• The Other Blind Girl

    Sitting in the plush theater seats, my friend informs me,
    “There’s a girl with a cane over there.” And now that I know,
    I can’t help but hear the determined tapping as she walks
    down the poorly-planned aisle stair. At first I ignore her,
    convinced I don’t care, and then I begin to theorize. What
    is her story? Where is she from? I crave the details of her life.

    The thought of her plagues me all through the concert,
    surfacing during preludes and rags. I can’t stop the wondering,
    hoping I’ll meet her—we’ll connect! And revel in some
    great narrative exchange. I’ll learn how she lives a full
    successful life; she’ll give me tips on how to exist. We will
    resonate and complete some part of each other.

    And then I meet her and all my dreams are dashed. She
    lives in a world of clinical questions and medical glossaries.
    She talks diagnosis and she talks loss—”What did you do
    before you lost your sight?” I want to tell her, I was in the womb,
    baby. I was swirling around, kicking my tiny infant feet,
    driving my mama crazy. I’ve never known that world of
    darkness that you’re drawing on my space.

    I think – I wish – I hadn’t met the other blind girl. She brought
    me down and made me think – there’s not just one of her.
    If she’s not before me, she’s inside me, mocking what I’ve been.
    She’s the phantom in the corner, the darkness in the darkness—
    holding a mirror up to me and sneering, “That cane, those shades,
    they’re all others see.” I’ve got to keep her quiet, because I’ve got
    to believe — she won’t be right unless I let her win.

  • Visionary Recipes: A series of kitchen-friendly instructions for aspirational blind cooks!

    I have decided to embark on a series of “visionary recipes” – recipes written for cooks with low or no vision. I can’t take all the credit for this idea. I must give credit to my friend Henry, an up-and-coming cook. He asked me for some simple recipes, and, because he’s a) totally blind and b) new to cooking, I thought it would be fun to try and design a series of recipes that integrate the extra-visual (meaning beyond visual) aspects of cooking.

    Apologies to any of my readers outside the U.S. – you’ll have to convert my measurements and temperatures to the relevant units for your part of the world.

    Recipe #1: Broccoli Quiche

    Ingredients:

    1 9-inch frozen pie crust
    1 8 oz. package cream cheese, softened
    3 eggs
    1-1 1/2 cups shredded mozzarella cheese
    1/3 cups goat cheese (optional)
    3 tablespoon sour cream OR a splash of half & half/milk
    1/2 red onion, diced
    1 handful fresh mushrooms, diced
    1-2 cups frozen broccoli, defrosted
    3 cloves garlic, pressed
    2 tablespoons fresh basil
    2 tablespoons fresh oregano
    2 tablespoons fresh rosemary
    fresh ground black pepper

    1. Preheat your oven to 375° F.

    2. Grease a 9-inch glass or metal pie pan with butter or cooking spray. Unwrap and unroll the chilled pie crust and press the pie crust into the pan.   Note the smell. Uncooked pastry always has a distinct “raw” floury smell. Poke holes in the dough with a fork to ensure that it doesn’t puff up too much in the oven.

    3. Place the pie crust in the oven for 10-12 minutes to brown. The smell will change completely — a buttery scent should replace some of the rawness of the uncooked dough. Handle the pie pan carefully but feel free to gently touch the dough. It may be slightly puffy. It definitely will have a rougher texture. Set the crust aside for now.

    4. Saute your diced red onion in a little melted butter or olive oil. Using a spatula or wooden spoon, observe the texture of your onions. When they start to soften, add the mushrooms. Here you are at liberty to add some seasoning – herbs, black pepper, whatever you like. You will be able to hear your veggies sauteing – it’s a low, musical hiss as they release water and start to caramelize. When they stop “talking” to you, you’ll know they’re cooked through, but since they’re going to cook a bit more inside the quiche, you don’t have to saute them all the way. Just make sure the onions are nice and soft and the mushrooms feel soft. The mushrooms will start to feel glossy, a very different texture from their spongy, rubbery uncooked state.

    5. In a large bowl, mix the cream cheese, eggs, cheese, and diced herbs. Fold in the sauteed veggies and defrosted broccoli.  Add a few turns of black pepper and a few spoons of sour cream or a splash of half & half. Mix thoroughly. Revel in the squishy sound of the quiche filling as it comes together. I particularly enjoy the wetness of the sound and the sensation of folding together so many different textures. This is why I use a wooden spoon when cooking – I feel it allows me the most direct experience of the textures. Texture is very important here; you want your quiche filling to be slightly wet (that’s why you add the sour cream or milk/half & half). You don’t want to be able to slop it around, but you don’t want the filling to be stiff and immovable either.

    6. Pour the mixture into the pie crust. Sprinkle fresh herbs on top of the filling. Not only do the herbs make the quiche look appealing for your sighted guests if you happen to be sharing (and believe me, they’ll hope you are!) – they add an incredible dimension of aroma as the quiche cooks.

    7. Bake the quiche for 35-40 minutes until it is golden brown around the edges and does not jiggle. If you stick a fork in the quiche and it comes out clean, the quiche is done. When you insert the fork, you will be able to feel if the quiche is loose – in which case it will need a few more minutes – or firm – in which case it’s ready. You can turn off the oven and leave the quiche inside for 2-3 minutes to brown the top. A cooked quiche will smell different as well. There is a sweet spot when food is perfectly cooked when all the scents come to the forefront – like a smell crescendo. You’ll be able to spell the golden brown crust and herbs first, and somewhere underneath that, you’ll smell the notes from the cheese and veggies. It’s important to understand what you’re smelling for and exactly how much time you have before that delicious bubbly quiche smell becomes an unforgettable burning, rubbery, inedible quiche smell.

    8. When your quiche is done, remove it from the oven and let it cool somewhere. It’s best to let it cool for a while before you try to cut it, or you’ll have a mess on your hands – albeit a delicious mess. And it’s even good cold! So go crazy! Enjoy your quiche in a matter of minutes or, after it’s cooled down, stash it in the fridge and enjoy it later!

    A few notes:
    • If you don’t have fresh herbs, you can use dried herbs. I sprinkle dried herbs on every savory dish I bake in the oven.
    • You can substitute other cheeses and veggies. Some veggies, like zucchini, work better if they are sauteed first.
    • I have made several successful quiches with almond milk instead of regular milk and cream cheese. However, since the almond milk is low in fat, the quiche requires quite a bit more liquid. But the overall texture is much lighter and I find that the flavors of some veggies come through a lot better with almond milk.

    I found this exercise in recipe-writing surprisingly challenging. As an avid cook with low vision, I didn’t realize just how much I use my eyes in the kitchen. And here I thought I was the queen of smell and texture observation. I guess I’ve got work to do! I’d also appreciate any suggestions you have for improving this nonvisual recipe.

  • Visual curiosity

    I am reading an essay for class called “Beholding” that discusses the patterns and ethics of staring. It’s an essay that offers a few different ways to stare at things and people and also proposes a way for the “starees” to look back, to take control of the staring interaction and make something educational, productive, validating from it.

    I find I’m asking myself, “What is the last thing you stared at? What is the last thing you WANTED to stare at?”

    For me, staring – that consequence of visual curiosity – is something that doesn’t stay visual for long. When I see something or someone I want to know better, I suppose I stare at it. I’d have to have someone nearby to say, “Yes, there she goes staring at that thing again” to know if I am actually staring. Mentally, I zero in on the object/person and I start thinking of ways I can approach it. But I can’t imagine just staring at it. For me, it’s a very quick leap from staring to the thought, “I want to touch that.”

    I want to get to know it with my hands. I want to trace it with my fingers and understand how it is put together. And yes, this applies to people too – but often I repress the urge because our culture isn’t so big on casual (or as I’ll call it, “informative”) touching.

    I had an aunt who used to say, “Look with your eyes, not with your hands.” She always said this when we went grocery shopping and I would reach eagerly for all the brightly colored items on the shelf. Look with your eyes! What a barren way of looking! Imagine going through the world only getting to know things on a visual level! How drab!

    I want to get to know things tactilely. Textures, dimensions, weights – touching introduces you to the substance of things, the materiality of them. Is this the kind of information that staring provides for those who can and do stare? If so, I think I begin to understand the fascination.

  • a plea for exceptional students and those who believe in them

    Dear Commissioner Robinson and the members of the Florida Board of Education,

    I write to you today, filled with concern for your upcoming decision to assign grades to Jacksonville’s “center schools” – Mt. Herman and Alden Road. I implore you to consider the far-reaching consequences of such a decision, consequences that will not only affect the lives of the hardworking students and staff at these schools and their families, but the rest of our city as well. If Mt. Herman and Alden Road are awarded the grade of “F” because the students are required to take the F.A.A., an assessment made impossible by their level of disability, then we are telling the community at large that disabled children are incapable of learning, progressing, or achieving.

    That disabled children cannot learn, progress, or meet a set of standards is certainly not the case. However, they need an educational space that understands their individual needs and provides a curriculum that helps them uncover their potential. Speaking as a disabled woman who has been academically successful, I understand the value of an education that address my needs and encourages me to achieve. When you give these children an assessment that does not comply with their needs and accordingly deliver the school a grade of “F”, you are telling the community at large that disabled children have nothing to offer and do not merit the attention and dedication that other nondisabled students deserve.

    We in the disabled community have spent a long time trying to help people understand that disability is not just a medical mishap, a series of misfortunes, or a financial burden. Disability is what happens when a medical impairment is met with a society that does not value the individual enough to help him or her work around it.

    I encourage you to reconsider grading these center schools, because such a process will further disable the children who attend them in the eyes of the entire community. In today’s fast-paced, achievement-oriented society, we all must acknowledge that we are not perfectly autonomous. We all have some kind of educational need, some preferred learning style. Remember the people in your lives who helped you work through your personal difficulties as a student. Remember the teachers who took the time to explain something to you a different way. Remember the feeling of empowerment that comes with an educator, a family member, a community that believes in you and expresses that belief every day.

    The educators and staff at Mt. Herman and Alden Road are the daily dispensers of belief for their students. Now you have the opportunity to bolster that belief as well and set an example for the rest of the state – not by assessing these children with methods that ignore their needs and thwart their achievement, but by supporting and celebrating two schools that embrace their students’ special needs and help them uncover their hidden gifts.

    I implore you to place your belief carefully, in a system that has done so much good for these students, for their families, and for our community. Please do not give Mt. Herman and Alden Road the grade of “F” and take away their ability to encourage and educate these students.

    Thank you for your time.

    Sincerely,
    Emily Michael

    —————-

    If you share my view, if the spirit moves you, please click on this link and submit a message to our Commissioner and Board of Education. Select “Commissioner and Board of Education” from the drop-down menu and submit the existing letter or one of your own.

    http://www.saveduvalschools.org/contactlegislators.asp?OIG=31

  • “Still Water”: Thoughts on blindness and nature-writing

    I wrote this last year when I was TA-ing for an Ecocriticism seminar and thought I would post it here. I want to explore these issues further.

    September 4, 2011

    “Cry of shore-bird and crash of surf were the sounds of the edge of the land—the edge of the sea” (Carson 139).

    Living in the Village apartments on campus affords me the experience of walking past a few small bodies of water on my way to class.  Usually, when I am walking to class, I fail to note any extraordinary features of the thicket of trees and small pond with its two bench swings.  I feel myself pulled toward campus — I experience a volley of auditory information, from strangers’ conversations to the idling golf carts parked along the sidewalk.  These cosmopolitan noises thoroughly distract me from the calmer world of the pond.

    However, when I am returning from class, I notice a different set of sounds. For the past two weeks, as I have entered the residential area of campus and walked past the pond sheltered by the trees, I’ve felt and heard the change long before seeing it.  The air grows cooler and easier to breathe. I am able to hear crickets – in fact, they’re so loud that I marvel at my ability to ignore them during the previous journey.  I feel calmer too, less harried, more focused, as the industrial sounds of campus construction and landscaping move farther away.

    With a mind to collect more data on these contrasting ambiances, my friend Katie and I spent Thursday afternoon sitting on the swing nearest the pond.  On the main part of campus, the air was unpleasant, hot, and sticky. But as we sat on the swing, we marveled at the breeze and the comfortable warmth.  Distance muffled the perceptible sounds of a busy campus to a low, indivisible hum.  At the pond, the only sounds I remember were the metallic creaking of the swing and the soft timbre of our voices.  Occasionally we’d hear the conversation of students passing by along the sidewalk behind us.  We sat at the pond for two hours, surprised at how slowly time seemed to pass. When we finally stood up, our legs were sore from working the swing.

    After about an hour, Katie leaned over to tell me that a guy was fishing in the pond.  I hadn’t heard him approach and I could hear a faint plop plop, which I supposed to be the sounds of his fishing equipment descending into the water.  It disturbed me that I couldn’t gather more aural information about the fishing student.  It disturbed me that I couldn’t hear birds or the customary crickets.  As I sat there, feeling the afternoon air, I compared my experience to the vividness of Carson’s prose.  Perhaps it’s an unfair comparison because she has the entirety of the ocean to convey through multi-sensory imagery, but I felt that my experience, though relaxing, was incredibly barren.

    I began to muse, and am musing still, on the prevalence of visual imagery in nature writing – and the necessity of visual acuity on writing nature.  I begin to wonder what I can convey without a friend, conveniently sitting beside me to tell me the color of the leaves and the names of the trees.  Faced with the task of conveying my experiences and the passionate drive to make something from them, I wonder what my depictions will “look” like.  I wonder what my contributions will be.

    I think I must redefine my connection to the natural world just as I must find the validity in my own perception. I stand daunted by the compelling prose of Carson. She writes details I cannot perceive, concepts – like color – that I only understand in theory.  I think the task before me is to familiarize myself with the sounds, smells, and textures of nature that will facilitate a better understanding of the perceptions I want to convey. Whether I can experience the ocean as Carson does, it’s still water.

    Carson, Rachel. Under the Sea-Wind. New York: Penguin Group Inc, 1941.

  • “The Blind Leading the Blind”: Watch your language.

    I’m standing in the hallway, talking to J and K, two girls from class. J and I stand, enthusiastically discussing the merits of “Downton Abbey” while K, seated against the wall, reviews the 40-page article we had to read. A lull in our conversation gives me the opportunity to notice two guys standing just behind J. I cannot help overhearing their exchange, a mutual complaint about the lack of clarity in their instructor’s syllabus. The next few lines of their dialogue matter to me.

    First Guy: Oh man do you even know what our homework is for next class?
    Second Guy: I dunno man. It’s like the blind leading the blind.

    I reiterate, I am standing right next to J and this guy is standing behind her. My white cane is visible. I want to wave it in the air and call to Second Guy, “Are you seeing this?” I start to estimate the distance between us—I want to smack him with my white cane so badly. But a familiar train of thoughts comes to me. If you hit him, he won’t know why, and he’ll think you’re just an irritable blind girl. And who knows what “wisdom” he’ll think he’s learned about blind people in general.

    I’m not the only one to note the rudeness (if we’re being honest) or awkwardness (if we’re being generous) of the statement. J. sees my face and says, “I heard that too, Emily. And I saw your expression.” She sighs. She gets it.

    So let’s dissect your statement, Second Guy. Let’s do the mental linguistic examination you seem incapable of performing.

    For you, “It’s like the blind leading the blind” means “I have no clue what my homework is because my instructor is unclear (to me) and I am ignorant/ill-informed.” So why didn’t you just say this? Granted, my rendering of S.G.’s thoughts is a bit long-winded. Clearly a shorter version could be derived.

    Is it because this cliché idiom (“like the blind leading the blind”) is just so appealing? The idea of two people with the same impairment working together—what a joke! As if disabled people could achieve ANYTHING when they work together! Hilarious! Good thing they have us normies to guide them around—they certainly can’t guide each other. I mean, could you picture that? What a laugh!

    Well let me tell you something, Mr. Oblivious. Your lack of knowledge about things for which you are responsible does not give you the right to insult me or my people. And if you’re thinking, “Oh Emily, you’re taking this too personally. Blind doesn’t always mean blind—sometimes it means dumb or ill-equipped or just plain clueless.”

    So then, why didn’t you say, “I dunno man, it’s like the ignorant leading the ill-informed!”

    Because the (hysterical) image of the blind leading the blind has more slapstick appeal.

    Allow me to enlighten you further, if you can bear it.

    IF the blind were to lead the blind, it would NOT be a slapstick scenario. In case it has escaped your notice, Second Guy, blind people are infinitely more careful when navigating their surroundings. We know our visual limitations and we compensate for them with canes, with dogs, with sighted guides. And yes, occasionally, with other blind people.

    When the blind lead the blind, we do a damn good job. We are meticulous. We tell each other what to expect. We guide our fellow blindies as we would like to be guided.

    And when the blind lead the blind  by example – by action, by speaking out against these stupid, ill-formed sayings – we show that we deserve respect.

    Do you, Second Guy, feel that you would be a better guide? You who can’t even remember what homework is due? Trust me, man, if I had to pick between you and a blind person, I’d let the blind lead me.

    So do me a favor. Stop saying that phrase. It doesn’t achieve anything worth saying. With all of human language at your disposal, come up with a phrase that a) says what you really mean and b) doesn’t implicate me and other members of the blind community in your personal ignorance.

    Watch your language.

  • Heightened Senses: Smells (Part 1)

    There’s a popular theory that when one of your senses is diminished, the other four (let’s call them four for now, but we can debate this later) are heightened, accentuated, incalculably brightened in some way. So I’ll be devoting a series of entries to exploring this phenomenon in completely un-medical terms, as it relates to me. I can’t really say how my low vision makes these sensory enhancements work – so I’ll focus instead on a qualitative delivery of the experience of living with the senses I have.

    Today it’s smells, especially smells I love. I’ll give you a few examples. When a smell reaches my nose that I absolutely love, I feel the urge to tilt my head back and imbibe the air. I find myself compulsively smelling the item, if it’s close enough to hold, or wanting to compulsively smell it, if it’s not close enough. Here are some places where the smells make me weak at the knees.

    The glorious thing about having low vision is that most smells surprise you; you can’t see the smelliferous object approaching, so its aroma greets you sometimes gently and sometimes with terrifying vigor – but always surprisingly. Even if I’m walking past a place whose smell I love and I know perfectly where I am, there’s no guarantee that the wind will bring me that glorious aroma!

    At the grocery store, there are two areas in particular that get to me – one is seasonal (a fleeting pleasure!) and the other, thankfully, mercifully, is not. The first is the cinnamon broom display at Publix. The most delightful thing about this particular sensation is that I inevitably forget that I will experience it. I enter the store, get distracted by the metallic rustlings of the shopping carts, and start rummaging for my grocery list. Then the cart glides forward — I prefer to push the card while my shopping companion steers by leading it from the front – and I begin to be accosted by smells. Flowers, bakery items, and generic clean building smells are the first, and they’re totally unremarkable. Then we’ll round a corner and somehow, some fortuitous puff of air will send the cinnamon broom smell sailing in my direction. And I want to grip the cart and tilt my head back and smell it, forever. The scent is punchy and potent; it zips through the air with a terrible ferocity. It slices through all the other smells and makes me stop and tune out the rest of my environment. I want to ignore everyone, turn off my ears, close my eyes, and experience SMELL all by itself. Cinnamon broom. Exquisite.

    I have one hanging in my apartment now and the smell has worn off. This makes my chance encounters with the c-broom display at Publix so wonderful. No cinnamon broom in the home could ever smell like one in the store. I expect it at home.

    The other sense-stopping aroma at Publix can be found in the produce section. So much of grocery store produce is lackluster, deficient in smell and color compared with the fruits and veggies from a farmers’ market or organic store. But the apples! the apples! I entice my shopping companion to read me all the varieties, asking mildly which are on sale, all the while thinking, Please say fujis! Please say honeycrisps! Oh lord, galas! And if these favored varieties aren’t $3.29/lb, I start to examine them.

    I pick up an apple, turning it over and over in my hands and feeling for blemishes. I don’t want to fall in love with an apple’s particular perfume only to discover that it’s dented, squishy, or discolored. Then I smell it! And that floral, crisp, inviting aroma lifts me off my feet. I can’t fight down the sighs here. Especially when it comes to the honeycrisps, I can’t refuse. My desire to smell apples is insatiable, and I think it has something to do with the timbre of the smell – if I can apply that musical word here. Predominantly, the apple smell is a light one, light, riding on the air, not heavy or weighty like some of the more showy, succulent fruit smells. Apples don’t smell like peaches – when you smell a peach, you smell the whole tree – flowers, roots and all. A peach smells like all of its components – its aroma is thick with juice and sunshine. But apples smell light and crisp, like themselves – they lack the earthy dampness of peaches. The apple smell is an easy intoxicant because it doesn’t weigh you down. I could smell apples for hours.

    The third contender in my particular scent rundown is the smell of woodsmoke and campfires. I love the afternoons when I walk outside and I can smell someone heating up a grill. I’m not talking about the delicious barbecue smell here – I’m talking about the pre-barbecue smell. And in winter, the smell of a fireplace has extra special allure. I once sat around a campfire with some friends on a winter evening, wearing a turquoise hoodie (since we Floridians are so ill-equipped to handle the cold) and the campfire smell seeped into my clothes. I remember smelling the sleeve of my hoodie all the way home. I don’t think I washed it for a month. I didn’t even continue to wear it – I would just pick it up from time to time.  And of course, smell it!

    Campfires and warm, smoky aromas draw me in. I find them infinitely inviting. This does not include the acrid smells of cigarettes or the sickly sweet funk of hookahs. I restrict my smoky preferences to the woodsy, green scents. However, I will grant special admittance to smoked paprika and lapsang souchong tea (a black tea whose leaves are dried and smoked). The tea especially smells like campfire heaven.

    I could go on for pages, but I’ll stop here. Suffice it to say that there are way more interesting and fantastic smells out there to stop and enjoy. Forget the roses!

    (Don’t really forget them. Just save them for later. I’ll do an entry on flower smells I love in the future.)

  • Time for introductions

    I’d like to welcome you to my literary corner of cyberspace. It’s not very big and not very well decorated, so I hope you don’t mind roughing it. I’m Emily, and I’ll be bringing you tales of my experiences – insightful, venturesome, and reflective encounters that offer you a version of my reality. I can call them insightful, because the writing of them is helping me to learn about myself and the place I inhabit. I can only hope that reading them will edify you as writing them as edified me.

    A little about me…

    I’m finishing up a Master’s degree in English at UNF in Jacksonville, FL. I have a terrifying love of books – nonfiction, fiction, poetry – and I love the medium as well as the texts it delivers. None of that crazy Kindle business for me – I prefer holding the book in my hands, feeling and turning the pages, and marking the text with a pen. It’s not that I don’t appreciate what technology can do or the many trees that are spared with the move from hard copies to ebooks. I relate to my books tactilely. I remember where things are not by what page their on, but by where I read them on the page. I can remember a passage because it appeared on the left page, toward the bottom. In this way, i feel I’m inside the text, a part of it. I’ve tried the whole ebook thing and I feel so distant from the text – like I’m in a book museum looking at the works through a glass-fronted display case and not actually reading them.

    This sort of “on display behind the glass” approach does not appeal to me, and I am happy to explain why. I am legally blind – legally because, according to the law, my vision is so poor that I shouldn’t ever be allowed to drive a car, operate on someone’s brain, or do a host of other, highly visual tasks. But I am not totally blind; I have low vision, and it works relatively well for what I need it to do. I am very nearsighted, but I can read texts printed in standard sizes as long as I use a magnifier or the bifocals in my glasses. I travel around using a white cane, because my peripheral vision is ghastly and I need the cane to tell me the (often surprising) locations of stairs, curbs, columns, bushes, and occasionally, people.

    Because of my low vision, it is hardly startling that I prefer to relate to the world along other axes of sensory perception. I find I rely heavily on auditory and tactile information and I tend to prefer experiences that engage these senses. This is why the typical museum that exhibits treasured items behind a glass case has no allure for me. I am usually not allowed to touch these items and so I have a hard time relating to them. Also, I often cannot visually track objects. For example, if someone offers me something, I have to touch it first before my eyes understand where it is.

    It’s amazing how much of the world is behind glass cases.

    It’s also difficult for me to decide whether my hobbies and interests are a result of my low vision or whether I am attracted to music, literature, cooking, and perfumes “just because.” When I was three years old, a low vision specialist told my parents that putting me in piano lessons would help me learn to type later in life, so they put me in piano lessons. I love music (I prefer singing  to piano these days) and, because I love it, I think about it constantly. And I ask myself, if my parents hadn’t followed that very apt advice, would I have found music as I know it now? Would I feel so connected to it?

    Aside from singing, I take great delight in writing poetry and hope to publish someday. I also enjoy being outside, though I’m extremely light sensitive so I prefer to sit in the shade. While sunshine feels wonderful, it is very visually taxing for me. Sunlight takes my low vision and makes it no vision. So I’m a Floridian who hates the beach.

    But I love trees, old dusty bookshops, drinking coffee, long strolls, shoe-shopping (almost any kind of shopping), and intense discussions. The activity that I feel I could do all day, every day, however, is singing. Singing lifts the spirit in unquantifiable ways – ways that have, to date, baffled my literary skills. I’m still trying to capture on paper what singing does for me.

    I have come to this space to be forthright and clear. I invite questions, as I’m sure I’ll run out of ideas for future entries soon enough. I also invoke the kindness and patience of my readers, since writing flourishes under such conditions.

  • Cautionary tales

    I’ve been contemplating the idea of starting a blog for a while now, but I had no clue what my first entry should be about.

    And now, thanks to an overzealous sign, I know where to begin.

    Picture me traveling down hallways, carpeted in some drab, un-luxurious material – (my friend tells me it’s blue) – listening to the odd sound of my cane gliding over their scratchy surfaces. I open a nondescript door and enter the women’s restroom, immediately aware of the lack of contrast. Most public bathrooms have this unfortunate quality; the walls, floors, and all necessary implements of convenience (paper towel and soap dispensers, trash cans, and changing tables) are all delivered in muted, unimpressive colors or diluted pastels. High contrast is a beloved companion to my low vision, so these distinctly low-contrast environments are no fun.

    I complete my tasks with relative success. Of course the accessible bathroom stall, with its self-contained facilities, is taken, so I make due with a regular stall. I prefer the “handicapped” stalls because I don’t have to wander around and play Bathroom Scavenger Hunt searching for the soap, sinks, and hand dryers.

    As I walk away from the sinks, my cane gliding smoothly over the (nondescript) tiles, I encounter A Problem. My cane slides between two somethings – I don’t realize what they must be until the cane is successfully caught and I hear the snap of the sign’s placards as it closes and hits the floor. I am beginning to realize just how perception works for me – I don’t realize what things are or what they must be until after I encounter what they do.

    For example, this sign got tangled up with my cane, so, contrary to its cautionary “Wet Floors” message, it must be a hazard.  “Well I’m glad I’ve cleared that up,” I think to myself. It’s so reassuring when you start to make sense of the world around you.

    People often want to euphemize disabilities and impairments, saying things like, “Well at least you’re still alive,” and “Think of what you can learn from your condition.” And as much as I rail against the overly sentimental simplifications of what my life must be like through the eyes of others, I have learned a lot from my low vision.

    I’ve learned to question my initial perceptions, constantly. I’ve learned that things aren’t what they are – they’re what they do. We like to think of our everyday necessities, gadgets, and even the structures of our society as Absolute Entities, unchanging and always embodying some version of the idea. But when you live a daily existence that sometimes mistakes trashcans for people, tables for chairs, or signs for tripping hazards, you learn to embrace a wider range of possibilities. Maybe these “mistakes” or “errors” in my perception aren’t errors at all.

    I want to explore this space, the place where my perception differs so greatly from the conventionally-accepted realities of daily life. I want to take a walk into my vision of existence, and I invite you to come with me.

Emily K. Michael

Emily K. Michael is a blind poet, musician, and writing instructor. She serves as the poetry editor for Wordgathering at Syracuse University. She is also a poetry mentor in AWP’s Writer to Writer program. Her work focuses on music, embodiment, teaching, and ecology. Emily is passionate about birds, medieval history, singing, and guide dogs.

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