The Equality Act provides protection against discrimination on the ground of various protected characteristics: sex, race, disability, age, religion and gender. It protects against direct discrimination where there is adverse treatment because of a protected characteristic, and also indirect discrimination where the same rule is applied to all groups but has an unjustified and disproportionate adverse effect on a group. Adverse treatment includes harassment and victimisation. There is in addition a duty of reasonable accommodation for disabled workers. The law also requires equal pay for women for similar work or work that has equal value to that performed by men.

This introduction sets out a few overarching themes: Hemingway as a restlessly experimental writer, one driven to represent an ever-greater range of human experience and expression. Hemingway’s pressing against the boundaries of readers’ taste and tolerance is introduced, as is his identity as a person who lived with both visible and invisible disabilities and treated the ways of being in the world specifically available to the disabled.

The chapter provides an overview of Hemingway’s life from his birth in Oak Park, Illinois, to his death in Idaho. Key episodes include his experience, including his wounding, during the First World War, his emergence as a writer in Paris in the 1920s, his travels in Europe and Africa, including as a war correspondent during the Spanish Civil War and the Second World War, and his receipt of the Nobel Prize for literature.

The civil war in Spain provoked deeper political thinking and involvement for Hemingway, and his political engagement shaped his writing about that war. Hemingway returned to his journalistic roots in the war reportage he wrote on the conflict, and experimented with dramatic form in his only play, The Fifth Column. In For Whom the Bell Tolls he absorbs, adapts, and rejects a romanticized view of the Spanish Civil War that had been developed and promulgated by European and American writers sympathetic (as Hemingway was) to the Spanish Republican cause, stripping from the realities of internecine conflict any potentially consoling significance of political commitment. The Second World War also drew Hemingway as a war correspondent (initially reluctant, he became an enthusiastic witness to, and even participant in, combat in France and Germany). On the basis of his wartime experience, he explored themes of forgiveness and grace in Across the River and into the Trees, a flawed novel whose purgatorial narrative is nevertheless an interesting experiment in fictional form.

This chapter follows Hemingway from his journalistic work in the early 1920s through the publication of The Sun Also Rises in 1926. Ambitious to write fiction that would be innovative and popular, Hemingway absorbed the influences of Sherwood Anderson, Ezra Pound, Gertrude Stein, and others as he adapted news stories into sketches and wrote short stories based on combat experience and on his youth. Hemingway’s early style grew in the rich soil of literary experimentation in Paris in the 1920s, where he encountered an international literary and artistic avant-garde. This earliest work exemplifies Hemingway’s experimentation and its relationship to his deep need to express the apparently inexpressible contents of his psyche and experience. The reception of his 1925 story collection In Our Time established his early reputation. This chapter’s reading of The Sun Also Rises emphasizes Hemingway’s ironic deployment of both received narrative conventions and religiously significant pilgrimage and ritual themes, which locates Hemingway in a crucial vein of literary modernism exemplified by Eliot’s The Waste Land. Like these other modernist works, Hemingway’s novel is immured in the social attitudes within which he worked; anti-Semitism, racism, and homophobia tangle the novel’s surface texture but also shape its narrative structures.

Over the last five years of the 1920s, Hemingway worked assiduously to consolidate his reputation, publishing stories in mainstream magazines and developing what would become a lifelong relationship with the Charles Scribner publishing company. He worked to balance literary experimentation and innovation in the short story and the novel (sometimes courting censorship by challenging the canons of “decency”) and to appeal to popular taste. His second collection of stories includes the classic “Hills like White Elephants,” a powerfully concise exploration of power dynamics and competing visions within a romantic relationship. In A Farewell to Arms, Hemingway brings a corrosive irony to the topoi of the wartime romance, complicating received notions of both martial heroism (the military centerpiece of the novel is a shambolic retreat) and heterosexual romance (suggested in Frederic Henry’s and Catherine Barkley’s repeated references to wanting not only to be with one another but to be one another). The novel also sees Hemingway experiment with new modes such as stream-of-consciousness narration.

1. What does the term ‘healing journey’ mean to you? 2. In what ways do you currently feel social work is both a gift and a burden? 3. What lessons does Gloria’s story teach us about who is responsible for what? 4. What is the difference for you (if any) between disability and dis Ability?

One of the most interesting, and rapid, recent changes in live stand-up comedy is the increased number of disabled comedians performing. This chapter examines the performances of two disabled comedians – Laurence Clark and Rosie Jones – to explore how their performances may be viewed as social justice comedy through an analysis of the techniques used, and themes explored, in their performances. The chapter begins by considering the ways in which disability has been represented in comedy across history. Attention then shifts to how stand-up comedy can be considered a tool for social justice. The focus then turns to the methodological framework used to gather and analyse performances by Laurence Clark and Rosie Jones, before examining how the techniques used, and themes explored, in their performances may have social justice potentials and impacts for disability and disabled people and how the limits to these potentials and impacts can be understood.

This chapter explores how the term ‘Chernobyl child’ expanded over time to encompass nearly all children from Belarus and Ukraine, categorized based on their perceived suffering and need for help. This classification, while useful for securing aid, often led to ethical dilemmas about who deserved assistance. Through specific examples, the chapter illustrates how this categorization not only shaped their experiences abroad but also influenced how they and others understood their identities. The chapter also delves into how these trips abroad served as a means for the children to cope with the trauma of the Chernobyl disaster. While these journeys opened their eyes to different cultures, they often involved significant emotional challenges, such as adjusting to unfamiliar environments and confronting the reality of their situation. These experiences, though difficult, played a crucial role in how the children processed their pasts and envisioned their futures. The chapter shows that, despite the challenges, the trips sometimes led to lasting relationships with host families, providing a complex blend of support and difficulty in dealing with their traumatic histories.

Chapter 2 explores an important premise which underlies this critique of the law: it examines the idea that disfigurement inequality is a problem which merits a legal response – namely the granting of protective rights under the Act. It concludes that, despite some uncomfortable distinctions, there is a compelling case for a legal response in this area. The nature of law’s current response is then laid out. Relevant parts of the international legal framework – including EU law, the UN Convention on the Rights of Persons with Disabilities (‘CRPD’) and decisions of the European Court of Human Rights (‘ECtHR’) applying the European Convention on Human Rights – are explained by reference to the models of disability which implicitly inform them.

The so-called Holiness Code of Leviticus highlights the importance of ethical living if Israel is to be holy as God is holy. This chapter discusses the historical-critical arguments around the composition of the Holiness Code but focuses mainly on bridge Leviticus creates between the holiness of Israel’s tent and God’s tent. Ethical purity is as important as ritual purity in Leviticus and requires holiness in every aspect of Israel’s life.

The previous chapters have explored the teaching methodologies and concepts related to different forms of the Arts, as well as methodologies for integration and organisation. However, in addition to being able to teach the Arts, we need to have in place a system for evaluating the teaching process to ensure the outcomes and goals we wish to achieve are met for the learners. There has been a great deal of research to identify specific teaching practices that can improve children’s outcomes. This chapter does not intend to analyse the validity or otherwise of these outcomes, as these are mandated by the various examination and education boards. In part, this is because it is difficult to isolate any specific technique or learning skill that works for individuals because all children have unique and individual learning styles. For these reasons, the focus of recent research has been to isolate general characteristics. This chapter looks at the application of reflective learning tools to enhance teaching of the Arts, as well as inclusion and diversity in the classroom (specifically disability). Its focus, therefore, is to separate teaching from subjective assessment of teachers.

The plays of Sean O’Casey are filled with aches and pains, debilitating diseases, and traumatic wounds. He was himself a disabled writer. Furthermore, his presentation of disease and disability is inseparable from his critique of class, militarism, and masculinist ideology. This chapter shows how O’Casey’s depictions of disability are more nuanced than they may at first appear. He does demonstrate an essentialist tendency to see female resilience as a triumph over the failures of male impairment, yet, in plays such as Juno and the Paycock and The Silver Tassie, O’Casey allows space for contrary readings that speak with relevance to contemporary understandings of disability.

This chapter replays the origin story of whiteness to better recover how Toni Morrison, in her field-defining Playing in the Dark (1992), identified whiteness’s hauntings by the twinned shadow of Blackness and disability. By rereading Morrison’s interpretation of Edgar Allan Poe’s 1838 The Narrative of Arthur Gordon Pym, the chapter traces out how the critical study of whiteness needs to reevaluate and expand key ableist concepts and terms within the field lest it repeat and reinscribe disability oppression. Returning to Morrison’s foundational essay identifies interpretive strategies for a “crip abolitionist critique” that dismantles an entangled history of whiteness and disability. In its last section, the chapter then maps out this crip abolitionist methodology for whiteness studies through a reading of Victor LaValle’s 2012 novel The Devil in Silver, in which LaValle reimagines the white race traitor as an abolitionist caretaker.