On Helen Keller’s birthday, revisit Cynthia Ozick on the teacher who helped the young Keller forge a path to unimaginable artistry as a writer.
Suspicion stalks fame; incredulity stalks great fame. At least three times—at the ages of eleven, twenty-three, and fifty-two—Helen Keller was assaulted by accusation, doubt, and overt disbelief. She was the butt of skeptics and the cynosure of idolaters. Mark Twain compared her to Joan of Arc, and pronounced her “fellow to Caesar, Alexander, Napoleon, Homer, Shakespeare and the rest of the immortals.” Her renown, he said, would endure a thousand years.
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.
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“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.
The 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.
But Helen’s formal schooling was widening beyond Annie’s tutelage. With her teacher at her side—and the financial support of such patrons as John Spaulding, the Sugar King, and Henry Rogers, of Standard Oil—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 was also determined to learn to speak like other people, but her efforts could not be readily understood.
This method of collaboration continued throughout Helen Keller’s professional writing life; yet within these constraints the design and the sensibility 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.
When the children saw the trees all aglow with brilliant colors they clapped their hands and shouted for joy, and immediately began to pick great bunches to take home. “The leaves are as lovely as the flowers!” cried they, in their delight. It was almost a reprise of the Perkins tribunal: she was again being confronted with the charge of inauthenticity. Anagnos’s rebuke—“Helen Keller is a living lie”—regularly resurfaced, in the form of a neurologist’s or a psychologist’s assessment, or in the reservations of reviewers. A French professor of literature, who was himself blind, determined that she was “a dupe of words, and her aesthetic enjoyment of most of the arts is a matter of auto-suggestion rather than perception.
Helen knew what she saw. Once, having been taken to the uppermost viewing platform of what was then the tallest building in the world, she defined her condition: And though she was early taken in hand by a writerly intelligence, it was hardly in the power of the manual alphabet to pry out a writer who was not already there. Laura Bridgman stuck to her lacemaking, and with all her senses intact might have remained a needlewoman. John Macy believed finally that between Helen and Annie there was only one genius—his wife. In the absence of Annie’s inventiveness and direction, he implied, Helen’s efforts would show up as the lesser gifts they were.
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