Every monster needs an origin story. Here’s mine.
I was born with a rare condition — radioulnar synostosis — which restricts the movement of my forearms. I am unable to turn my hands over palms up, the way you might accept loose change or splash water on your face or land an uppercut. I have lived with this condition all my life, and yet it wasn’t until my late 20s that I started referring to myself as “disabled.”
This word carries immense baggage, and many of us within the wide spectrum of disability tend to minimize our experiences or, as in my case, suffer from feelings of impostor syndrome. Could be worse, I often tell myself. You don’t deserve to call yourself disabled.
Coming to terms with my disability took a long time, to not only accept my identity, but also to discard the lingering shame and stigma that coincide with being disabled. A major part of this reconciliation was thanks to an unlikely source of solace — horror films.
I’ve been a horror obsessive as long as I can remember, but I only recently figured out how to articulate why the genre resonates so strongly with me. On-screen depictions of deformed, disfigured killers and creatures serve as reflections of my own otherness. The phantasmagoric realm of horror, though dark and violent, provides an outlet for me to express the discomfort, frustration, and anxiety surrounding my corporeal limitations.
From a young age, I subconsciously related to monsters, madmen, and every combination thereof. Many even taught me to frame disability in a positive fashion. The archetypal antagonists from the golden age of horror cinema — the Wolfman, Dracula, Frankenstein’s monster — all underwent a transformation to be imbued with extraordinary, otherworldly gifts. Their differences were a source of power, inverting the traditional view of disability as a hindrance, a burden.
My attraction to horror began innocently enough. There were clamshell VHSes galore at my babysitter’s house, including all the Disney classics,
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