Enabling Texts
Lennard J. Davis
Binghamton University
Some scholars who work in the humanities doing disability studies feel the
need to argue for the value of their endeavor. The strange thing, I suppose, is that
this argument has to be made at all. While it is now common to attack the past
discourse on disability as being largely a medicalized one - that is, the province of
medical professionals, health-care providers, and institutions involved in the
disability business - it is less acknowledged that disability studies in its new
incarnation has largely been dominated by sociologists, political scientists,
economists, social psychologists, and so on. Indeed, the major journals in the field,
both in the US and the UK, are edited by and largely print the work of people in the
social sciences. The names that have stood out - Erving Goffman, Harlan Hahn,
Paul Longmore, Michael Oliver, Adrienne Asch, David Pfeiffer, Michelle Fine,
Harlan Lane - are affiliated with this camp of academic investigation. While I have
only high praise for the ground-breaking work done by these scholars, I am aware
that from the socio-political model, endeavors like literary or cultural criticism
appear to be acceptable but "soft" ways of viewing the world. Indeed, when the
work of cultural critics are included in these journals, my sense is that they are
included in the way that one invites an artist or an actor to a dinner party - more for
fun and diversity than for real dialogue. So, what I am saying is that the "arts" tend
not to get central stage or funding.
In fact, at the 1997 meeting of the Society for Disability Studies, a session
entitled "Literature" was originally scheduled for Sunday morning at 8:00 AM, a
time when many conference-goers would have been brushing their teeth rather than
attending. It is the fate of the marginal discourse to be assigned by conference
organizers the Sunday morning graveyard plot, and only late wrangling changed
the time and perhaps focus of the session. Recent grants for disability-studies
curricula, too, have tended to go to the social-science sector.
I am not expressing sour grapes here, but I do want to point to a problem in
the field. And I do not want to be in the position of asking or begging for recognition
from the social-science camp. Rather, what I would like to .do is to lay out in a
propaedeutic way the rationale for cultural critique within disability studies. First,
it is important to understand that literary texts and cultural productions are not
simply the window dressing, the bright lights, of a culture. This would be the
National Endowment for the Art's approach to justifying its existence. Rather,
cultural productions are virtually the only permanent records of a society's
ideological structure. If we acknowledge that communal behaviors and thought
processes have a material existence, then that existence coalesces in the intersection
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between the individual mind and the collective market. No where can we understand
this intersection better than in literary and cultural productions. I would like to add
that if normalcy is produced, and if disability is constructed, then one of the best
places to see that activity frozen in a kind of amber is by looking historically and
contemporarily at texts of all kinds.
Perhaps part of the prejudice against literary interpretation is based on the
wrong kind of stereotypes about the nature of this activity. Traditionally, literary or
cultural analysis has taken a text and shown how badly the disabled character is
represented. This is what I would call a kind of necessary Phase I of any emergent
social movement. ( 1) Thus we have early feminist, class, and racial critics pointing
to stereotypes, and so on. Naturally, such a criticism produces rather little yield,
and thus makes literature or cinema or art seem marginal, by being simply illustrative,
to the general critique.
Phase II, however, then engages promulgating more positive images by
denouncing previous portrayals and seeking positive images in texts. This phase
also allows for the production of new literature with positive role models by formerly
shunned writers, artists, film makers, etc. In addition, critics seek ways of
reenvisioning traditional stereotypes in a positive light. Thus we can have work in
which a character with a disability, formerly seen in Phase I as degraded by his or
her position, is now seen as subverting a power structure or resisting definition by
the dominant culture. This phase tends to be archival in nature, in the sense of
going back in history and finding texts that were discarded for prejudicial reasons,
etc.
The Third Phase, the one I believe is beginning now in disability cultural
studies, is an avowedly theoretical phase which seeks to recast the whole way the
culture has conceived of the emergent category (in this case disability). While the
first two phases more or less confine themselves to character analysis (positive or
negative)- and thus work within the discursive paradigms ofthe previous oppressive
culture, the third phase examines the nature of representation and cultural production
itself - the whole system that permits knowledge about what is known. Here is the
point at which the social scientists and the literary types begin to converge and
need each other. In the case of disability studies, the work might or will focus
around the social function of the aesthetic - seeing the aesthetic not as the window
dressing, but as the window itself. Art is not for art's sake but for all our sakes. The
question of normalcy comes in here. We must examine the process by which
normalcy, taken for granted by definition, is shaped into a hegemonic force that
requires micro-enforcement at each and every cultural, somatic, and political site
in the culture. How do we learn what is normal, what constitutes a disability - but
through texts? Before we ever see other bodies, we see them in books held on our
laps, on children's television, in images hung around our cribs. In a consumer
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culture, people realize themselves through consumed cultural artifacts. So the Third
Phase, in which we are now engaged, is necessary to recast what we know (the
obvious, the ideological) so that it includes, and is therefore transformed by, the
rejected politico-socio-concept (disability) which it has so rigorously avoided.
My final point is that the basis by which literary/cultural critiques of
disability have been marginalized within the disability studies arena, seen as of
personal, human interest or simply as window-dressing, now becomes central. The
basis of the de facto denigration of such activity has been in some sense its lack of
utility (i.e. the arts are enjoyable but not useful). I want to point out that a critique
based on utility is in fact one that is frozen in Phase I and II since it is part of
utilitarian, enlightenment project. Indeed, we must remember that the very basis of
ableism is rooted in notions of utility as they apply to social planning, Fordism,
welfare-politics, and so on. The Third Phase I am describing is one in which notions
like that of utility will be interrogated, and in so doing, one hopes that the artificial
fire wall built between socio-economic critiques and literary/cultural studies will
fall since it will be no longer clear which is the fire and which is the wall.
At the same time, texts are not simple affairs; they are complex productions.
They have to be really since they do double and triple duty as entertainment,
enforcing, normalizing mechanisms, and finally - and importantly - as sites of
transgression and resistance. Thus reading is not simply the passive taking in of
propaganda or stereotypes, but is actually an involuted process of decoding, adapting,
resisting, submitting, and so on.
Notes
1. Here I am reworking in a very loose way Frantz Fannon's description in
The Wretched ofthe Earth of the development of a national culture in three phases:
1) the subaltern intellectual's adoption and assimilation of the occupying power's
culture; 2) aspirations to some positive vision which reconciles oppressor and
oppressed; 3) the recognition of an intellectual leadership role through writing
revolutionary literature. While not exactly the same, my three phases correspond
in the sense that the first phase of finding negative stereotypes shows that the
emergent critic has assimilated the body of literature and can critique it on its own
terms. Phase 2 leads to notions of positive images in a utopian sort of way. Finally,
Phase 3 recognizes the need to recast the cultural apparatus into a new and
revolutionary mode that supersedes what has come before and transforms the very
categories of thought, judgment, and system.
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