![]() ![]() Enforcing Normalcy: Disability, Deafness, and the Body. Recovering Bodies: Illness, Disability, and Life Writing. “The Embodied Self.” a/b: Auto/Biography Studies 6.1 (Spring 1991): 1–7.Ĭouser, G. ![]() “The Laugh of the Medusa.” New French Feminisms. Chicago: U of Chicago P, 1988.Ĭixous, Helene. Freak Show: Presenting Human Oddities for Amusement and Profit. Chapel Hill: U of North Carolina P, 1988.īogdan, Robert. The Private Self: Theory and Practice of Women’s Autobiographical Writings. This process is experimental and the keywords may be updated as the learning algorithm improves.īenstock, Shari, ed. ![]() These keywords were added by machine and not by the authors. That’s what I know in my bones… I couldn’t write bodiless prose” (96) and she answers her own question at the start of Waist-High in the World, “Literally, no body. As she declares in the title essay of Carnal Acts (1990), for instance, writing emphatically about the inseparability of body and mind, “I speak as a crippled woman… No body, no voice no voice, no body. Not at all glibly rhetorical, the question lies at the center of Mairs’s autobiographical project, which attempts both to articulate the significance of a disabled female body in the construction of her identity and to invent an aesthetics of that multiply determined self. In the first essay of her most recent collection, Waist-High in the World (1997), Nancy Mairs poses again the question that has informed her writing for more than a decade: “Who would I be if I didn’t have MS?” (8). ![]()
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