequent statement that was made by Giwa-Onaiwu’s friends, colleagues, neighbors and people who care about her have asked, “Autism is Autism right? Does race really matter?” (Giwa-Onaiwu x). First Autism is not just Autism, there is a spectrum. As John Sinclair stated in “Don’t Mourn For Us”, “Autism is a way of being. It is pervasive; as it colors every experience, every sensation, perception, thought, emotion, and encounter, every aspect of existence”. Which speaks to the notion that the Autism spectrum has a broad set of experiences, that each individual experiences differently. With this being said it is best to ask someone, how he/she prefers to be addressed, as Autistic people are capable of communicating and understanding. As DJ Savarese mentions in his piece “Communicate with me” where he describes his subjective experience with Autism and how people can freely talk to him. It is also important to see Autistic people as whole, with an identity, and not disconnecting their identity from themselves. As Autism is commonly believed to be a disease in which, if it were to be reversable a person would then be a different, “normal” person. As John Sinclair writes, Autism is not a “shell” that a person is trapped inside and there is no “normal” person hidden behind Autism. To rid someone of disability is ultimately a way to dehumanize, erase, and diminish that individual.

To further break down the statement, “Autism is Autism right? Does race really matter?” Not everyone’s experiences as it pertains to race is the same. As Onaiwu’ spoke about her experience from childhood,

“I remember helplessly trying to explain to my biracial cousin why I didn’t ‘have it easier’ than her merely because I was monoracial … Her assumption was that I was ‘luckier’ than her because I looked ‘black’… because I ‘looked apart’. I was supposed to automatically understand and be fluent in all these random aspects of life attributed to black American culture” (Giwa-Onaiwu xiv).

As Giwa-Onaiwu suggested the particular contention with how a person is viewed within a particular minority. Also, how her white counterparts would deem her credible to know every aspect of African American culture even though she did not and was, but in the African American community she was considered “not black enough” because of her speech and mannerisms. Employing that she was supposed to inherently eat a certain way, dress a certain way, and act a certain way in order to be seen as black. When the real reality is, there is no singular way to be any race and experiences are different from individual to individual.

In addition, she is also Autistic, as she felt there was no place of belonging, others understanding her, or accepting her. It was as she said, she was in a minority group within a minority group within a minority group. Explaining that her experience with her race and disability was just another barrier for her to find her place in society. Which is why the intersect of Autism and race have everything to do with one another.

It is an ableist view of disability to think that disability is no way intertwined with race, furthermore as Giwa-Onaiwu explained it is an obscure reality of their own intrinsic privilege with regard to race and ability (Gina-Onaiwu xi). That once an individual ignores those factors you are then not focusing on the subtitle differences that a person faces within a minority group, within a minority group, within a minority group. As Onaiwu stated, “We –those of us who exist at the intersection of disability and race aren’t treated as if we are real” (Gina-Onaiwu xii). She explains that the factors that affect those who are at the intersection of race and disability are paid little concern to. It is a grave injustice to separate the very aspects of someones lived experiences, while one can experience them simultaneously.

As E. Ashkenazy offers ways to address these issues and bring them to the forefront she offers the most valuable source of advice to “Listen to and welcome the stories and insights that autistic people of color have to share with us” (Ashkenazy xxxviii). Because not all Autistics share the same shared experiences and nor do people of color. Because in this way, it is a way to shed light on culture, home lives, family, and the lived experiences of who people are at the intersection of disability and race and not base broad and ignorant assumptions on others. In addition, as Ashkenazy emphasizes it is our social responsibility to ask people how they identify, instead of assuming and getting to know people instead of clumping them into one category (Ashkenazy xxxix). It is being able to slow down and think about the stereotypes and misunderstanding that we are perpetuating, because it can lead to insightful and meaningful conversation embracing the mixed and intricacies of autistic people of color.

Works Cited

Brown, Lydia X. Z., and Morénike Giwa-Onaiwu. “Autistics of Color: We Exist…We Matter.” All the Weight of Our Dreams: on Living Racialized Autism, DragonBee Press, 2017, pp. X-xxii.

Sinclair, Jim. “Don’t Mourn for Us..” Autonomy, the Critical Journal of Interdisciplinary Autism Studies [Online], 1.1 (2012): n. pag. Web. 2 May. 2019

Savarese, DJ. “Communicate with Me.” Disability Studies Quarterly, 2010, dsq-sds.org/article/view/1051/1237.

Word count: 1006

I Pledge, on my honor.

Erin Smith’s Final Paper on ‘Misfit’ by Tito Mukhopadhyay

Erin Smith

ENGL 384: Section 1

Dr. Foss

28 April 2020

Misfit: Autism and Nature Imagery

It seems very fitting that I read a story about an autistic child’s interaction with a parent right after rereading the poem Misfit for this assignment. The man was recalling a time he went to Disneyland when he was young, and he came across two other kids who were interested in his Stitch plush that he was carrying around. Happy to meet people who like the same character he does, he begins to stim by flapping his arms. The very ableist mother of the two children found the behavior abnormal and didn’t want her kids to interact with him, but the other two children were perfectly fine with it. In ‘Misfit’ by Tito Mukhopadhyay it is adults like that mother that label the speaker a misfit, but the other information in the poem says otherwise. Misfit compares autistic behaviors to images of the natural world, combating the idea that these behaviors are “wrong” or “weird” as most people see them to be.

In the first stanza, Mukhopadhyay describes the earth as “turning and turning.” One common form of stimming is spinning objects, such as tops or the classic fidget spinners that were so popular a few years back. It’s an activity that brings them entertainment and relaxation. Just like autistic people, the earth spins (on its axis). The stars don’t see any abnormality in this behavior in the earth, and they chose to leave it alone rather than bring attention to it or label it something. After all, the earth’s spinning is a natural process; why should anyone call it out? Moving back to fidget spinners, they were increasingly popular for neurotypical people for some unknown reason, but at the same time those same neurotypical people would make fun of autistic kids for using them. Fidget spinners and fidget cubes were made for those with learning disabilities that can’t allow them to sit still or focus without some kind of outlet, such as ADHD and autism, to have an inconspicuous object that lets them stim without distracting the class. Yet neurotypicals took it and made fun of those it was made for. It even became an ableist meme at one point, although the popularity of the “toy” overshadowed most of the memes. I remember from high school watching some of the mean students make fun of one of our special needs boys for having one. Yet in this poem, Mukhopadhyay takes this behavior that is often stigmatized by neurotypicals and compares it to a natural, beautiful process. He claims there’s nothing more wrong with the behavior than the earth’s spinning.

Next in the poem, the birds appear as the earth continues spinning. They flap their wings just like autistic people do when they’re excited or happy (a behavior I’m very familiar with because I do it myself. ADHD is now being considered by some people to be autism’s cousin so an overlap in behaviors is not a surprise). Mukhopadhyay specifically notes in this part that the birds know he was autistic, and yet they still “found no wrong with anything” (MUKhopadhyay line 9). They flap their wings to fly, so they see his flapping as just as natural as theirs. He’s doing what he needs to do to survive comfortably and not in a depressed state. Just like birds who have their wings clipped, autistic people who aren’t allowed to stim often feel depressed. From personal experience with stimming, when someone looks at me wrong or tells me to stop when I’m flapping, my mood drops significantly. Stimming is a natural part of autistic behavior and those who do it should not be forced to stop. After all, it’s like clipping a bird’s wings, isn’t it?

The people, the men and women, however, view his behaviors differently than the stars or the birds. They stare in a way that can only be considered disgusted or appalled, because they label him a ‘Misfit’ in the next line. This stanza is meant to reflect society’s view on autistic behaviors, rather than those of the natural world. To society, what he does is unnatural. These people that do so fail to see how his behaviors are more connected to the natural world than they think. They fail to correlate the earth spinning with his spinning, or the birds’ flapping with his flapping. To them, he just isn’t like the other kids; he doesn’t do the same thing the majority of children do. Clearly there must be something wrong with him, right? While they see only something weird and out of the ordinary, the speaker and other images in the poem see it as completely normal.

He says so himself in the next stanza when describing the blowing stim: “I found no wrong with anything” (line 15). He thinks it’s nothing more than a cool trick to blow like the wind, not another one of the odd behaviors the men and women in the last stanza thought they were. He sees how this fun trick is similar to nature, describing himself as the wind. Blowing raspberries or just blowing out air in general, they’re both traits of stimming that are often seen in autistic children. Not only does he find it perfectly fine to do these activities, he wants to share them with others. He sees it as something that other people and other children will enjoy too. And in the final stanza, he questions why anyone should stop doing these behaviors. He asks the reader, “Why stop turning and turning / When right can be found with everything?” (lines 16-17) This final question comes in direct opposition to his past repeating phrase: “found no wrong in anything.” Now rather than seeing that there is “no wrong in anything,” he sees that there is all right in everything. What he does, what the birds do, and especially the earth’s spinning, they are all part of the natural world and are all good, right things to do. Not to mention the first line could be interpreted as his wish that the men and women would see the right in everything as he does. He wishes they could consider these autistic behaviors as natural and perfectly ordinary.

‘Misfit’ is a poem about an autistic child labeled as such because of his “abnormal” behavior, but he sees himself as the opposite. Using images of the earth, birds, wind, and stars, he compares his stimming activities to the natural world and creates this picture of autism being just as ordinary as other things in the world. He disregards the view of those who consider it not to be, and instead lives on happily as his autistic self.

Word Count: 1108

I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work

Meg’s Final Analysis on the Birth of Frankenstein’s ‘Creation’, and Ableist Parent’s Autism Diagnosis Experience

Earlier in the semester, we focused quite a bit on the character of Victor Frankenstein, the titular character in Mary Wollstonecraft Shelley’s Frankenstein. We discussed how Victor could represent a character with depression, schizophrenia, or a number of other possible invisible disabilities. We touched on his ‘creation’ from time to time as well, in associate with Rosemary Garland Thompson’s Introduction: From Wonder to Error—A Genealogy of Discourse in Modernity” from Freakery: Cultural Spectacles of the Extraordinary Body, among other theories. But I think that we should circle back and revisit Dr. Frankenstein and his creation now that we have learned more about autism. By analyzing the passage in which Victor Frankenstein experiences the ‘birth’ of his ‘creation’ it is impossible to ignore the way in which his experience coincides with the depiction of the experience of an ableist parent, such as Jenny McCarthy, discovering their child’s autism diagnosis, outlined in Julia Miele Rodas, “Introduction” rather succinctly, which shows us just how far we have left to go in deconstructing the rampant ableism in our own society.

Shelley begins Dr. Frankenstein’s experience, at the moment the creature opens his eyes, “How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful!” (Shelley 37). It is clear that up until this moment, throughout the two years he had been working on his ‘creation’, he never once thought of him as anything less than his own beautiful summation of his blood sweat and tears. His ‘creation’ was exactly as he was intended to be, with, “limbs […] in proportion” and “beautiful” features (37). This mirrors what a parent typically sees in their child(ren): the most beautiful thing(s) they have ever created. We see similarities in Jenny McCarthy’s depiction of her son in the doctor’s office just before his diagnosis, as written in her book Louder Than Words, “Evan ‘had taken those ear cones the doctors use to look inside your ears and had made the most perfect row lined up across the room’”. McCarthy goes on to detail that she found this behavior ‘”cute”’ (Rodas 15). McCarthy’s choice of the words “perfect” and “cute” illustrate that prior to her son’s diagnosis, she, like Dr. Frankenstein and his ‘creation’, saw no problem with her child. The similarities do not stop here.

Within the first line of this passage, the reader is aware of Dr. Frankenstein’s flurry of emotions upon witnessing the birth of his ‘creation’. His use of the words “catastrophe” and “wretch” illustrate the change in the doctor’s perception of his ‘creation’ from “beautiful” to seemingly grotesque. Frankenstein continues, “The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing lie into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” (Shelley 37). In this passage Dr. Frankenstein acknowledges his change in feelings toward his ‘creation’. He, not unlike a parent, has put his all into his ‘creation’ for years until this point. But, the moment his ‘creation’ opens his eyes he no longer recognizes him as the “beautiful” being he was moments before.

This, again, mirrors Jenny McCarthy’s own ableist reaction to the diagnosis of her son, “’Everything I had thought was cute was a sign of autism’” (Rodas 15). As we’ve just read, moments earlier McCarthy had seen her son’s behavior as “cute”, and she has now dehumanized them into strictly symptomatic behaviors, or as Rodas puts it, as “autism’s antihuman identity” (Rodas 16). McCarthy goes on, “The things I’d thought were character traits were in fact autism characteristics, and that was all I had. Where was my son, and how the hell did I get him out?” (16). McCarthy’s inability to see her son, and insistence upon seeing his once “cute” “character traits” as non-communicative autonomic compulsions that he needed saving from, illustrate the dehumanization of her own son due to her ableist blinders. This is further exemplified by McCarthy’s interaction with her own doctor, who states that her son “is still the same boy you came in here with”, and her response “No, in my eyes he wasn’t,” (16). Much like Doctor Frankenstein no longer sees his ‘creation’ as the same “beautiful” being that he had known for years, neither does McCarthy see her own son as the “cute” boy that she had raised until this point.

Mary Wollstonecraft Shelley’s Frankenstein is chock-full of material to analyze through the lens of Disability Studies, from the Doctor’s many possible invisible disabilities, to the various possible physical and invisible disabilities that his ‘creation’ could be seen to represent. But perhaps more interesting, at least to me, is the way in which the interactions between the Doctor and his ‘creation’ or either character and the outside world, can be seen to represent interactions between the disabled community and the non-disabled community. How do we see things differently today, or do we? One example can be found in the problematic way that many ableist parents fear the diagnosis of autism for their children as most parents would fear a deadly illness. Which is ironic, given that this same fear pushes many to avoid modern medical treatments such as vaccines, under the misguided notion that they may cause autism; literally risking their children’s lives to avoid an autism diagnosis. This best illustration of this dehumanizing fear is Jenny McCarthy’s experience of the diagnosis of her son with Autism, and the succinct reflection of that experience within Dr. Frankenstein’s experience of witnessing the birth of his ‘creation’, which shows us that although we’ve come a long way in terms of we still have a very long way to go in dismantling the ableism in our society.

Word Count = 1014

Works Cited:

Rodas, Julia Miele, and Melanie Yergeau. Autistic Disturbances: Theorizing Autism Poetics from the DSM to Robinson Crusoe. University of Michigan Press, 2018. < https://www.dislit2020.chris-foss.net/blog/readings/>

Shelley, Mary Wollstonecraft, and Susan J. Wolfson. Mary Wollstonecraft Shelleys Frankenstein, or, The Modern Prometheus. Pearson Longman, 2007.

Thomson, Rosemarie Garland. Freakery: Cultural Spectacles of the Extraordinary Body. New York University Press, 1996. <https://www.dislit2020.chris-foss.net/blog/readings/>

I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work.