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" "The absence of characters living with permanent disabilities affects the way viewers and readers see themselves, argues Rachel Kolb, an Emory University graduate student who is deaf and writes widely about disability in literature. “If we don’t see ourselves within the cultural representations that surround us,” she says in an interview, “it becomes more difficult to imagine ourselves in various kinds of situations, various ways of exercising agency and justice and power and goodness. And all the other themes that tend to be a part of superhero movies.”
A disability is the consequence of an impairment that may be physical, cognitive, mental, sensory, emotional, developmental, or some combination of these. A disability may be present from birth, or occur during a person's lifetime.
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The origin myths of many superheroes lie in life-altering accidents or bodily mutations. Fans of the genre emphasize that disability, largely unrepresented in other forms of fiction, is part of these characters’ stories. But those stories then go on to wish disability away, via bionic implants and armored suits. “ ‘Disabled’ superheroes aren’t disabled at all,” says Chris Gavaler, author of “On the Origin of Superheroes.”
Due to the lack of federal record-keeping, we can’t even tell you precisely how many people are killed by police in the US in any given year, let alone how many of them are disabled. But we do know it’s a lot: A report from the Ruderman Family Foundation earlier this year found wildly varying estimates of the number of disabled people killed by police, from 25 percent to more than 40 percent of police shooting victims. For perspective, census data puts the overall incidence of disability at about 20 percent of the population.
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Of course, the idea that disability begets preternatural abilities is nothing new. The Greek seer Tiresias’ blindness gave him access to the spiritual sphere in Sophocles’ “Oedipus Cycle.” (As students of literature, we associate a similar capability with the blind poet Homer.) And so it goes for our modern mythologies: In “Rogue One: A Star Wars Story,” the blindness of Chirrut Îmwe, played by Donnie Yen, seems to connect him with the Force; Sofia Boutella’s character, Gazelle, likewise wears prosthetics that double as lethal blades in the spy thriller “Kingsman.” But I don’t feel like some “super-crip” — a supernaturally endowed disabled character — on nights when I can’t focus because of muscle spasms, on afternoons when I can’t spend time with friends because they’re playing disc golf, and on mornings when I remember how the nurses would catheterize me six times daily during that month I spent in the hospital, until they taught me to do it myself.