Blindness in Fiction 2: Adrian Mole

Adrian Mole, Sue Townsend's celebrated diarist, has been chronicling life in middle England for thirty years.

Adrian's best friend Nigel was registered blind in 2002 and Townsend describes Adrian's response to Nigel's sudden sight loss in Adrian Mole and the Weapons of Mass Destruction (2004). When I first read this volume, shortly after it came out, I was still in denial about my own blindness and so didn't pay any attention to 'poor blind Nigel' (p. 37). But I've recently gone back to look again at how Adrian deals with his best friend's situation.

Adrian's first reaction to Nigel's news (pp. 19-20) is a mixture of the inappropriate and the selfish. He makes quips about Nigel's love of dark glasses and is disappointed that his friend will no longer be able to advise him on interior decoration. Lovers of the Adrian Mole diaries will not be surprised by these apparently flippant comments. It is fair to say that Adrian has a rather self-centred approach to life and has a sense of perspective slightly out of kilter with those around him. He can struggle with the finer points of  empathy and is often awkward in social situations. Despite Nigel's shock, we find ourselves laughing at some of Adrian's responses precisely because they tell us more about Adrian's skewed priorities than they do about Nigel's sight loss.

But at the end of this same episode, on p. 21, Adrian lapses into the kind of patronising behaviour which all blind people will have experienced at some point. When Nigel's cab arrives, Adrian gives the address on Nigel's behalf. This might seem like a rather trivial incident; after all, Adrian is only trying to help. But we, like Nigel, interpret this genuinely well-intentioned slip as a manifestation of the widely-held belief that the visually impaired also lack other physical and mental capacities. Nigel's grumpy riposte: '"I can still speak, Moley!"' is misunderstood by Adrian. His response, 'I hope he is not going to become one of those bitter blind people, like Mr Rochester in Jane Eyre' is revealing for two reasons. Firstly, it makes a sweeping generalisation about the blind which is rendered all the more erroneous because it is based on a fictional character (one, indeed, whose blindness has important metaphorical implications of its own). Secondly, it fails to notice that Nigel is not grumpy about his blindness as such. Instead it is Adrian's rather thoughtless treatment of him which has put him in such a bad mood. By both speaking for him, and subsequently failing to understand Nigel's irritation, Adrian unwittingly communicates his deep-seated belief that going blind somehow makes Nigel a lesser person. In this one incident, Townsend underlines one of the most common misconceptions faced by the blind.

Adrian certainly is well-meaning in his attempts to understand Nigel's blindness. Later on in the story, he decides not to help Nigel 'look' for his keys, coat and white stick because he "has often heard blind people on the radio going on about how much they resent other people doing things for them" (p. 94). Adrian's problem here, of course, is his inability to put his knowledge into context. Whilst Nigel does not need help to give his address to a cab driver, he probably would appreciate some help finding that pesky set of keys.

Several more episodes of this kind occur throughout the book. Aside from giving us additional insights into Adrian's character, they are significant because they allow Townsend to denounce the way people treat the blind. Townsend was registered blind in 2001 and given some of the reactions I've had, especially when out and about with my white cane, I'll bet she has been on the receiving end of similar comments. Putting such comments in Adrian's voice means she can demonstrate their dangerously negative reach without ranting or whining. (And we've already seen how any blind person who does that is in danger of being dismissed as 'bitter'.) Furthermore, by showing Nigel's reactions alongside Adrian's misreading of them, she (ironically unlike Adrian) gives Nigel his voice back and encourages the reader - who is already aware of Adrian' s flaws -  to see things from Nigel's perspective. By experiencing some of his outrage, readers will hopefully internalise how it feels to be treated as part of a generalised, marginalised and misunderstood group rather than as an individual. Perhaps this new-found knowledge will come into play next time they meet someone who is experiencing sight loss.

Night Vision

I have loved Suzanne Vega's music since I discovered it 25 years ago. Seeing her live at Newcastle City Hall on 1st June 1987 was my first experience of how extraordinarily moving seeing your favourite artist live can be. I've seen her live many times since then and can't wait to relive the experience again tomorrow when she celebrates the 25th anniversary of her platinum album Solitude Standing at the Barbican in London.

'Night Vision' is a beautiful and relatively unknown song from Solitude Standing. I had previously understood it in its literal sense, in the sense Vega meant it, as a description of a loved one falling asleep as night gradually fills the narrator's room. But earlier today I was listening to it whilst worrying about how to find my way to The Barbican in the dark. Suddenly the lyrics gained a new depth of meaning and it became a song about my own experience of partial blindness.

The opening lines: "By day give thanks, by night beware; half the world in sweetness, the other in fear" evoke the age-old myth that associates light and day with joy and happiness and darkness and night with danger and misery. Vega's lyrics frequently evoke received wisdom in this way before subtly overturning the listeners' expectations. (Think of the narrative of childbirth in 'Birth Day'; the unexpected sagacity of the unnamed lover in 'Gypsy', the beauty of asymmetry in 'Left of Centre' or the mischievous riff on misery in 'Straight Lines'.

The implications of the cliche evoked at the beginning of 'Night Vision' are familiar to the blind and the partially blind. Too often, blindness is seen as just as irrevocably negative as the darkness with which it is erroneously associated. As the song develops, however, Vega demonstrates that vision is not about seeing, but rather about using the available clues to fill in the gaps left by either partial blindness or nightfall:

"When the darkness takes you with her hand across your face,

don't give in too quickly, find the things she's erased:

find the line, find the shape through the grain,

find the outline and things will tell you their name."

This is a perfect description of the way my brain tries to make sense of the patchy, blurry world I inhabit. Like the narrator in Vega's song, I am always trying to make sense of edges, outlines, contours. I see a ghostly shape and my brain tells me what it is most likely to be. This song is - perhaps unknowingly - a celebration of the particular way the partially blind relate to the world. The narrator's promise to teach her child "night vision' ends the song. In this promise I hear a celebration of both literal and metaphorical darkness which invites the blind and the partially blind to enjoy and treasure their way of seeing in the dark.

(Vega's song may be exquisite and inspiring in equal measure. But it will not actually help me find my way to the Barbican in the dark. Luckily the Baribican provides an incredibly helpful and wonderfully detailed description of how to get to the venue on their site, complete with extremely helpful photo-maps of key points along the route.)

To the Buses

It is one of the horrible ironies of modern life that blind and partially blind non-car-drivers can also find it incredibly difficult to use public transport. Surely, the very fact that the blind cannot drive should have meant that public transport was designed especially with us in mind.
Not so.. According to a recent RNIB report, 9 out of 10 partially blind bus uses have trouble hailing buses whilst 8 out of 10 have missed buses as a result of their vision. I use buses almost every day and hate not knowing which bus is coming until it is pretty much already at the stop. I used to use a hand-held monocle to read bus numbers. But this is tricky to juggle with glasses, white cane, umbrella, bag, bus pass etc. So now I use a mixture of techniques.
Where possible I rely on the electronic displays which claim to count down the minutes until the next bus is due. This works on my usual relatively quiet route, but isn't great at a stop serving lots of different buses. Then I just flag down whatever comes along and smile apologetically at the bus driver if I accidentally hail the wrong bus. Apart from being embarassing for me and annoying for the driver, this has also meant that I have unwittingly flagged down the odd lorry too. Sometimes I ask other passangers (or my kids) to tell me what is coming. This can be a nice way of engaging strangers in conversation.
And bus numbers are not the only problem. Recently, Oxford station reorganised which buses use which stops. There are four stops on the station forecourt so I really need to know where my bus is going from. There was no additional signage or news alerts about the changes. Presumably the operators thought that passengers would notice the changes themselves.This is not easy to do when you can't see the numbers and rely on habit and precedent. I was halfway to Rose Hill before I realised my mistake.
The problem with all my techniques for working out the buses is that they take away my autonomy and put me in the position of having to ask. They make me feel apologetic for even wanting to get a bus in the first place.
The RNIB's 'Stop For Me, Speak to Me' campaign is aiming to make drivers and buses more vocal. Why not shout out numbers, destinations and stops as a matter of course? Why such a conspiracy of silence?

Flaubert and the 'Medical' Model of Disability

In preparation for a research paper I am giving at the University of Kent as part of their 'Cultural Pathologies' seminar, I have been thinking about how nineteenth-century French literature depicts disability. The nineteenth century is well-known for its enthusiasm for scientific and medical progress. It would therefore seem logical that its writers would favour the  'medical' model of disability. This model is similar to the 'tragedy approach'. Both these models of disability still exist today. (See this post for an example of the 'tragedy' approach.)  The 'medical model' sees disability as something inherently negative which must be cured, or, better yet, eliminated entirely. The most extreme version of this model led to the eugenics of Nazi Germany.

The club foot episode in Gustave Flaubert's Madame Bovary can be read as an example of the 'medical' approach to disability. In the name of progress and patriotism, Homais and Emma convince Charles to cure Hippolyte's club foot using a new and complicated procedure. Hippolyte, who is perfectly happy with his foot the way it is, takes quite a lot of persuading. Like many disabled people, he does not see himself as in any way disadvantaged or inconvenienced by his difference and cannot really understand why the able-bodied are so eager to convince him otherwise.

When he eventually acquiesces, the operation seems to go perfectly, leaving Charles, and, more importantly, Emma to bask in the glory of his triumph. Unfortunately, however, Charles is not quite as talented as his wife would have him (and herself) believe. Hippolyte's leg soon becomes gangrenous and is eventually amputated by renowned surgeon Canivet.

The failure of Charles's attempt to cure Hippolyte is a wonderful illustration of the dangers of the 'medical' model. Homais and Emma believe in perfection, beauty and normality. Anything that deviates from any of these absolutes must be somehow lacking or inferior: a patient in need of a cure, a victim in need of pity. But their interference nearly costs Hippolyte his life. Why, rages Canivet, try and fix something that isn't even broken? Why mess with a perfectly happy and healthy man for no reason other than a misguided believe in progress for its own sake? Why indeed.

Superhumans at the Wellcome Collection

Lord Sebastian Coe was right when he said that the success of the London 2012 Paralympic Games means 'we will never think of disability the same way'. Outmoded notions of 'normality', 'beauty' and 'perfection' have been shattered, or at least called into question, by the sheer diversity of the elite bodies competing during the Games.

Oscar Pistorius's Blades

Shaun Botterill, Getty Images

The controversy over the 'Cheetah' blades used by T 44 sprinters Pistorius and Oliveira at the Paralympics brought the issue of 'normality' to prime-time television. The prosthetic running legs used by these athletes are designed for their optimum performance. Unlike early prosthetics - such as those produced for the Thalidomide children in the sixties - Pistorius's legs do not try to blend in or 'pass' as actual legs. They privilege functionality over 'normality', announcing rather than hiding Pistorius's difference from the 'norm'. As such they force us to question why we hold the 'norm' in such high regard. Why should disabled people feel compelled to hide their differences behind artificial replicas of a perfect body part? Why shouldn't a children's television presenter have one arm? Why would contact lenses be used for cosmetic reasons to hide a deformed eye?

The Superhuman show at the Wellcome Collection demonstrates that human beings (both able-bodied and disabled) have been enhancing their bodies for thousands of years. In a provocative exhibition which includes a bronze statue of Icarus, an iphone, packs of Viagra, false teeth, eyes and noses, films about cosmetic surgery and details of how Thalidomide children refused clunky prosthetics in favour of their stumps, we are asked to rethink the ethics of enhancement and the reasons why we feel the need to strive towards a bodily perfection which rarely, if ever, exists in nature.

Superhuman is on at the Wellcome Collection, 183 Euston Road, London until 16 October 2012.

La Ligne Droite

Régis Wargnier's 2011 film La Ligne droite is a thoughtful and sensitive portrayal of how young athlete Yannick (Cyril Descours) learns to run with a guide after losing his sight in a car accident.

It is extremely rare to find positive responses to blindness in film. As my comments on Amélie and Les Amants du Pont Neuf demonstrate, blind characters are most often portrayed as victims to be pitied, looked-after and eventually saved.

In this film, Yannick's over-protective mother embodies the patronising attitude illustrated in Jeunet's and Carax's depictions. She treats Yannick like a sick child, denying him any autonomy and refusing to let him take responsibility for his own actions. More despicably still, she uses his blindness to trick him into unknowingly becoming complicit in her kindnesses: in one scene she lies about the dice he has thrown so that he can win the game they are playing; in another she secretly pays a prostitute to seduce him.  Wargnier's depiction of these duplicitous actions offers us an extremely well-observed account of how those who do not understand disability treat the disabled. Yannick's mother means well and thinks she is acting kindly. But her behaviour is in danger of imprisoning Yannick in a muted world of caution and care. 

Unlike Carax and Jeunet, Wargnier embeds a critique of this attitude in the film - indeed it is this, even more than the exhilirating race scenes (filmed at an actual Diamond League meet at the Stade de France) that makes the film so compelling. Yannick's encounter with runner Leila (Rachida Brakni) signals the beginning of his liberation from his overbearing mother. It also marks the point where the viewer begins to understand that pity and over-protection are not the most helpful reactions to blindness. It is no coincidence that Leila has just come out of prison: this is a film about liberation. We, like Yannick, spend the film learning how to break free from the negative images of blindness which are still commonly found in both fiction and reality.

La Ligne droite was shown by the Institut français de Londres as part of their Beyond the Body season timed to coincide with the London 2012 Paralympic Games. My thanks go to the Institut français for inviting me to this special screening and giving me the chance to question Cyril Descours (and meet the French Paralympic Judo team).

My Perfect Day at the Paralympics

 

Waiting for the athletics to start at the Olympic Stadium

 

I spent Saturday 1st September at the London 2012 Paralympic Games with my husband and our two sons. I was expecting an informative and interesting glimpse into disabled sport: it turned into an amazingly moving and hugely exhilarating adventure.

The fun started as soon as we got off the Jubilee Line in Stratford. The crowds pouring into the Olympic Park were good-natured and exuberant and we were soon captivated by the atmosphere. The boys especially were made really welcome: their cuddly GB Mandervilles (see above) were petted by volunteer after volunteer and they loved high-fiving the giant pointy fingers directing us into the stadium. My white cane and I don't usually like crowds but I found navigation relatively easy thanks to the numbers of helpful volunteers and the mindfulness of other spectators.

It felt both comforting and liberating to be in a crowd made up of a healthy mix of disabled and non-disabled sports fans. Usually my cane attracts stares and sideways glances but here I blended in so much better than usual. It felt great to be carrying a cane and yet not be the centre of attention.  I have never felt prouder to be using a white cane than during the Paralympics.

So why was it such an amazing day? Here are my top 10 moments (in roughly chronological order):

1. Cheering on Team GB's Richard Whitehead to Gold in the T42 200m final and then singing our hearts out at the Victory Ceremony. I momentarily lost my voice afterwards!
2. Wishing I could run as fast as the super speedy blind runners and their guides in the women's T11 200m and T12 100m heats. 
3. Chilling with friends, cider and live music at the Bandstand
4. Meeting Manderville the Paralympic Mascot
5. Eating yummy food from around the world including fish, chips and mushy peas, sushi, thai green curry, mango and melon salad and ice-cream.
6. Shouting with joy at the Big Screen in Park Live as Ellie Simmonds won her Gold in the S6 Women's 400m freestyle.
7. Dancing the Macarena during 'Fan Time' at the Copper Box.
8. Being initially mystified and then quickly enthralled by fast-moving Goalball: the women's match between Denmark and Finland was especially thrilling.
9. Watching the Olympic Stadium turn all the colours of the rainbow as night fell.
10. Reading the water-words created by Julius Propp's bit.fall art installation under the Stratford Walk bridge on the way home.