Meat Suits

Choosing a career as a writer means I’m forever thinking to myself what is it you’re trying to say?

I’ve spent the last few weeks listening. Listening might be the hardest skill for me there is, so strong is my desire to contribute to the conversation. What is it you’re trying to say? I almost always have something to say, and I’m bursting at the seams to say it. Those who know me are probably snickering and nodding their heads in agreement. I have been interviewing others, which involves listening, truly listening in earnest to what the other person is saying without trying to interject or have a back-and-forth conversation. The experience has been a humbling one that I am immensely enjoying. It’s nice, for a change, to not have to worry about what I think, because in interviewing someone else, what I think doesn’t really matter. Sitting back and allowing others to do the talking is quite relaxing. All I have to do is listen for the story, and I can allow the rest to pass over me like a receding wave, like grains of sand leaking through my fingers, the pearl clutched firmly in my palm.

I have been working on my listening skills for years. All it takes is one person to talk over you to realized how uncomfortable that feeling is. But my desire to be a better listener roots deeper.

Listening to others makes us more compassionate and empathetic human beings.

Listening to nature makes me feel vibrant and alive.

Listening to the ones I love is like a salve for the soul.

Listening, because I spend much time with my thoughts elsewhere, pulls me back into reality, into the story of my everyday life.

The other day, in a writing group I’m a part of, my friend Seema wrote: “A man speaks the loudest when they are unsure.” And isn’t that the truth? I’m guilty of this speaking my way through uncertainty toward acceptance. Words as a way to appear intelligent, when inside I’m unsure of myself. I’m working on embracing uncertainty and listening to others. I don’t always need to have the answer.

In Buddhism, listening is an art form. Listening, without judgement, is a way to help another release pain.

“In Buddhist circles, Avalokiteshvara is referred to as a person who knows the art of listening. In fact, his name is translated as ‘the one who listens to the pain of the world’ — listening, contemplating the cries of the world. It is because of that practice that he became fully enlightened. And he continued to listen.” (Buddhism Now)

I’m no buddha or enlightened one, but for the past eight years, I’ve been listening to the pain of others through reading memoir after memoir. Counter-intuitively, listening to the pain of others has not broadened my own pain, but strengthened my resolve to keep others from reliving the same pain or at least, has given me insight into how to better understand the human condition and empathize with situations outside my own realm of experience.

Rape, incest, freak accidents, death, loss, racism, poverty, homelessness, illness, health, grief, gender fluidity and sexuality, transgender, disability, femaleness and motherhood: I’ve read about a diversity of experiences, which has helped me to better grasp my own existence and grapple with the meaningfulness of our lives. I listen to others, and can then think more clearly about that nagging question: what is it that you have to say? Listening is good for my heart and my mental health; listening enriches and informs my writing.

I’ve interviewed six people and I have two to go and it’s so interesting to consider the approach each person takes on the same story. While I’m asking for their version of a turn of events, I have a sneaking suspicion it is their version I would get no matter what. As human beings, many of us have a tendency to insert ourselves into the story, at least those with a personality like mine, the extroverts, who are bursting from the seams.

In Jordan Kisner’s essay, Thin Places, she quotes a writer who suspects our souls are the same souls, part of god’s tapestry, but we’re just walking around in different meat suits. That was the quote. “We’re all stuck in our own meat suits.” The writer goes on to clarify, “What I’m saying is that maybe we’re all the same, we just don’t know it because we’re separated into our own bodies.” When I read this, I hear a chorus of voices singing as one.

When we listen, and listen deeply, we tap into that collective hum. The art of listening and writing it down becomes a transcendental experience. Perhaps I’m taking this a bit far, but for me, from the perspective of this little meat suit, listening takes me to a greater place and writing is divine.

Own Voices

“Why are we not telling stories that celebrate and include differences?” asked Amanda Leduc, author of Disfigured, in a talk I listened to recently.

The talk was a wonderful online session offered through Writers Literary Festival (put on by The New Quarterly, based in Waterloo, ON). Amanda Leduc and Emily Urquhart discussed fairy tales, Disney and other storytelling, and how classic narratives impact our view of disability. Leduc explained how disability is perceived as ugly, unwanted, and the antithesis of a happy ending. I can’t get these ideas out of my head now, I don’t want to; I especially need to pick up Amanda’s latest book, Disfigured, where she fully explores this topic.

I’m thinking about how the stories we tell ourselves and the stories we listen to, have a huge impact on our lives. Stories are everything.

I’m wondering about the story young people are taking in, and what it means for a country to possibly re-elect a man who makes fun of people with disabilities, by slapping his limp wrist against his chest and rich suits on camera. I’m trying to distract myself from the possibility of that sad ending. (Update: now I am celebrating the story of a Black, South Asian woman as Vice President)

After reading Dorothy Ellen Palmer’s book, Falling For Myself, I now notice ableist slurs everywhere. Palmer calls out ableist language in popular usage, words such as: idiot, moron, imbecile, lame, among others, and expressions, such as blind-sided, deaf or hard-of-hearing (used as insults) and standing ovation. All of this language contributes to the negative persona of the disabled individual.

I’m listening to Sheila Heti’s book, How Should A Person Be? Nearing the end, after I’ve gotten laughs from the book’s quirky characters, I feel quiet inside, stumbling over Heti’s insistence on using the word “retard”. I understand this is a work of fiction, but authors of every genre have an onus and morality to write in a way that doesn’t demean groups of people. You can argue the right to vulgarity in art and the right to self-expression and free speech. Say whatever you want, and I support that idea in theory, but what I can’t support is language that is ableist and unnecessary and that at its core, borders on hate. What I can’t support is using the r-word three times in a row for the sake of pointing out a character is acting stupid.

A man called me stupid to my face once. Interestingly, it was over an argument with language. He called another man “fucking retarded”, and I happen to overhear and stepped between them. One man left, and I was left facing the name-caller. “Please don’t say that.” I spoke calmly, evenly, while looking up at him.

Our discussion was civile. He disagreed with me, citing the example of his truck having a retarder. I explained my case against using a derogatory term that demeaned people with developmental disabilities, whether he meant it that way or not.

We happened to be standing in front of my child’s school and personnel soon found out what the man had said. I wrote about the experience, briefly, not naming any names, and the next day, pushing my baby in a stroller with one hand, holding my daughter with Down syndrome’s hand in the other and my oldest just up ahead, the man stormed up to me. He had gotten in trouble from the school.

“I know what you did. Did you think I wouldn’t find out? That was stupid. You’re stupid,” he said, walking away in a huff. It isn’t enough for some white men to have all the power; they have to put a woman in her place.

Name calling is low down on the scale of integrity and intelligence and so I won’t sink to that level. But then, I have to ask the question, why do some artists?

In his Pulitzer Prize winning novel, The Overstory, by Richard Powers, while there is beautiful prose and heart-rendering descriptions of nature and a sense of urgency to preserve it, the list of ableist language used through-out this book is long, long and as far as I can tell, completely unnecessary. Let me explain what I mean by that.

In the story I recounted above, the language the man used says something about his character, but I am requoting his words within the context of educating. In other words, I used the ableist language above not solely to entertain readers, or for lack of insight, but for the purpose of educating, to show this type of language is wrong. In Power’s The Overstory, ableist language simply is. It isn’t there to portray a character, it’s simply part of the author’s vernacular.

Writers: here’s a great reason to drop the ableist’s slurs. Every time I read the expression blinded or the r-word, I fall right off the page and out of the book, and I see the white man who wrote it in all of his privilege, oblivious to how this language can hurt. I’m not saying that Richard Powers did this deliberately, I’m simply calling attention to a need for authors to be more deliberate in the language they choose, and to steer away from ableist terms when there are better options. Choose words wisely, in other words. Another way of looking at this is to stop appropriating language from the disability community.

If you want to learn more about this, I suggest following people in the disability community on social media. “Nothing about us without us,” is a slogan that began with the disability rights movement in The United States in the 1960s at the time of Judy Heumann (read her book, too: Being Heumann), and truly, any issue pertaining to the disability community is most impactful coming from individuals with disabilities themselves. Be an ally and listen to the ‘own voices’ of disabled people.

Here are some Twitter handles Amanda Leduc suggests following to tune into the conversation:

Dorothy Ellen Palmer — @depalm

Dominik Parisien — @domparisien

Elsa Sjunesson — @snarkbat

Imani Barbarin — @imani_barbarin

Rebecca Cokley — @RebeccaCokley

Yeah Brown — @keah_maria

Andrew Gurza — @itsandrewgurza

Marieke Nijkamp — @mariekeyn

Lillie Lainoff — @lillielainoff

Adam Pottle — @addypottle

Ross Showalter — @rosshowalter

 

I would add:

Andrew Pulrang – @AndrewPulrang

Gregory Mansfield – @GHMansfield

Alice Wong – @DisVisibility

Jane Eaton Hamilton – @eatonhamilton

 

Here are some stories Leduc also recommended in her talk:

  • Brave Enough series by Kati Gardner
  • One For All, by Lillie Lainoff, publication in 2022
  • Voice, by Adam Pottle
  • Falling For Myself, by Dorothy Ellen Palmer
  • Even If We Break, by Marieke Nijkamp
  • Six of Crows series by Leigh Bardugo
  • Unbroken: 13 Stories Starring Disabled Teens — anthology, edited by Marieke Nijkamp

When we choose to use ableist language, we perpetuate it. We engrain notions of ableism into our culture, because our stories have power. Our stories are important. And so we have a choice to make. The answer to me seems obvious.

I want to leave you with some of Amanda Leduc’s words, which I hope will become a part of the story you want to tell and live: “Every life, no matter how it is shaped, has inherent value.”

And, “Disabled stories and narratives are for everybody.”