"I've always wanted to write a book relating my experiences growing up as a deaf child in Chicago. Contrary to what people might think, it wasn't all about hearing aids and speech classes or frustrations"
About this Quote
Matlin opens with the kind of modest, almost throwaway ambition that carries a dare inside it: I want to tell my story, but not the version you already have queued up. The pivot phrase, "Contrary to what people might think", is doing the real work here. It names the audience’s default script about disability - a narrow narrative of technology, remediation, and struggle - and then refuses to perform it. In a single sentence, she positions herself against the cultural habit of turning deafness into an inspirational obstacle course, where the only acceptable plot points are frustration, perseverance, and a triumphant “overcoming.”
The list that follows - "hearing aids and speech classes or frustrations" - is intentionally mundane. It’s the inventory of what outsiders expect: medical apparatus, institutional training, emotional hardship. By framing those elements as the anticipated headline, Matlin suggests they’re not the point, or at least not the whole point. The subtext is sharper: the public is more comfortable discussing deaf people as problems to be solved than as full characters shaped by place, family, humor, desire, boredom, ambition.
“Deaf child in Chicago” matters, too. Chicago evokes neighborhood texture, class and ethnicity, public schools, the messiness of city life - a reminder that identity isn’t a single-issue biography. Coming from an actress who broke through in a hearing industry, the line reads like a reclaiming of narrative authority: not a case study, not a motivational poster, but a life with plotlines that don’t exist for other people’s reassurance.
The list that follows - "hearing aids and speech classes or frustrations" - is intentionally mundane. It’s the inventory of what outsiders expect: medical apparatus, institutional training, emotional hardship. By framing those elements as the anticipated headline, Matlin suggests they’re not the point, or at least not the whole point. The subtext is sharper: the public is more comfortable discussing deaf people as problems to be solved than as full characters shaped by place, family, humor, desire, boredom, ambition.
“Deaf child in Chicago” matters, too. Chicago evokes neighborhood texture, class and ethnicity, public schools, the messiness of city life - a reminder that identity isn’t a single-issue biography. Coming from an actress who broke through in a hearing industry, the line reads like a reclaiming of narrative authority: not a case study, not a motivational poster, but a life with plotlines that don’t exist for other people’s reassurance.
Quote Details
| Topic | Book |
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