Historical Context
Deafness is a unique condition; its effects are not immediately apparent. Individuals with visible impairments or disabilities are readily recognized in society. The community generally understands how to help these individuals achieve fuller participation in society. But how does society include the deaf in its activities and discussions? This question has had various answers since the 19th century.
In the mid-1800s, two opposing groups debated how to integrate the deaf into the broader community. The oralists, who opposed sign language and banned its use in their schools, believed in teaching deaf individuals the skills needed to thrive in a hearing and speaking world. On the other hand, the manualists emphasized the importance of communication and encouraged the use of sign language in both educational and social settings. These "culture wars" between the two factions have left a lasting impact that continues to this day.
Throughout these debates, one factor remained constant—hearing people made the decisions. Deaf individuals were often seen as incapable of voicing their own opinions or making their own choices. Most states established residential schools for deaf children, who typically attended from age five to 18, only leaving for Christmas breaks and summer vacations. These schools were managed by hearing men (like Mr. Franklin), many of whom had attended the same teacher-training programs. These authoritative educators, sometimes called the "Great White Fathers," controlled every aspect of their students' lives. Most teachers were hearing and had limited knowledge or expertise in sign language. Deaf people were not considered suitable for teaching because they could not instruct in speech. Occasionally, deaf individuals who could speak well—like Orin—were allowed to teach. However, those who did not speak or lip-read—like Sarah—were often assigned roles such as kitchen helpers, laundry workers, or maids at these schools.
In the 1970s, a series of scandals shook several residential schools, leading to the introduction of new management from outside the traditional circle of hearing individuals who worked with the deaf. More deaf students were encouraged to pursue higher education, including teacher preparation programs.
Style and Technique
Setting and StructureChildren of a Lesser God unfolds within a unique dual setting: the State School for the Deaf and James Leeds's house. This drama takes place "in the mind of James Leeds," allowing characters to fluidly enter and exit his memories, sometimes stepping in for just a few lines or entire scenes. Act I presents time in a "fluid" manner, blending past and present seamlessly, occasionally leaving the audience unaware of shifts in time. However, Act II adopts a more linear progression, with scenes logically unfolding from James's frustrations to the climactic attempt to make Sarah speak. The minimalist use of sets and props, such as a chalkboard and benches, further enhances the fluidity of the narrative, facilitating the seamless movement of characters through different scenes.
Temporal Fluidity and Flashbacks
The structure of Children of a Lesser God leans heavily on the fluidity
of time, reflecting how events unfurl in the protagonist's memory. Flashbacks
serve as a cornerstone of the play, bringing past scenes like the pivotal visit
to Mrs. Norman's house into the present narrative. Notably, the entire play
functions as an extensive flashback, with themes and dialogues from the start
reappearing towards the end, creating a cyclical narrative that enriches the
depth of the story and characters.
Imagery and Symbolism
"Deafness isn't the opposite of hearing; it is a silence full of sounds," encapsulates the central imagery of the play. This notion challenges the binary perception of deafness versus hearing, inviting the audience to explore the unique possibilities that exist within the deaf world....
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Sign language serves as a vital conduit for this imagery, providing both visual and verbal dimensions to the play's themes. The sign "Join, unjoined," symbolically featured at both the opening and conclusion of the narrative, anchors the story's exploration of connection and communication, further emphasized by its presence on some printed editions of the play.
Language Dynamics
Language plays a fundamental role in Children of a Lesser God, with
spoken English, American Sign Language (ASL), and Signed English coexisting
within the narrative. ASL, characterized by its conceptual and pictorial
nature, contrasts with Signed English, which adheres more closely to
grammatical syntax and word order. Throughout the play, communication dynamics
are intricately portrayed. When Sarah communicates in ASL, James translates
concurrently into spoken English, while he uses Signed English to converse with
her, unless intentionally excluding her from dialogue. For characters like Orin
and Lydia, who can lip-read, James articulates clearly rather than signing. The
complex interplay of languages and their varied uses by different characters
highlights the challenges and nuances of communication within the deaf and
hearing communities.
Perceptions and Misunderstandings
A recurring theme in the play is the misunderstanding and trivialization of
sign language by hearing individuals. Characters like Edna Klein, who pride
themselves on learning minimal sign phrases, fail to grasp the depth and
complexity of ASL. This is highlighted when James cautions Edna on precision in
hand placement—without which she might convey unintended meanings. Such
interactions underscore the dismissive attitude some hearing individuals have
towards ASL, viewing it as a novelty rather than a legitimate language. Sarah's
critique of these "cute" efforts poignantly reflects the broader sentiment
within the deaf community, emphasizing their desire for respect and recognition
of their language and culture.
Compare and Contrast
Early 1980s: Schools for the deaf are managed by hearing administrators, many of whom do not know sign language.
Today: Numerous deaf schools, including Gallaudet University, are now led by deaf individuals.
Early 1980s: People with hearing impairments face routine discrimination in employment, housing, and access to services.
Today: Thanks to the Americans with Disabilities Act, individuals with hearing impairments have the support needed to succeed in the job market, secure suitable housing, and access a variety of services to help them achieve their goals.
Media Adaptations
Children of a Lesser God was turned into a film in 1986. The screenplay was crafted by Medoff and Hesper Anderson. Directed by Randa Haines, the movie featured William Hurt as James Leeds, Marlee Matlin in her Oscar-winning role as Sarah Norman, and Piper Laurie as Mrs. Norman. Facets Home Video offers the film in both VHS and LaserDisc formats.
Bibliography and Further Reading
Sources
Adams, Elizabeth, "Mark Medoff" in Contemporary American Dramatists,
edited by Jim Kamp, St. James Press, 1994, pp. 443-45.
Brustein, Robert, Review of Children of a Lesser God in the New Republic, Vol. 187, no. 23, June 7, 1980, pp. 23-24.
Sagona, Paul, "Mark Medoff" in Dictionary of Literary Biography, Volume 7: Twentieth-Century American Dramatists, edited by John MacNicholas, Gale, 1981, pp. 82-86.
Further Reading
Gallaudet University Home Page, http://www.gallaudet.edu.
The website for the most prominent institution of higher education for the deaf
offers details about deafness and links to numerous resources related to deaf
culture.
Deaf Nation Links Page, http://www.deafnation.com/Deaflinks.html.
A comprehensive collection of links concerning deafness and deaf culture.
Deaf World Web & ASL Dictionary Online,
http://www.deafworldweb.org/asl/.
Features a dictionary of signs organized both alphabetically and by category,
among other resources.