Somewhere Over the Double Rainbow

Elphaba looked like something between an animal and an Animal, like something more than life but not quite Life. There was an expectancy but no intuition, what was it?—like a child who has never remembered having a dream being told to have sweet dreams. —Gregory Maguire, Wicked: The life and times of the Wicked Witch of the West

This is the final post in my “Double Rainbow” guest blog series. I’ve had a great time with this guest blog, and I hope that you have enjoyed reading it. As part of wrapping up the series, I wanted to leave you with something fun. In the spirit of finding autists in popular fiction, I’m going to speculate about a character whom I almost included in my Valentine’s Day post, but who I ultimately decided to save until the end. I’m sure you’ve surmised who it is from the quotation above: I’m talking about Elphaba Thropp, as she appears in Gregory Maguire’s novel Wicked

Yep. I think the Wicked Witch is a little bit autistic. 

cover of the book Wicked, featuring an illustration of a woman's head. Her skin is green and she's wearing a black hat

For those unfamiliar with it, the novel has the tone and trajectory of a Greek tragedy. You go into it knowing that it can’t possibly end well—the protagonist is the Wicked Witch of the West, after all—but you’re not sure how you’re going to get to that final, fateful scene. (And for those who have seen the musical but haven’t read the novel, let’s just say that the book ends differently. But you know what I mean; odds are you’ve seen the MGM film.)

In the musical, Elphaba is characterized as a guarded nerd, but as she originally appears in Maguire’s novel she is distinctly odd. The first part of the book follows her early childhood, from the bizarre circumstances of her birth to the age of two. At an event I attended this past November for the release of Out of Oz, the final book in what became the Wicked Years series, Gregory Maguire said his original manuscript included a much longer account of Elphaba’s childhood, all the way through the age of twelve. (A not-so-subtle parallel of the childhood of Christ as portrayed in the Bible, by the author’s own admission.) I would be fascinated to see the rest of what Maguire originally wrote about Elphaba’s youth, but what made it into the book is enough to support my reading of Elphaba’s lifelong difference as “autistic” difference. 

Elphaba starts as an unsettlingly quiet infant who doesn’t like to be touched or held. She grows into an intense and unsmiling toddler who “doesn’t respond like other children,” and she does not babble or speak a word until she is nearly two years old. In one passage, when she is given a small wooden bird to play with, she becomes preoccupied with its individual parts, snapping off its wings and trying to afix the eyes from her fish dinner to its head. This same aptitude for focusing on and reassembling components, coupled with her unconscious aptitude for magic (and perhaps, in Maguire’s Oz, those two traits are related) later allows her to create the infamous flying monkeys through a combination of magic and deft surgery.

As a young adult, Elphaba is something of a cross between Daria Morgendorffer and Luna Lovegood, with Mattie Ross’ stubbornness and precocious sensibility. She is whip-smart and sarcastic, but also withdrawn and weirdly fanciful. As portrayed during her college years, she sometimes says things that are just strange, rather than clever or insightful, like in one passage wherein she talks whimsically about turning her skin inside out in order to float up onto a rooftop. Like Luna, she just seems to have a different thought process than her peers. (And Elphaba’s speech patterns seem to echo the distinctive patterns of the witch portrayed by Margaret Hamilton in the 1939 film.)

The “…not quite Life” passage that I quoted above has always nagged at me because for a long time I couldn’t quite understand it. About a quarter of the way through the book, Elphaba is briefly described from the perspective of her college roommate, Galinda (who later changes her name to the familiar “Glinda”). To Galinda’s eye, it is as though nature had not “done its full job with Elphaba, not quite having managed to make her enough like herself.”

Elphaba is written as a strong and fully-realized character, so it baffled and bothered me that she could be described as not “enough like herself.” What does that even mean? When considered in light of an understanding of how autism is perceived and constructed in a real-life context, the passage makes more sense. In the context of the story, the difference between animals and Animals is that Animals are gifted with the power of speech. It is not to too much of a stretch to connect the idea of being “between an animal and an Animal” to being between nonverbal and neurotypical. Language use is often conflated with sentience; the animal/Animal analogy shows us that from Galinda’s perspective, Elphaba does not seem quite like a fully self-aware being. In the real world, autists are frequently described as lacking intuition. We lack both the ability to decipher the thoughts, feelings, and intentions of other people, and the “common sense” that represents some inherent understanding of how the world works. Without this fundamental understanding, Elphaba approaches both her interaction with Galinda and the world at large with an openness, an “expectancy,” and with the perplexity of “a child who has never remembered having a dream being told to have sweet dreams.” In a neurotypical-dominated society, the social intuition and “common sense” that autists lack are considered innate and essential human traits. From this perspective, an autist cannot possess full personhood–Life with a capital L, as opposed to mere life–even if, like Elphaba, she is a fully-realized and articulate individual.

For all of her intellect, Elphaba is consistently driven by an understanding of the world that is unyieldingly black-and-white.  She has a tendency toward fixation and single-minded obsession, manifest in her dedication to Animal rights and, later, when she has begun to lose her mind, to obtaining her dead sister’s silver shoes. In her youth she is sometimes overly trusting and, most striking of all, she does not tell a single lie until she is nearly forty years old: “To the best of her recollection she had never lied before in her life.”

In this way Elphaba strangely resembles Christopher Boone, the protagonist and narrator of Mark Haddon’s The Curious Incident of the Dog in the Night-time, who muses, “I do not tell lies. Mother used to say that this was because I was a good person. But it is not because I am a good person. It is because I can’t tell lies.”

Of course Elphaba is never explicitly described as autistic—she inhabits a fantasy world in which no such label or construct exists. But as I have argued, in light of a real-world understanding of autism and its attendant tropes, Elphaba’s particular brand of strangeness might itself be termed “autistic.” And if one reads Elphaba as an autistic character, given her own ambiguous gender identity, the overall nature of Maguire’s Oz, and the strong implications that attend Elphaba’s close relationship with Glinda, I think it might be safe to consider Elphaba Thropp a queer autist. 

So there you have it. Again, I hope that you have enjoyed reading this series, as I have enjoyed writing it. Autism remains a subject of cultural fascination, and it doesn’t seem to be going anywhere anytime soon. As long as it endures, someone will be there to interrogate its intersections. Hopefully those interrogations will continue to press forward until they find a voice in mainstream discourse. In the meantime, popular culture is still sustained by a web of stories. Even in the face of culture-wide marginalization and erasure, those of us on the spectrum can find ourselves in existing narratives and push back with stories of our own.

Previously: Autism and Race, Mozart and the Whale

by Caroline Narby
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I write a little bit in the areas of embodiment and autism. I am very disappointed that Bitch Media has announced their intent to discriminate against people with disabilities in the hiring process for an executive editor. 

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8 Comments Have Been Posted

Elphaba's another one of

Elphaba's another one of those characters who (along with Pearl Prynne), when I first read the book, I thought "ha, she sounds a little like me as a kid," but long before I had any word to attach to that.


<p>I read Wicked when I was thirteen, and promptly connected with her because she is an unusual, intense loner. (Which sounds uncomfortable when I put it that way, but such was the case.) I hadn't been diagnosed yet, and even after I received an autism spectrum diagnosis it took me a while to put the pieces together.</p><p>Elphaba is a such a popular character, thanks to the musical (in which she is characterized quite differently than in the novel; I think they toned down her unlikability to appeal to a broader audience), that I expected a little bit of a backlash to my claiming her as an autistic protagonist.&nbsp;</p>

I have read the book and I

I have read the book and I never understood why she would be unlikable, or even that she was. Not that everything she did was always awesome, but doing bad things (or assholish things) doesn't necessarily make a character unlikable, especially if that isn't all they do.
I do think people were uncomfortable around her, and she around them.

But it seemed like the reason she ended up alone, and maybe lonely, was not her oddness, but the ideological differences between her and the people around her, and their willingness to compromise or change their view, or at least how clearly they let it show to the world, in exchange for comfort and a certain kind of rest in their lives, where she could not and would not. She also seemed to seclude herself to protect others, or maybe herself, or both, and at the very least she felt she was protecting them that way. Perhaps that was part of what made her odd, part of her oddness, but for me that just plays into the "autistic people are always honest to a fault and entirely inflexible and very concerned with social justice" trope. We get to have worldviews on their own merit too, in the same way that our sexual orientation (any sexual orientation we have) isn't 'because of autism'.

Yeah, funnily, I recognized

Yeah, funnily, I recognized myself in her particularly in her more unflattering characteristics, like her frequent, strident moral absolutism, lack of apparent affection for anyone around her as a child, and disturbing word fixations.

Shame on me, I haven't seen the musical yet (and I live in NYC, FFS, but I've been busy), but I know that they took *many* creative liberties that depart from the book. Which I don't necessarily mind; it's just another different interpretation of the Oz story, but I like feeling this way about Elphaba's character in the book.

I'm working on "A Lion Among Men" now, in hot anticipation of "Out of Oz." If you don't mind if I share a couple links to my own blog, I've been Oz-ing it up lately...

Out of Oz

So I'm reading "Out of Oz" now...and (minor spoiler!) it seems like Maguire is pretty openly characterizing Rain as autistic?

*MINOR SPOILERS* in this comment

<p>I'm inching my way through&nbsp;<em>Out of Oz</em> as well, and I totally agree. It looks like Rain inherited more than just her skin color from her grandmother....

</p><p>As a character on the whole, I think Rain contrasts with Elphaba in interesting ways. She's very much like Elphaba in some respects, but also <em>unlike </em>Elphaba in some very important ways. Both books are thematically complex (even though thus far I really don't think <em>Out of Oz </em>is much better than the other sequels and is far inferior to the first book) and while <em>Wicked </em>was partly about a woman who was ultimately destroyed by her demons, <em>Out of Oz </em>seems to be partly about coming to terms with, and choosing to persist in the face of, internal turmoil and agony.&nbsp;</p>

I just finished. Found it

I just finished. Found it stronger than the middle two books, if not quite as strong as "Wicked." And also more than a little personal, as a girl from Kansas with autistic grandparents.

Wow, I never thought about

Wow, I never thought about that, but you're totally right. I knew I loved her for her oddness and her loneliness and her unshakeable activism, but I didn't consider her being Autistic specifically. That's really cool; I think I need to read it again now. Thanks!

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