As an African American woman born in 1943, Maxine Childress Brown possessed a unique vantage point to witness the transformative events in her parents’ lives. Both came from the South -- her father, Herbert Childress, from Nashville, TN, and her mother, Thomasina Brown, from Concord, NC. The oldest of three daughters, Maxine was fascinated by her parents’ stories. She marveled at how they raised a well-respected, middle-class family in the midst of segregation with the added challenge of being deaf.
Her parents met in Washington, DC, where they married and settled down. Her father worked as a shoe repairman for $65 per week for more than 15 years. A gifted seamstress, her mother gave up sewing to clean houses. Because of their modest means, Maxine and her sisters lived more than modest lives. When Maxine’s tonsils became infected, her parents could not afford the operation to have them removed. For her high school prom, her mother bought her a dress on credit because she had no time to sew. Herbert Childress showed great love for his young daughters, but events turned him to bitterness and to drink. Throughout all, Thomasina encouraged her girls, always urging them to excel. She demanded their honest best with her signature phrase, her flat hand raised from her mouth straight up in the air, “on the beat of truth.”
This collection relies on the language of literary aesthetics to examine Du Bois’s political agenda and, conversely, on varying accounts of that political agenda to assess his aesthetic choices. It also helps us understand why Souls became a literary and political classic and has played such a decisive role in the formation of twentieth-century African American literature and political thought. The essays explore a variety of topics, including the possibility that Souls was modeled on Richard Wagner’s idea of a total artwork, Du Bois’s thinking about the political significance of homosociality, and the interplay of racialism, nationalism, and globalism in Souls.
Contributors. Anne E. Carroll, Vilashini Cooppan, Robert Gooding-Williams, Sheila Lloyd, Dwight A. McBride, Charles I. Nero, Cheryl A. Wall, Alexander G. Weheliye
In graduating from Gallaudet University, finding a job in Washington, D.C., and starting a family with her college sweetheart, Kitty Fischer tacitly abandoned the Louisiana Cajun culture that had exposed her to little more than prejudice and misery as a child. Upon discovering that she suffered from Usher syndrome (a genetic condition that causes both deafness and blindness), however, Fischer began an unlikely journey toward reclaiming her heritage. She and Cathryn Carroll tell the story of her heroic struggle and cultural odyssey in Orchid of the Bayou: A Deaf Woman Faces Blindness.
“By this time Mama knew I was ‘not right,’” Fischer says of her early childhood. “She knew the real words for ‘not right,’ too, though she never said those words. I was deaf and dumb.” Initially Fischer’s parents turned to folk healers to try and “cure” their daughter’s deafness, but an aunt’s fortunate discovery of the Louisiana School for the Deaf would rescue Fischer from misunderstanding and introduce her to sign language and Deaf culture. She weathered the school’'s experiments with oralism and soon rose to the top of her class, ultimately leaving Louisiana for the academic promise of Gallaudet.
While in college, Fischer met and married her future husband, Lance, a Jewish Deaf man from Brooklyn, New York, and each landed jobs close to their alma mater. After the birth of their first child, however, Fischer could no longer ignore her increasing tunnel vision. Doctors quickly confirmed that Fischer had Usher syndrome.
While Fischer struggled to come to terms with her condition, the high incidence of Usher syndrome among Cajun people led her to re-examine her cultural roots. “Could I still be me, Catherine Hoffpauir Fischer, had I not been born of a mix that codes for Usher syndrome?” she asks. “To some extent, the history of my people explains the constitution of my genes and the way my life has unfolded.” Today Fischer prospers, enjoying her time with family and friends and celebrating the Deaf, Cajun, Blind, and Jewish cultures that populate her life. Her lively story will resonate with anyone who recognizes the arduous journey toward claiming an identity.
The collective social history of deaf people in America has yet to be written. While scholars have focused their attention on residential schools for the deaf, leaders in the deaf community, and prominent graduates of these institutions, the lives of “ordinary” deaf individuals have been largely overlooked.
Employing the methods of social history, such as the use of digital history techniques and often-ignored sources like census records, Eric C. Nystrom and R. A. R. Edwards recover the lived experiences of everyday deaf people in late nineteenth century America. Ordinary Lives captures the stories of deaf women and men, both Black and white, describing their family lives, networks of support, educational experiences, and successes and hardships. In this pioneering “deaf social history,” Edwards and Nystrom reconstruct the biographies of a wider range of deaf individuals to tell a richer, more nuanced, and more inclusive history of the larger American deaf community.
Arden Neisser’s classic book on American Sign Language (ASL) and the Deaf community is again available, with a new prologue. The Other Side of Silence explores the Deaf community through telling interviews and research from across the country.
In widely varying encounters, Neisser heard Deaf individuals recall how their teachers suppressed ASL, how linguists foster conflicting theories, and how various institutions of the deaf dilute ASL to suit hearing patrons. This seminal book reveals the warmth, creativity, and resilience of Deaf people, and offers an update of the community today.
In 1976, Trent Batson and Eugene Bergman released their classic Angels and Outcasts: An Anthology of Deaf Characters in Literature. In it, they featured works from the 19th and 20th centuries by well-known authors such as Charles Dickens and Eudora Welty. They also presented less-well-known deaf authors, and they prefaced each excerpt with remarks on context, societal perceptions, and the dignity due to deaf people. Since then, much has transpired, turning around the literary criticism regarding portrayals of deaf people in print. Edna Edith Sayers reflects these changes in her new collection Outcasts and Angels: The New Anthology of Deaf Characters in Literature.
Sayers mines the same literary vein as the first volume with rich new results. Her anthology also introduces rare works by early masters such as Daniel Defoe. She includes three new deaf authors, Charlotte Elizabeth, Howard T. Hofsteater, and Douglas Bullard, who offer compelling evidence of the attitudes toward deaf people current in their eras. In search of commonalities and comparisons, Sayers reveals that the defining elements of deaf literary characters are fluid and subtly different beyond the predominant dueling stereotypes of preternaturally spiritual beings and thuggish troglodytes.
Outcasts and Angels demonstrates these subtle variations in writings by Ambrose Bierce, Isak Dinesen, Nadine Gordimer, and Flannery O’Connor. Stories by Juozas Grušas, Julian Barnes, and many other international authors broaden the scope of this updated inquiry into the deaf literary character. Sayer’s preface and closing essay bring any disparate parts together, completing Outcasts and Angels as a fitting, contemporary companion to the original classic collection.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press