We Need Diverse Authors: A Review of Dancing With Ghosts

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Image description: Book cover for the novel Dancing with Ghosts by Emily Gillespie. The bottom two-thirds of the cover is black with the title and author’s name in white text. The top features a galaxy background with pinks, purples and blue speckled with stars. On the left side, three ballet dancers are captured in silhouette.

I have written before on the dangerous and problematic pitfalls of people writing about marginalized experiences that they do not experience. I am a huge supporter of not only diversity in books but more importantly diversity of people writing those books. So I was pleased to hear that my friend Emily Gillespie had written a book and that it was going to be published.

Emily has lived experience with mental health* and wrote a novel that deals directly with a character who is experiencing what is possibly depression and anxiety.

The synopsis from Goodreads is,

Freshman year of university was supposed to mean freedom.

It was supposed to be her escape from parents who didn’t understand her – who turned Patricia away every time she reached out for help. New city, new school, new friends, fresh start – wasn’t that how it’s supposed to work?

Instead, when Patricia moves from her small, isolating hometown to the bustling, sprawling cityscape of Toronto, she finds herself more alone than ever. When she meets Derek – an intriguing yet mysterious classmate – she’s instantly drawn in by his worldly knowledge and easy charm.

For a while, things between them are perfect. For a while, it’s thrilling being invited into a world unlike anything Patricia’s experienced before.

But this isn’t a love story and not everyone is what they seem.

Dancing With Ghosts is technically classed as adult fiction, though could be considered a young adult novel. The protagonist, Patricia is eighteen & nineteen throughout the novel and though the book does deal very frankly with issues of mental health, sex, and various kinds of abuse (sexual, emotional, medical); the story is very much something that can and does happen to young people.

The book is a first-person narrative written in semi-journal style (by which I mean the narrator will occasionally address the reader directly). As a result of the casual narrative style, the protagonist occasionally breaks off into tangents. This was a bit jarring at first but as you get to know the character it becomes natural and I eventually stopped being aware of it.

I really appreciated the way Emily approached mental health in the novel, from how it isn’t always strictly labelled as a specific diagnosis but the impact is still real. This indefinability is not only realistic it also really highlights the issues that Patricia has in trying to set up official support systems when she doesn’t fit neatly into a box. The book also challenges that smug Canadian lie that seems to crop up anytime that a Canadian is trying to prove their moral superiority (usually to an Americal) “Yeah? Well, I’m going to have my feeling checked for free”.

Emily effectively weaves a story about someone who tries and fails to seek timely and meaningful healthcare and the emotional fallout of being failed by a system that horribly ill-equipped to deal with the volume and reality of the needs it should be meeting.

Dancing With Ghosts is not the kind of book you read all in one sitting. Not because it isn’t good or engaging. It is both but it deals with issues of abuse so head on and frankly that sometimes I had to take some time to sit with what I had read before I could continue.

This is the benefit of a writer who has experience of the thing they are writing about. Eve when they write fiction, it feels more real. I feel the shared frustration of a medical system that frequently underserves or fails disabled people. I struggled with Patricia’s frank attempts to make sense of how the various factors in her life contributed to what happened. I searched for those answers with her.

This is why we need more voices from the margins. Not people speaking for the margins.

 

 

Dancing With Ghosts is currently available for purchase in ebook form through Kobo.

There is currently no official print release date (I will update when one is available) but print copies will be available on Amazon and at the York University Bookstore in Toronto.

Dancing With Ghosts is being published through Leaping Lions Books a small independent publisher run by York University’s fourth-year Professional Writing program.

The official book launch will be on March 9th. If you are in Toronto and are interesting in attending you can find information here.

 

 

 

*Her current preferred label

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How Technology Makes it Easier for the Film Industry to Discriminate Against Disabled People

Lately there has been a lot of news about how the ACLU is pushing for a civil rights inquiry into the systemic discrimination against women in film and television. This investigation would look at the disparities in the number of women in position of authority in the industry as well as pay disparities. This is a completely valid complaint and I hope it goes forward and ultimately creates meaningful change in the industry. Reading about the initiative got me thinking about how rare it is to see disabled people in any capacity in film and television and how little call there is to rectify this from within the industry.

That is not to say that film and television completely ignore disability. They don’t, they just don’t necessarily use disabled people as actors or writers (or directors or producers etc.). There are some notable exceptions like Peter Dinklage as Tyrion Lanister in Game of Thrones or RJ Mitte as Walter White Jr. on Breaking Bad or Sarah Gordy in Upstairs Downstairs. One of the things that make them so notable is that they stand out from the general portrayal of disability in film and television.

Disability rights activists have coined terms like cripping up, crip face**, disability drag and cripicature to describe the trend of nondisabled actors taking on disabled roles. There are many examples of disabled people protesting the practice and demanding better representation for disabled people on screen.

In my opinion there is no actual disability representation in a film or television show unless there is an actual disabled person involved. Simply putting in a disabled character and than casting a nondisabled actor is not representation. It is in fact the active denial of representation. I am not going to get fully into why the prevalence of cripping up is bad right now. Others have done that (click the links above for just a small sample of others making the case).

I am going to look at how the phenomenon of cripping up continues to flourish despite a more discriminating viewership that demands authenticity from its media.

The fact that nondisabled people have absolutely no idea what authentic disability looks like is certainly a major factor. It is difficult to get an accurate picture of disability when your reference point is always a nondisabled person’s interpretation of disability. That being said people are somewhat more aware that the physicality of physical disability can not be shown with the adoption of a limp or by sitting in a wheelchair. In the same way that actors playing pianists must now have some skill at the piano because closeups of hands on a keyboard no longer suffice to convince the viewer that those hands are attached to the actor, simply sitting in a chair on in a bed no longer convince people that, the character can’t walk.

Deborah Kerr on couch

Deborah Kerr sitting on a couch with her legs covered by a blanket, no longer cut it for authenticity.

Jake Sully

Nowadays we need shots of atrophied legs like this one of Sam Worthington from Avatar. The thing is, Sam Worthington isn’t paralyzed. In fact he usually looks like this

sam-worthington-lara-bingle-show-off-beach-bodies-in-hawaii-01

In order to get that atrophied look, Worthington didn’t sit immobile for months. Accurate physical depictions of disability are not a new extreme of method acting. They are achieved through CGI. They are created on a computer and superimposed over the actor in post-production. This achieves more physical realism without ever having to use a disabled actor.

The use of CGI for depictions of disability is becoming more common and it is increasing how disability can be used in film not only to amp up visual realism. It also helps make disability a plot gimmick.

I will go through some of the films and television shows that have been utilizing CGI and how that has affected the story and characterization of disability.

Planet Terror (2007)

In this film co-written by Quentin Tarantino (so expectations of realism for anything go out the window), the character Cherry Darling loses her leg in a zombie attack. Within hours of amputation she is using makeshift prosthesis to get around, starting with a table leg and ending up with a machine gun for a leg. The actress Rose McGowan is of course not an amputee and all of this right down to the amputation is done with CGI.

Cherry Darling

Avatar (2009)

I’ve already discussed Avatar a little, there are a couple issues that should be expanded on beyond the use of CGI to make the character Jake Sully look paralyzed. First of all the characterization of disability is abysmal. It plays on the idea that all disabled people are just looking to be cured. That is not the case for many of us. So it positions the role of disability as tragedy that can only be overcome by cure. While cure may be the goal of some disabled people, that narrative should come from them. Coming from nondisabled actors and writers just makes it into a fantasy for those without disabilities where they foist their fear about our lives into the public discourse. Secondly the film Avatar was groundbreaking in its use of CGI and changed the way films are made. This is primarily focused on the post cure alien portion of the film but when you look at the praise of the imagery in the context of how it was used on the human Sully, it tacitly gives approval for that kind of CGI as well.

Horrible characterization of disability aside, there was really no real need to cast an able-bodied actor in the role of Sully. A wheelchair user could have been hired for the human portions of the film and voice acted the alien portions while an able-bodied person was used for the motion capture for the animation. Somehow I doubt this was even considered.

Outlander (TV 2014)

I have written about disability and Outlander before and you can read my full analysis here. In Brief, there is a character named Colum MacKenzie eho has bowed legs. The actor Gary Lewis does not. His legs are bowed in post production with CGI. There is no real reason the character could not have been played by a disabled actor.

gif of Colum MacKenzie walking on CGI legs

The Fault in Our Stars (TFIOS) (2014)

Based on the novel of the same name, TFIOS has numerous characters dealing with life with cancer. The main male character, Augustus Waters had his leg amputated as a result. The actor Ansel Elgort who plays him in the film is not an amputee and instead is given a CGI prosthetic.

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John Green the author of TFIOS is oddly enough a big supporter of the “We Need Diverse Books” campaign, which seeks to get more diversity in YA and children’s literature. The whole idea is that children (though I would argue everyone) benefit from seeing people like themselves reflected in literature and media.

Apparently diversity only needs to go so far as diverse fictional characters but not actually diverse people to represent those characters. I would think that a logical extension of advocating for diversity in literature, would be to also allow people to see others like them in visual media. Without this it is just reinforcing the idea the disability in the media is not for disavled people at all, it is for the nondisabled.

Kingsman: The Secret Service (2015)

This spy film features a double amputee villain, Gazelle whose running blade prostheses come equipped with actual retractable knife blades that she uses as weapons.

Gazelle

Gazelle is a gimmick disabled character. As much as a badass disabled character is refreshing, the depiction is entirely unrealistic. Blade prostheses are designed for running and are not meant to be worn during everyday activities. They would negatively affect posture and balance if worn for just standing and walking around and yet Gazelle is never seen without them and has impeccable balance and posture no matter what she is doing.

Mad Max: Fury Road (2015)

In the latest installment of the Mad Max franchise, Max takes a backseat to Imperator Furiosa played by Charlize Theron. Furiosa has an amputated arm.

Furiosa

Charlize Theron is not an amputee and CGI is used to create the effect. That is not to say that there aren’t any good things about the characterization. In fact Furiosa is quite the revolutionary portrayal of disability as Laura Vaughn explains in her Tumblr,

Watch Furiosa load a shotgun. Watch Furiosa punch Max in the face, with her nubbins. Watch Furiosa drive a semi tractor trailer. Watch Furiosa fire a long shot, using Max’s shoulder to stabilize the gun barrel, as an alternative to using two hands! Watch Furiosa do anything you can do, but better, and with half the number of fingers.

The effortless manner in which this film has presented a character’s disability is incredible. I literally could not ask for anything more. It’s ubiquitous. No big deal. Her body is never a plot point. It is simply allowed to be. Let’s have some bullet points:

  • The existence of her missing hand is never mentioned in dialogue. Not once. I find this simple fact so powerful.

  • It is not made into something ludicrous for the lulz a la the gun leg in Grindhouse. Her prosthetic is realistic – it looks like something a real amputee would actually wear and use.

  • There’s no reference made to any tragic backstory regarding her limb. We have no idea how she lost it, or if she lost it. It may very well be a birth defect. More on that later, cause that’s totally my interpretation.

  • NO. ONE. EVER. FEELS. SORRY. FOR. HER. BECAUSE. OF. HER. DISABILITY

Where Vaughn and I differ in opinion is that she calls this representation and I would simply classify it as a very good portrayal.

As I mentioned above, In my opinion, representation requires the actual presence of disabled people. Everything else no matter how good is portrayal only and disabled people deserve representation.

That being said it is good that a post apocalyptic film recognized that disability would be a common occurrance in such a world. Furiosa isn’t the only disabled character and it isn’t an issue for anyone except the poor who depend on the sporadic benevolence of Immortal Joe (the dictator) for survival. Even then they are in the same position as all the other poor people.

By consistently casting nondisabled people in disabled roles, the entertainment industry is saying “People like you don’t belong here.” It also keeps the disabled experience as something that can only be defined and told by nondisabled people.

By creating technology that makes it easier for the industry to shut out disabled people, they maintain this status quo while giving a population ignorant of disability te impression that portrayals and representation are getting better. The number 1 search type that brings people to my blog are queries about whether Gary Lewis (the actor who plays Colum MacKenzie in Outlander) is really disabled.

It also keeps the industry from having to find ways to accommodate disabled actors. In every other industry, there is an expectation that employers have a duty to accommodate disabled employees and that disabled people cannot be passed over for employment because an employer doesn’t want to implement accommodations. Accommodations can only be denied if they cause undue hardship to the employer. Many films that include disability have huge budgets that could easily cover accommodation, particularly if they’re saving having to pay the multimillion dollar salaries of celebrities who are currently taking those roles.

While some of the roles I have discussed could arguably not have been played by disabled people, like Gazelle because she performs feats that are simply beyond the realm of reality. It is important to remember that reducing disability to a gimmick is problematic in and of itself. It goes back to how nondisabled people have taken over the narrative of disability with no regard to how it impacts the community in real life.

Roles like Gazelle could be taken as harmless fantasy but in order for that to happen, there must first be a true understanding of disability by wider society.

The dearth of disabled actors in film and television in favour of spending money to make nondisabled actors look disabled is clear evidence of systemic discrimination from within the industry.

** crip face is a contentious term as it is viewed as appropriation of the term black face, I include it here because it is still widely used.