![]() ![]() Indeed, the word monster perhaps the earliest and most enduring name for the singular body” (3). ![]() says, ‘We’ve never seen monsters, to they can’t be there’… the truth is that there are a lot of things we don’t see every day that are right under our noses-like germs and electricity and just maybe-monsters are right under our noses, too…” Garland Thomson uses the same breakdown of the word “demonstrate” to exemplify the creep of monstrosity into ordinary speech, but expands further: “Never simply itself, the exceptional body betokens something else, becomes revelatory, sustains narrative, exists socially in a realm of hyper-representation. ![]() After fleeing an imaginary, pitchfork-wielding M.O.B.-an acronym for “mean, ordinary, & boring” people-Karen explains that, “The dictionary says the word monster comes from the Latin word ‘monstrum’ which means ‘to show’ (like deMONSTRate) but the M.O.B. The protagonist of Ferris’s swirling, sketchbook-style thriller, Karen Reyes, is a mixed-race queer adolescent growing up in noirish 1960’s Chicago who longs to be a werewolf so she can bite and save her cancer-afflicted mother. My Favorite Thing is Monsters (2017) by Emil Ferris opens with the same etymological analysis of the word monster as Rosemarie Garland Thomson’s landmark disability studies article, “From Wonder to Error: A Discourse on Freak Genealogy” (1991). ![]()
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