#fa18: eng201

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[id: 6 edits. the left side of each edit is light gray with a diagonal line separating it from the selected image. in the bottom left corner is the dark gray text “ann schmiesing” in all caps and a basic font. on the left side is a large dark gray box containing the light gray text “disability, deformity, and disease” justified to the left in all caps (save for the word “and”, which is lowercase and in italics); below that text, still in the dark gray box, is more text in a smaller all-caps font which reads “in the grimms’ fairy tales”.

each edit has its own selected image, all of which are drawn depictions of various grimm fairy tales. the first image is grayscale of a donkey with a child hiding within its skin. the second image is of a hyperrealistic drawing of a pale-skinned girl with long blonde hair in a white dress with no hands and bloodstains around her sleeves. the third image is of pale-skinned girl with dark hair and bandages around the stumps of her hands, looking upward at a tree with her mouth open. the fourth image is greyscale of a man cutting off the hand from a hanging corpse. the fifth image is of a humanoid figure with hedgehog spines and other hedgehog-like traits. the sixth and final image is of of a pale-skinned girl with dark hair and silver hands. end id.]

BOOKS I READ IN 2018 ✧ disability, deformity, and disease in the grimms’ fairy tales by ann schmieising

The Grimms aspired to restore an organic wholeness to their tales. By contrast, my own prosthetic goal has been to restore disability to their tales by foregrounding it instead of—as has been the case too often in fairy-tale scholarship—reading over it or seeing it as valuable only insofar as it symbolizes something else.

[arofili]

BOOKS I READ IN 2018 ✧ little red riding hood uncloaked by catherine orenstein

Red Riding Hood will never, of course,  be fully uncloaked. The past is inevitably colored and shaped by the events and issues at the heart of our own historical moment and of our personal experience. This book is a twenty-first-century American woman’s effort to unravel an old yarn, requiring translation not only of language, but of era and culture—and every act of unraveling also, inevitably, involves casting a new spin.