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Don Quixote (#110 of 3)

Grappling with Intellectual Disability Michael Bérubé’s The Secret Life of Stories

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Grappling with Intellectual Disability: Michael Bérubé’s The Secret Life of Stories
Grappling with Intellectual Disability: Michael Bérubé’s The Secret Life of Stories

Michael Bérubé’s The Secret Life of Stories: From Don Quixote to Harry Potter How Understanding Intellectual Disability Transforms the Way We Read is that rare book that manages to speak to its specialized academic audience while imagining and addressing a much broader readership. Bérubé, who’s the Edwin Erle Sparks Professor of Literature and Director of the Institute for the Arts and Humanities at Pennsylvania State University, has crafted an accessible, if still rigorous, study of the way fiction grapples with intellectual disability.

“Representations of disability are ubiquitous,” he states in his opening sentence, “far more prevalent and pervasive than (almost) anybody realizes.” Take Disney’s Dumbo: You maybe wouldn’t use the language of disability to describe the oversized ears of the titular elephant, but at the heart of the 1941 film is a message about overcoming—embracing even—one’s differences in order to succeed. By the end of Bérubé’s book, you’re likely to start spotting the way disability is often used as a trope in films as diverse as Minority Report, Total Recall, and Mad Max: Fury Road. But Bérubé wants to push us further than merely understanding the ubiquity of disability in pop culture. This is especially important as disability (both physical and intellectual) is often used as a metaphor or character trait in popular art, significant only in the way it teaches us something about a story or a character with rarely any nuance with regard to the disability itself.

Sundance Film Festival 2012: Filly Brown and Robot and Frank

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Sundance Film Festival 2012: <em>Filly Brown</em> and <em>Robot and Frank</em>
Sundance Film Festival 2012: <em>Filly Brown</em> and <em>Robot and Frank</em>

Filly Brown plays out like a caricature of every stereotypical Sundance drama about plucky young heroines who overcome great adversity just by sticking to their guns and never abandoning their dreams. Unfortunately, the filmmakers don’t know how to dramatize the travails of a supposedly talented Latina rapper—“supposedly” because the song that’s meant to prove she’s a talented and soulful performer has laughably obnoxious lyrics that boast how Maria “Filly Brown” Tonorio (newcomer Gina Rodriguez) is true to herself because she doesn’t have “fake tits” or that she’s so fierce that she practically has two clitorises and will even take on “anyone with two tits.” But these lyrics aren’t apparently all that Maria’s about; there’s also her naïve free-style verses about how Latinos working minimum-wage jobs in Los Angeles go unnoticed by rich white folks. Maria’s sophomoric calls for people to notice the guy that washes their cars is understandable; she is, after all, presented as a young, boastful star-in-the-making. But what’s not as defensible is the constant way that neophyte screenwriter and co-director Youssef Delara defines Maria’s world in broad and laughably klutzy terms.