Neithardt, Leigh A. “”Splinched”: The Problem of Disability in the Harry Potter Series.” Critical Insights: The Harry Potter Series, edited by Lana A. Whited and Katherine M. Grimes, PDF file, Salem Press, 2015, pp. 273-290.
This article explores how disability and difference are seen in both the wizarding world and the world of the reader: “Together with creating distinctions between the ‘disabled’ and ‘abled’ individuals in the Harry Potter series, Rowling repeatedly calls attention to bodily difference. These constructions are sometimes associated with the actual world’s understanding of disability.” For example, characters are scarred or maimed in battle. Rowling also explores magical difference, like Lupin’s lycanthropy and Moody’s magical eye, that don’t exist in the real world. There is real danger in pathologizing disability and difference. Neithardt quotes disability studies scholar Simi Linton, who writes: “[T]he medicalization of disability casts human variation as deviance from the norm, as pathological condition, as deficit, and, significantly, as an individual burden and personal tragedy”. Understanding one state as “normal” and one as “abnormal” risks marginalization and perpetuation of ignorance. Neithardt uses the example of Argus Filch as squib to highlight how bias affects how characters are viewed and treated.
“Harry Potter and the Curse of Disability” by Christina Papamichael
This article, referenced by many of the other blogs and posts, explores how disabled fanfic authors insert themselves into the wizarding world. One such author is LaGuera, author of a “multi-chapter Potter fanfic Summon the Lambs to Slaughter. It introduces us to 15-year-old witch Rebecca Stanhope, who transfers to Hogwarts from the Disabled American Institute for Magical Studies. Like the author, Rebecca has CP.” Magic is not seen as a cure-all. That would be “unrealistic wish fulfillment” according to La Guera, who fields online feedback that her stories are too graphic. However, she writes to tell the “truth” of her disability and to let readers know that “flawed as it may be”, Rebecca’s body is “human”. Other authors, like CorvetteClaire write to explore identity and how others read disability: “Drawing on her own experience with neuromuscular disease, Claire inflicts debilitating disability on Rowling’s characters then, through her creative writing, explores how it affects their self-image, the way others relate to them, and how they fit into their environment.” Most importantly, fanfic authors with disabilities write to gain access into fandoms they love: “According to Professor Henry Jenkins (Director, Comparative Media Studies Program, M.I.T.), fan fiction is “born out of a mixture of fascination and frustration”, as the original material captures the imagination but fails to satisfy. Writers placing “marginalized peoples” at the centre of their stories, “play out a drama about acceptance, tolerance, even an embrace of their difference.”
“”Whose Story Is This?”: The Radical Act of Telling In Harry Potter Disability Fanfic” by Kestrell Verlager
As both a “voracious” reader and a Comparative Media Studies scholar at MIT, Verlager is disappointed in how disability is treated in fiction: after having “studied, written, and advocated in the area of media and technology access for people with disabilities (PWD), I have come to feel increasingly aware of the exclusion of positive representations of PWD from stories by both serious literature and mainstream media.” Verlager cites several examples where authors associate “disability with tragedy in the guise of victimization, dependence, isolation, and government control” or as propaganda for that All-American ideal of “grit.” On the business end, Verlager notes “unprecedented production and distribution efforts on both the part of the publisher and the volunteer efforts of those producing braille and recorded formats for blind readers” in addition to “accessible eTexts and eBooks.” While Rowling has never claimed outright that certain characters have disabilities, many exhibit such traits. This opens up many opportunities for authors of fanfiction to insert themselves and their own disabilities into the Potter universe. “Thus, disability fics can be seen from the perspective of mediating “real life” experiences through fictional stories which retain autobiographical elements.” Not only does this provide access to PWD to participate via their fiction, but they can also “find their people” in real life communities. Stories about “difference within the context of ordinary personal experience is crucial: “It is worth noting at this point that the individual disability fiction story may not offer any clues regarding whether the author has a disability or not. Some writers self-disclose, others do not. Thus, while the range of experiences and reasons for writing the fan fic might vary wildly, the fic itself can only be judged on its own merit as a story which develops a character or characters through plot, descriptive detail, and interactions with other characters. In other words, it is often the ordinariness of the stories upon which the stories’s [sic] value is judged.”
“CFP: Disability and/in/through fanfiction (Canadian Journal of Disability Studies, special issue).” by Penny Richards
Disability in Harry Potter gets the academic treatment, as this call for papers (for an as-yet unpublished special issue journal) reveals. The call discusses reasons for the popularity in disability fanfic: “Fanfiction loves its disabled characters ( Stiles from Teen Wolf, Hiccup from How to Train Your Dragon, Homestuck, House, River Tam from Firefly), and loves to disable its characters (Harry Potter is iconic in this respect), to get all the feels, to explore all the possibilities” of beloved fandoms. The special issue seeks to explore several questions: “This special issue invites works that explores disability in fanfiction, disability and fanfiction, and disability through fanfiction. How do disability and fanfiction interact with each other in fanfiction communities? How is disability represented in fanfiction and what meaning does/can/should it have? What roles do disabled fans play in how disability and disabled characters are understood in fandoms? How does white supremacy and heteropatriarchy/cissexism impact where disabled people feel included in online fanfiction communities? How do queerness, racialization, transness, gender, sexuality, class, as inseparable from our experiences of disability, inform and shape our love of fandom and fanfic?” I include it here because the editors, identifying themselves as queer and neurodiverse or disabled, seek to critically examine these topics through an intersectional approach.