She was born in Tuscumbia, Alabama, fifteen years after the Civil War, when Confederate consciousness and mores were still inflamed. Her father, who had fought at Vicksburg, called himself a "gentleman farmer," and edited a small Democratic weekly until, thanks to political influence, he was appointed a United States marshal. He was a zealous hunter who loved his guns and his dogs. Money was usually short; there were escalating marital angers. His second wife, Helen's mother, was younger by twenty years, a spirited woman of intellect condemned to farmhouse toil. She had a strong literary side (Edward Everett Hale, the New Englander who wrote "The Man Without a Country," was a relative) and read seriously and searchingly. In Charles Dickens's American Notes she learned about Laura Bridgman, a deaf-blind country girl who was being educated at the Perkins Institution for the Blind, in Boston. Her savior was its director, Samuel Gridley Howe, humanitarian activist and husband of Julia Ward Howe, author of "The Battle Hymn of the Republic": New England idealism at its collective zenith.
Laura Bridgman was thirteen years old when Dickens met her, and was even more circumscribed than Helen Keller—she could neither smell nor taste. She was confined, he said, "in a marble cell, impervious to any ray of light, or particle of sound." But Laura Bridgman's cell could be only partly unlocked. She never mastered language beyond a handful of words unidiomati-cally strung together. Scientists and psychologists studied her almost zoologically, and her meticulously intricate lacework was widely admired and sold. She lived out her entire life in her room at the Perkins Institution; an 1885 photograph shows her expertly threading a needle with her tongue. She too had been a normal child, until scarlet fever ravaged her senses at the age of two.
News of Laura Bridgman ignited hope—she had been socialized into a semblance of personhood, while Helen remained a small savage—and hope led, eventually, to Alexander Graham Bell. By then the invention of the telephone was well behind him, and he was tenaciously committed to teaching the deaf to speak intelligibly. His wife was deaf; his mother had been deaf. When the six-year-old Helen was brought to him, he took her on his lap and instantly calmed her by letting her feel the vibrations of his pocket watch as it struck the hour. Her responsiveness did not register in her face; he described it as "chillingly empty." But he judged her educable, and advised her father to apply to Michael Anagnos, Howe's successor as director of the Perkins Institution, for a teacher to be sent to Tuscumbia.
Anagnos chose Anne Mansfield Sullivan, a former student at Perkins. "Mansfield" was her own embellishment; it had the sound of gentility. If the fabricated name was intended to confer an elevated status, it was because Annie Sullivan, born into penury, had no status at all. At five she contracted trachoma, a disease of the eye. Three years on, her mother died of tuberculosis and was buried in potter's field—after which her father, a drunkard prone to beating his children, deserted the family. The half-blind Annie and her small brother Jimmie, who had a tubercular hip, were tossed into the poorhouse at Tewksbury, Massachusetts, among syphilitic prostitutes and madmen. Jimmie did not survive the appalling inhumanity of the place, and decades later, recalling its "strangeness, grotesqueness and even terribleness," Annie Sullivan wrote, "I doubt if life or for that matter eternity is long enough to erase the terrors and ugly blots scored upon my mind during those dismal years from 8 to 14." She never spoke of them, not even to her intimates.
She was rescued from Tewksbury by a committee investigating its spreading notoriety, and was mercifully transferred to Perkins. There she learned Braille and the manual alphabet and came to know Laura Bridgman. At the Massachusetts Eye and Ear Infirmary she underwent two operations, which enabled her to read almost normally, though the condition of her eyes continued fragile and inconsistent over her lifetime. After six years she graduated from Perkins as class valedictorian; Anagnos recognized in her clear traces of "uncommon powers." His affectionate concern was nearly a flirtation (he had once teasingly caressed her arm), while she, orphaned and alone, had made certain to catch his notice and his love. When her days at Perkins were ended, what was to become of her? How was she to earn a living? Someone suggested that she might wash dishes or peddle needlework. "Sewing and crocheting are inventions of the devil," she sneered. "I'd rather break stones on the king's highway than hem a handkerchief."
She went to Tuscumbia instead. She was twenty years old and had no experience suitable for what she would encounter in the despairs and chaotic defeats of the Keller household. She had attempted to prepare herself by studying Laura Bridgman's training as it was recorded in the Perkins archives. Apart from this, she had no resources other than the manual alphabet that enlivened her fingers, and the steely history of her own character. The tyrannical child she had come to educate threw cutlery, pinched, grabbed food off dinner plates, sent chairs tumbling, shrieked, struggled. She was strong, beautiful but for one protruding eye, unsmiling, painfully untamed: virtually her first act on meeting the new teacher was to knock out one of her front teeth. The afflictions of the marble cell had become inflictions. Annie demanded that Helen be separated from her family; her father could not bear to see his ruined little daughter disciplined. The teacher and her recalcitrant pupil retreated to a cottage on the grounds of the main house, where Annie was to be sole authority.
What happened then and afterward she chronicled in letter after letter, to Anagnos and, more confidingly, to Mrs. Sophia Hopkins, the Perkins housemother who had given her shelter during school vacations. Mark Twain saw in Annie Sullivan a writer: "How she stands out in her letters!" he exclaimed. "Her brilliancy, penetration, originality, wisdom, character and the fine literary competencies of her pen—they are all there." Her observations, both of herself and of the developing child, are kin, in their humanity, particularity, and psychological acumen, to philosophical essays. Jubilantly, and with preternatural awareness, she set down the progress, almost hour by hour, of Helen Keller's dis-entombment, an exuberant deliverance far more remarkable than Laura Bridgman's frail and inarticulate release. Howe had taught the names of things by attaching to them labels written in raised type—but labels on spoons are not the same as self-generated thoughts. Annie Sullivan's method, insofar as she recognized it formally as a method, was pure freedom. Like any writer, she wrote and wrote and wrote, all day long. She wrote words, phrases, sentences, lines of poetry, descriptions of animals, trees, flowers, weather, skies, clouds, concepts: whatever lay before her or came usefully to mind. She wrote not on paper with a pen, but with her fingers, spelling rapidly into the child's alert palm. Helen, quick to imitate yet uncomprehending, was under a spell of curiosity (the pun itself reveals the manual alphabet as magical tool). Her teacher spelled into her hand; she spelled the same letters back, mimicking unknowable configurations. But it was not until the connection was effected between finger-wriggling and its referent—the cognitive key, the insight, the crisis of discovery—that what we call mind broke free.
This was, of course, the fabled incident at the well pump, dramatized in film and (by now) collective memory, when Helen suddenly understood that the tactile pattern pecking at her hand was inescapably related to the gush of cold water spilling over it. "Somehow," the adult Helen Keller recollected, "the mystery of language was revealed to me." In the course of a single month, from Annie's arrival to her triumph in forcibly bridling the household despot, Helen had grown docile, eagerly willing, affectionate, and tirelessly intent on learning from moment to moment. Her intellect was fiercely engaged, and when language began to flood it, she rode on a salvational ark of words.
To Mrs. Hopkins Annie wrote ecstatically:
Something within me tells me that I shall succeed beyond my wildest dreams. I know that [Helen] has remarkable powers, and I believe that I shall be able to develop and mould them. I cannot tell how I know these things. I had no idea a short time ago how to go to work; I was feeling about in the dark; but somehow I know now, and I know that I know. I cannot explain it; but when difficulties arise, I am not perplexed or doubtful.
I know how to meet them; I seem to divine Helen's peculiar needs....
Already people are taking a deep interest in Helen. No one can see her without being impressed. She is no ordinary child, and people's interest in her education will be no ordinary interest. Therefore let us be exceedingly careful in what we say and write about her.... My beautiful Helen shall not be transformed into a prodigy if I can help it.
At this time Helen was not yet seven years old, and Annie was being paid twenty-five dollars a month.
The fanatical public scrutiny Helen Keller aroused far exceeded Annie's predictions. It was Michael Anagnos who first proclaimed her to be a miracle child—a young goddess. "History presents no case like hers," he exulted. "As soon as a slight crevice was opened in the outer wall of their twofold imprisonment, her mental faculties emerged full-armed from their living tomb as Pallas Athene from the head of Zeus." And again: "She is the queen of precocious and brilliant children, Emersonian in temper, most exquisitely organized, with intellectual sight of unsurpassed sharpness and infinite reach, a true daughter of Mnemosyne. It is no exaggeration to say that she is a personification of goodness and happiness." Annie, the teacher of a flesh-and-blood earthly child, protested: "His extravagant way of saying [these things] rubs me the wrong way. The simple facts would be so much more convincing!" But Anagnos's glorifications caught fire: one year after Annie had begun spelling into her hand, Helen Keller was celebrated in newspapers all over the world. When her dog was inadvertently shot, an avalanche of contributions poured in to replace it; unprompted, she directed that the money be set side for the care of an impoverished deaf-blind boy at Perkins. At eight she was taken to visit President Cleveland at the White House, and in Boston was introduced to many of the luminaries of the period: Oliver Wendell Holmes, John Greenleaf Whittier, Edward Everett Hale, and Phillips Brooks (who addressed her puzzlement over the nature of God). At nine, saluting him as "Dear Poet," she wrote to Whittier:
I thought you would be glad to hear that your beautiful poems make me very happy. Yesterday I read "In School Days" and "My Playmate," and I enjoyed them greatly.... It is very pleasant to live here in our beautiful world. I cannot see the lovely things with my eyes, but my mind can see them all, and so I am joyful all the day long.
When I walk out in my garden I cannot see the beautiful flowers, but I know that they are all around me; for is not the air sweet with their fragrance? I know too that the tiny lily-bells are whispering pretty secrets to their companions else they would not look so happy. I love you very dearly, because you have taught me so many lovely things about flowers, birds, and people.
Her dependence on Annie for the assimilation of her immediate surroundings was nearly total—hands-on, as we would say, and literally so—but through the raised letters of Braille she could be altogether untethered: books coursed through her. In childhood she was captivated by Little Lord Fauntleroy, Frances Hodgson Burnett's story of a sunnily virtuous boy who melts a crusty old man's heart; it became a secret template of her own character as she hoped she might always manifest it—not sentimentally, but in full awareness of dread. She was not deaf to Caliban's wounded cry: "You taught me language, and my profit on't/ Is, I know how to curse." Helen Keller's profit was that she knew how to rejoice. In young adulthood, casting about for a faith bare of exclusiveness or harsh images, and given over to purifying idealism, she seized on Swedenborgian spiritualism. Annie had kept away from teaching any religion at all: she was a down-to-earth agnostic whom Tewksbury had cured of easy belief. When Helen's responsiveness to bitter social deprivation later took on a worldly strength, leading her to socialism, and even to unpopular Bolshevik sympathies, Annie would have no part of it, and worried that Helen had gone too far. Marx was not in Annie's canon. Homer, Virgil, Shakespeare, and Milton were: she had Helen reading Paradise Lost at twelve.
But Helen's formal schooling was widening beyond Annie's tutelage. With her teacher at her side, Helen spent a year at Perkins, and then entered the Wright-Humason School in New York, a fashionable academy for deaf girls; she was its single deaf-blind pupil. She also pleaded to be taught to speak like other people, and worked at it determinedly—but apart from Annie and a few others who were accustomed to her efforts, she could not be readily understood. Speech, even if imperfect, was not her only ambition: she intended to go to college. To prepare, she enrolled in the Cambridge School for Young Ladies, where she studied mathematics, German, French, Latin, and Greek and Roman history. In 1900 she was admitted to Radcliffe (then an "annex" to Harvard), still with Annie in attendance. Despite her necessary presence in every class, diligently spelling the lecture into Helen's hand, and hourly wearing out her troubled eyes as she transcribed text after text into the manual alphabet, no one thought of granting Annie a degree along with Helen. It was not uncommon for Annie Sullivan to play second fiddle to Helen Keller; the radiant miracle outshone the driven miracle worker. Not so for Mark Twain: he saw them as two halves of the same marvel. "It took the pair of you to make a complete and perfect whole," he said. Not everyone agreed. Annie was sometimes charged with being Helen's jailer, or harrier, or ventriloquist. During examinations at Radcliffe, she was not permitted to be in the building. For the rest, Helen relied on her own extraordinary memory and on Annie's lightning fingers. Luckily, a second helper, adept at the manual alphabet, soon turned up: he was John Macy, a twenty-five-year-old English instructor at Harvard, a writer and editor, a fervent socialist, and, eventually, Annie Sullivan's husband, eleven years her junior.
The money for all this schooling, and for the sustenance of the two young women (both enjoyed fine clothes and vigorous horseback riding), came in spurts from a handful of very rich men—among them John Spaulding, the Sugar King, and Henry Rogers, of Standard Oil. Helen charmed these wealthy eminences as she charmed everyone, while Annie more systematically cultivated their philanthropy. She herself was penniless, and the Kellers of Tuscumbia were financially useless. Shockingly, Helen's father had once threatened to put his little daughter on exhibit, in order to earn her keep. (Twenty years afterward, Helen took up his idea and went on the vaudeville circuit—she happily, Annie reluctantly—and even to Hollywood, where she starred in a silent movie, with the mythical Ulysses as her ectoplasmic boyfriend.)
At Radcliffe Helen became a writer. She also became a third party to Annie's difficult romance: whoever wanted Annie inevitably got Helen too. Drawn by twin literary passions like his own, Macy was more than willing, at least at first. Charles Townsend Copeland—Harvard's illustrious "Copey," a professor of rhetoric—had encouraged Helen (as she put it to him in a grateful letter) "to make my own observations and describe the experiences peculiarly my own. Henceforth I am resolved to be myself, to live my own life and write my own thoughts." Out of this came The Story of My Life, the autobiography of a twenty-one-year-old, published while she was still an undergraduate. It began as a series of sketches for the Ladies' Home Journal; the fee was three thousand dollars. John Macy described the laborious process:
When she began work at her story, more than a year ago, she set up on the Braille machine about a hundred pages of what she called "material," consisting of detached episodes and notes put down as they came to her without definite order or coherent plan. Then came the task where one who has eyes to see must help her. Miss Sullivan and I read the disconnected passages, put them into chronological order, and counted the words to make sure the articles should be the right length. All this work we did with Miss Keller beside us, referring everything, especially matters of phrasing, to her for revision....
Her memory of what she had written was astonishing. She remembered whole passages, some of which she had not seen for many weeks, and could tell, before Miss Sullivan had spelled into her hand a half-dozen words of the paragraph under discussion, where they belonged and what sentences were necessary to make the connection clear.
This method of collaboration, essentially mechanical, continued throughout Helen Keller's professional writing l
ife; yet within these constraints the design, the sensibility, the cadences were her own. She was a self-conscious stylist. Macy remarked that she had the courage of her metaphors—he meant that she sometimes let them carry her away—and Helen herself worried that her prose could now and then seem "periwigged." To the contemporary ear, many of her phrases are too much immersed in Victorian lace and striving uplift—but the contemporary ear has no entitlement, simply by being contemporary, to set itself up as judge: every period is marked by a prevailing voice. Helen Keller's earnestness is a kind of piety; she peers through the lens of a sublimely aspiring poetry. It is as if Tennyson and the Transcendentalists had together got hold of her typewriter. At the same time, she is turbulently embroiled in the whole human enterprise—except, tellingly, for irony. She has no "edge," and why should she? Irony is a radar that seeks out the dark side; she had darkness enough. Her unfailing intuition was to go after the light. She flew toward it, as she herself said, in the hope of "clear and animated language." She knew what part of her mind was instinct and what part was information, and she was cautious about the difference; she was even suspicious, as she had good reason to be. "It is certain," she wrote, "that I cannot always distinguish my own thoughts from those I read, because what I read become the very substance and texture of my mind.... It seems to me that the great difficulty of writing is to make the language of the educated mind express our confused ideas, half feelings, half thoughts, where we are little more than bundles of instinctive tendencies." She, who had once been incarcerated in the id, did not require knowledge of Freud to instruct her in its inchoate presence.
The Din in the Head Page 2
