James Faumuina
The story you are about to read is a creative narrative depiction of the thesis provided. The story of Cormac and Supercrip could be considered a character study in many of the terms and concepts from the field of Disabilities Studies. The protagonist in this story has a disability, however, there is no emphasis on the type of disability. Intentionally, that detail is left out to allow anyone with a disability to play the role of Cormac. The name of Cormac was chosen based on the author Cormac McCarthy. His flagrant abuse of the 'imbecile' in his work Blood Meridian[1] speaks to all the oppression and devaluation disabled people experience in their daily life with stigmas, isolation, and cruelty. I found no better means to pay him back and right these wrongs by naming the title character in this disabled hero story after him. Supercrip is the alter-ego of Cormac. He is a larger-than-life character with the appearance of a superhero, but the ethos of a supervillain. Where in many media depictions the transition from disabled to hero was seen as overcoming a disability, in this story the transition from disabled to superhero normally results in chaos. Cormac intentionally retains his identity at the cost of his freedom because of his principles and values system. Herein, lies the mark of the heroism in the form of ethical, honest, and a real disabled identity. Numerous times, Supercrip will tempt Cormac into using his superpowers to invoke 'justice', however Cormac will continue to retain the moral compass and avoid abandoning his disabled identity. The journey Cormac and Supercrip go through include reminiscing their disabled youth, adolescence, and eventually radical advocacy. This production is minimalist with only two physical actors, voices from off stage, no set design with only a few tables, chair, cot, and a few props. The narration is done with the audience in order to utilize the device of 'breaking the fourth wall.' The use of the spotlight and stage lighting also plays a significant role in the pace and emphasis of the performance. The use of footnotes is frequent in the script. The notes are all located at the end of each respective page and quotations are mostly taken from the substantive authors in Disabilities Studies as references. The story of Cormac and Supercrip test the boundaries of traditional superhero stories. It introduces some essential disabilities studies vernacular, and it attempts to gage the heart of the thesis by pointing out the varied opinion of what is just and what is normal; ensuring that it is all viewed through the disability’s lens. [1] Ref Imbecille: 'You want him you take him. I’ll give him to you. I can’t do any more than I’ve done' Brother of James Robert the imbecille from the book who is treated like an animal (McCarthy, 1985, p. 268).'
