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Those Boots
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2023
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
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Shawn Condelario
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Text
search turned up a red, 1964 convertible about 100 yards below
the point of entry. The swift current had badly damaged the ve
hicle. No sign has been found of the occupants of the car, who
must have been swept away by the swift current.
The next day’s paper contained this terse notice.
Hunnesville, Colo. (UPl)—The occupants of the car found two
days ago in the Rio Peligro have been identified as Mr. and Mrs.
Stanford M. Wright of Mankin, Missouri. They were identified
through vehicle registration and the testimony of a motel owner
here, who recalled that they had stayed at his place the night be
fore the accident. Their bodies have not yet been found.
Now Stanford settled down to step four of O. P. C.—this time without
Eunice’s knowledge or consent. He spent two afternoons in the thick timber
a quarter of a mile from the cabin, digging a hole. It measured six feet
long, two feet wide, and five feet deep.
On the second afternoon Stanford was working in the hole. It was
nearly finished. His spade made a chunking sound on the hard earth, then
there was a “splat” as he carefully piled the earth on a large canvas. Sud
denly he heard a noise. He turned, straightened, and looked out of the hole.
He found himself staring straight at a pair of woman’s ankles.
“You left the pick at the cabin, Stanford,” Eunice said as she brought
the pointed instrument down onto his skull.
BURDEN
Sheala Dunn
It was a cold day, a dark day for doing many things, but certainly not
the kind of a day to spend taking care of a two year old. The girl sat star
ing out the window as these, and other thoughts, mesmerized her mind.
Children were such a waste of time, always wanting something and jabbering
to no useful end. There were so many other things more important and in
teresting. Her self-inflicted depression was interrupted.
“Sissy!” called a sleepy voice from the other end of the house. He
was awake. Another day of dressing and undressing, cleaning up messes,
reading stupid stories and answering endless nonsense questions.
“Hi! Get up?” asked the cheerful, cherub-like mouth of the flaxen
haired child. His dark eyes glowed with life as the girl stood expressionless
before him. “Get-up?” he said again, patiently waiting for a sign of approval
from his part-time mother.
“Well, get up!” she said impatiently, wishing that there were some
way to keep him in bed the rest of the afternoon. Mom would be home
—31—
�at five o’clock; she had the right idea about kids, they were nothing but a
nuisance. Especially this one.
Slowly he started to get out of bed, pushing back his blankets and
stuffed toys on the way. His chubby, pink legs swung themselves to the
floor, and a second later a rag doll tumbled down after them.
“Oh! Poor Suzy!” he cried. “Honey, me love!” he consoled as he kiss
ed her. “Hurt?” he questioned.
“No, how can she get hurt? She’s not a person, she’s just a doll,” re
plied the girl sarcastically. “Boy, how stupid!” she thought. “Doesn’t even
know the difference between a doll and a person. And they say kids are
smarter than you give them credit for! What a laugh!”
“Potty!” he squeeled with delight. It was a new experience and ap
peared to him to be a fine game. But to the girl it was just another time
consuming chore. What difference did it make if he wet his pants or not? He
couldn’t finish either one alone, someone had to help him either way.
He was in the bathroom in a matter of seconds, but evidently not
quite soon enough. As she pulled his pants down, a small, wet pool ap
peared.
“John Jay!” she screamed. “What did you do?” a sharp smack landed
across his exposed bottom.
“Sorry, sorry!” he blubbered through his tears. “Not my fault!”
“Not your fault? Well, it sure wasn’t mine! Sit down in that corner!”
“More work,” she thought. “Always dressing and undressing. What a waste
of time.” She fumbled through his drawers until she found a pair of pants.
Carrying them back into the bathroom, she threw them in his lap. “Put
these on and go in the kitchen and eat your lunch!”
Smiling weakly, he muttered, “OK, Sissy.”
It was only one o’clock-four hours! There were so many other things
to do, and here she was, at home with him. How could anyone enjoy little
kids? They didn’t know how to do anything.
“Sissy! Come here!” rang a voice from the kitchen.
She walked in to see his face lit up with an expectant smile as he said
to her: “Watch. Johnny eat.”
He tried so hard to please her, to impress her. He carefully steered his
spoon from the bowl to his mouth and back again several times. Fighting
all the v'hile his childish impulse to pour it from his spoon and see it splat
ter. He ate it all; even the mushy pieces of celery. His eyes sparkled with
anticipation. His little body was tense. He picked up his glass with two
short, chubby hands, and drank it without a spill. Turning his milk-rimmed
face toward his sister, he smiled triumphantly over his accomplishment.
“That’s nice,” was her cold reply. “Now you’re going to put on your
coat and go outside to play.”
�“Why, cuz?” questioned the boy, slowly lowering himself from his high
chair until his tiny toes touched the floor, and then immediately turning
loose and dropping to a solid rest.
“Cuz I say so, that’s why,” she called over his shoulder. She returned
with his coat and cap. Willingly he thrust his arms into the sleeves; she zip
ped it up. His coat was a vivid blue with small navy emblems on each side
at the breast line. His hat, red with blue stripes, snuggled close to his
head, leaving only a small portion of his mouth, a button nose and two big,
brown eyes exposed.
Suddenly, a thought raced through his mind. “Read?” he blurted.
“No! I’m not going to read any more of those silly books. Goodbye. Go
play,” she said, opening the door.
“Bye,” he quipped cheerfully.
He was gone. She could again escape from his world of constant de
mands to hers of repressed desires and wishes. Needs of a sixteen year old
are almost as acute as those of a child. Unfulfillment-searching for some
one and for herself. But escape could not last for long. Reality was ever
present, intruding into her more perfect world. Intruding with the child.
Why must he always be there? Why couldn’t he leave? She didn’t need him,
he was only a bother.
Her thoughts were interruped by the opening of the front door. There
was no sound except that of the squeaking hinge. After a few minutes had
elapsed, a small figure, clad in a bright blue coat, appeared and walked
toward her. He climbed up into her lap, his little body still cold from the
brisk winter air. He didn’t look at her; his face was expressionless.
“What do you want?” she asked, half irritated and half inquisitive.
With a sudden surge of affection he threw his arms around her neck, and
with child-like simplicity said, “Love. Johnny, Sissy.”
The flaxen hair mingled with the darker blond. There were eyes,
brown and blue, filled with tears; but they were smiling, both of them, the
child and the girl.
It was still a cold day, dark day. But the light was beginning to break
through, and there was a promise of warmth. A warmth that would in
crease with the onset of each new season.
HELP III
To my money problem, there’s ‘ '''
No answer I’m afraid.
All my bills are overdue
And I am underpaid.
�
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"Burden" and "Help ! ! !"
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The Casper College Archives has archived this story and poem to encourage the use of its Expression Literary Arts Magazines for digital humanities and other related educational uses.
Date Created
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1964
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Story and poem published by Sheala Dunn in the fall 1964 Casper College Expression magazine.
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Text
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Sheala Dunn
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ENG
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CCA_04.ii.c.01_Expression1964_Fall_Dunn
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PDF
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3 pages
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Text
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Teeth
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Date Created
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2024
Type
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Sierra Farquhar-Baltazar
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
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Jreebm to Read:
IVhal is yrepress?
Skylar Rowyn Cooper
Academic Prose
“The cyclical rebirth of caste in America is a recurring
racial nightmare” (Alexander, 2010, p. 4). The deafening cries of
the American people for social and political progress go unheard;
protests, riots, and petitions fall upon the deaf ears of the powerful
men in America that benefit from these gross miscarriages of
justice and systemic inequality. The country spins in endless
cycles of calls for progress, but every time society moves a step
forward, the systemic oppression America was built upon pushes
it two steps back. The “ALA Freedom to Read Statement” is a
terrifying demonstration of America’s inability to make meaningful
political and social progress. The banning of books upholds pre
existing power structures that harm marginalized communities by
restricting their access to the language needed to communicate
their experiences of oppression and discrimination.
The American Library Association’s (ALA) statement
condemning banning books is horrifying due to its uncanny
timelessness. Though the statement was released in 1953, its words
have been true for long before the words were published and
ring as true today as they did almost sixty years ago. The topic of
banned books has exploded in the media over the past two years
as heightened political tensions have steadily increased bringing a
new wave of organized challenges against "controversial" literature
- read: inclusive literature. The ALA (2013) received 729 reported
challenges in 2021 targeting 1597 unique titles; this is drastically
increased from the 156 challenges against 273 titles from the year
before. Clearly, despite the over half a decade that has passed
since the release of this statement, libraries and school boards
across the nation have been fielding exponentially increased
challenges against materials that challenge the status quo and urge
98
�Freedom to Read: What is Progress^
audiences to expand their viewpoints and think for themselves.
This unprecedented number of challenges is sickening to any lover
of literature or simply any person who believes in upholding the
freedoms allowed to all citizens via the First Amendment’s right
to freedom of speech. Ultimately, the act of restricting access to
knowledge is unnerving because of the reasoning people push for
the information to be banned.
Why are books requested to be pulled from public access?
Historically, books recognized on the ALA’s Banned Books List
are challenged because they tackle ideas of race, gender, sexuality,
violence, and disobedience against parents or oppressive societies
(ALA, 2013; Niccolini, 2015). Youth are often at the center of
these conversations; adults who may be uncomfortable with these
topics frequently cite protecting children as their primary goal.
However, as Alyssa Niccolini (2013) notes in her article “Precocious
Knowledge,” “The reality is that young people live in and read
about—as we adults also did—a decidedly complex world where
sex, violence, intolerance, and profanity are a reality” (p. 27). She
notes that adults often attempt to censor youth from sensitive
topics to prevent them from gaining “precocious knowledge,” or
knowledge that could corrupt their innocence. However, children
and young adults often have much more maturity than adults
give them credit for; they are exposed to these topics anyway and
not having the knowledge to understand them properly can be
extremely detrimental to their development (Niccolini, 2015). The
ALA supports this idea, stating that most modern artwork and
sharing of ideas are shocking - but so is life. Parents and educators
have the responsibility to educate youth about what they will be
exposed to in life rather than actively doing them a disservice
by withholding information they may be uncomfortable with
themselves (ALA, 1953). Barring children from access to texts
about LGBTQ+ (Lesbian, Gay, Bisexual, Transgender, and Queer)
identities and racial injustices is especially harmful because it robs
them of the language needed to communicate their experiences
and limits broader social empathy for those communities.
While the banning of books may seem trivial to some,
real“world effects follow each of these challenges. Bill Lawson’s
“Nobody Knows Our Plight” discusses the harm that lexical gaps
do to marginalized communities. Lawson analyzes America’s lack
99
�Freedom to Read:What is Progress?
of social progress through the lens of MGT; MGT states that
oppressed groups struggle to move past oppression in society
because language is created by oppressors. Without the ability
to discuss their experiences with legislators and the world at
large, oppressed persons are unable to share their realities with
those who don’t experience them to build empathy Without
empathy, those outside of marginalized communities continue
to fear and ostracize those who are different from them based
on prejudiced misunderstandings. “These words do not merely
refer to our reality, they help to define it [...] There is no word in
our political/moral vocabulary that captures this state of affairs
and such a word is needed if we are to develop just social policy”
(Lawson, 1992, pp. 1-2). Lexical gaps are exactly why censorship of
marginalized communities is so dangerous; it is a purposeful tactic
used to withhold power from persons who are already oppressed
in American Society According to Wilson Coates (1948), “illiteracy
is evidence of the government’s attempt to adjust its social system
to increasing control over natural resources at a time when it is
more clear than ever before that knowledge is power” (p. 73). The
“ALA Freedom to Read Statement” affirms the idea that knowledge
is power by stating that “free communication is essential to the
preservation of a free society and a creative culture” (1953). These
effects are not only seen on a wide-scale national level, but also in
day-to-day classroom settings.
Both Niccolini and Jennifer Rossuck (1997) describe how
utilizing banned book lists in their classrooms helped facilitate
conversations around and understanding of alternative identities
and experiences. Youth are frequently kept from guidance about
how to tackle difficult subjects, but discussing them in a safe,
controlled space like the classroom is the perfect way to prepare
children to face these topics in the real world (Nicolini, 201$,
pp. 23, 25). Rossuck discusses the idea that banning books denies
authors their First Amendment rights to express their ideas and
experiences. During final projects, one of Rossuck’s students
demonstrated this idea by asking her fellow students to write
down their fears and the origins of those fears. She read each
one aloud then crumpled up, ripped, and threw away the papers
while dismissing her fellow students’ fears and feelings in order
to demonstrate how banning books is akin to labeling an author’s
100
�Freedom to Read:What is Progress?
“past life, his concerns for the state of present society, and his
warnings for future societies {asl invalid garbage” (Rossuck, 1997,
p. 69). Rossuck’s student was able to demonstrate to her class how
to empathize with members of marginalized communities and
how harmful the restricting of language can be. These fears and
experiences are precisely what marginalized communities attempt
to communicate but can’t without access to an audience to hear
them. With access to these materials, members of marginalized
communities can begin to craft and create the language needed
to overcome adversity and fight oppression. Democracy itself
depends on the freedom of expression and the circulation of new
and diverse ideas. Without it, oppressed individuals have no way to
make progress toward a more free and equal society.
But, what is progress? Coates attempts to answer the
question in his article by the same name. Coates (1948) defines
progress as providing “social accommodation,” or the reasonable
equilibrium of individuals within society Reaching social
accommodation has been historically difficult to achieve due to the
cyclical nature of society, history, and culture. Forward progress is
nearly impossible to make because of the inevitability of progress’
impermanence (p. 72). Progress never sticks because as soon as
marginalized groups start to gain ground towards equality, those in
power restrict their rights in order to re-establish harmful power
structures. For example, in the late 1800s slavery was abolished via
the 13th, 14th, and 13th Amendments; however, society, as well as
the law, continued to oppress Black individuals, who just recently
could be labeled as citizens rather than property, by restricting
their access to voting through poll taxes, literacy tests. Black
Codes, segregation, and Jim Crow Laws.Then, in response to the
end of segregation in the 1960s, increased rates of inequity and
poverty among Black individuals skyrocketed hand in hand with
increased rates of poUce brutality. In the 21st century, the Black
Lives Matter movement has pushed back against systemic racism
and police brutality to be met with excessive force, the continued
murders of BIPOC individuals by police, and the censorship of
Black cultural ideas by the banning of books discussing these
topics.
Another example of this is the backlash against queer
identities amidst the push for increased legal protections. Queer
lOI
�Freedom to Read: What is Progress?
rights activists mark the Stonewall riot in 1969 as the first large
demonstration of the gay rights movement. In the late 1970s,
the Supreme Court ruling trans women could play as women
in certain professional sports. The Sos brought on the AIDs
epidemic which was widely blamed on gay men and villainized the
queer community Shortly after, laws restricting gay rights such
as Don’t Ask Don’t Tell were put in place. The 1990’s introduced
the first states to legalize gay marriage, and subsequently, many
more states passed laws banning gay marriage. Finally, in 2015,
the Supreme Court ruled that these laws banning gay marriage
were unconstitutional on a technicality about marriage licenses
having to be valid across state line. Directly following this was
a slew of Trump-era laws restricting the rights of gay and trans*
individuals including banning trans* persons from using restrooms
in accordance with their gender identities, joining the military,
and playing sports in schools; Florida’s “Don’t Say Gay” bill; and
bills in classifying the affirming of trans youth by their parents as
child abuse. Throughout the 2023 legislative session, onslaughts of
copycat bills were proposed in nearly every Republican-ruled state.
This happened hand in hand with challenges across the nation
calling for the banning of books with LGBTQ+ content. Both
of these examples demonstrate the oppressive cyclical cycle of
marginalized persons being put down every time they gain a small
amount of ground toward equality
Banning books is yet another tool members of oppressive
groups use to put down marginalized communities and restrict
social progress. In the act of protecting free speech, the ALA (1953)
states, “no group has the right to take the law into its own hands,
and to impose its own concept of politics or morality upon other
members of a democratic society Freedom is no freedom if it is
accorded only to the accepted and the inoffensive.” It is inherently
an affront to constitutional freedoms to silence LGBTQ+ and
BIPOC (Black, Indigenous, People/Persons of Color) narratives;
scholars and instructors agree that the best way to tackle
controversial ideas is to confront them directly Stories are able
to reach people in ways that conversations, essays, statistics, and
textbooks often fall short.
Despite the fact that suppressing freedom of speech
is clearly unconstitutional, America has been unable to make
102
�Freedom to Read: What h Process?
meaningful progress towards social equality in the over two
hundred years the country has existed. Coates (1948) suggests that
America’s resistance against Arnold Toynbee’s analysis of cyclical
civilization structures is partially why American society has made
so little progress toward these issues. Toynbee’s analysis states
that civilizations exist in a cycle of origin, growth, breakdown,
and disintegration where they experience various deaths and
rebirths (p. 75). Many other western first^orld countries rewrite
their constitutions every three to five years, yet legal rights and
social accommodations in America are still based on a text written
over two hundred years ago. Nation-wide resistance to change is
preventing American society from making any real strides toward
equality for oppressed individuals. The ALA asserts that in order to
make forward progress, “It is in the public interest for pubUshers
and librarians to make available the widest diversity of views and
expressions, including those that are unorthodox, unpopular, or
considered dangerous by the majority” (1953). Recognizing and
validating diverse perspectives is essential to effectively provide
genuinely equal individual rights and freedoms. America’s refusal to
accept and embrace change continues to maintain harmful societal
structures.
Is there a solution to this lack of progress? As Lawson (1992)
details, many marginalized groups, particularly people of color,
have never been free in America and continue to face prejudice and
discrimination, regardless of the technical letter of the law, because
society was built upon power structures that uphold straight, white,
male power. Lawson’s argument primarily revolves around the
concept of Muted Group Theory (MGT) and the need for proper
language to discuss oppression and marginalization. He is widely
unable to propose solutions to the country’s lack of progress and is
unable to propose language that would be sufficient in describing
these experiences. Explaining the struggles and hardships of a
marginalized community while one is within it is nearly impossible,
especially when access to literature and stories about their
experiences is challenged, banned, and restricted. To be oppressed
is to exist in the margins of the book that is society; books about
these topics attempt to pull this information from the margins
into the body text of language and common understandings of
society. Lawson states that while he recognizes he’ll face criticism
103
�Freedom to Read:What is Progress?
for his lack of solutions, “the only word that has always come to
mind for this situation has been the word ‘hell’” (p. 19). Fortunately,
Coates offers a suggestion for moving past this constant cycle of
building and demolishing rights and protections for LGBTQ+ and
BIPOC individuals. Coates recognizes that social and political
adjustments are rarely accomplished smoothly; however, he argues
that the answer lies in radical social change. The only way to make
true political change is to disassemble the broken systems and
put radical changes in place regardless of the abrasiveness it may
inflame in those who oppose that change. Coates states,
Progress may be no less progress for its being precarious,
for it has never been, and by definition can never be,
identified with stasis. Hence, to dissociate it from stability
and security is only to make it correspond more closely
with historical reality Indeed, it might be said that as
social stability can lead to rigidity, atrophy, and decline, so
a measure of insecurity may be a positive attribution of
progress. (Coates, 1948, p. 71)
Progress inherently stands in opposition to stability and comfort;
therefore, in order to progress as a society, we must dissociate the
concept of progress from staticity The only way to break cycles of
violence and marginalization is to destroy them completely
Coates’ solution merges perfectly with the ALA’s “Freedom
to Read Statement.” The statement declares that the censorship
and suppression of knowledge “restls} on a denial of the
fundamental premise of democracy” (ALA, 1953). The ALA also
acknowledges that suppression is most dangerous and impactful
during times of social turmoil, division, and tension. Restricting
access to information and education from slaves in the 1800s
kept the power of knowledge in the hands of the oppressors;
banning books discussing racism and LGBTQ identities today
serves the same function of withholding knowledge about these
issues from oppressed groups in order to retain power for cishet
white Americans. The high spikes of challenged books in the
past two years is proof of this; when people’s ideas of the world
are challenged in a way that threatens their perceived way of life
and the power they hold in society, the immediate response is
to shut down the perceived threat. That is why so many books
about LGBTQ+ and BIPOC issues have been challenged or
104
�Freedom to Read: What is Progress?
banned throughout the country. The number one banned book
of 2021 was Maia Kobabe’s Gender ^eer, a young adult graphic
novel memoir about Kobabe’s experiences growing up as a trans*
individual in a world made to suppress and quiet gay and trans
voices (ALA, 2013). Six out of the top ten most challenged books
of that year were restricted for containing LGBTQIA+ content,
and three out of the ten were books relating to the experiences of
people of color; the only outlier was about child abuse and was still
cited as having sexually explicit content (ALA, 2013). These book
challenges demonstrate the clear cultural resistance that cisgender
heterosexuals have against queer identities; they remove LGBTQ
stories from general public access in an attempt to silence and
eradicate queer experiences. Silence removes the opportunity for
those outside the LGBTQ community to empathize with queer
experiences and also limits empathy within the community itself.
The only way to combat demonstrations of public oppression
is to uphold the freedom of access to knowledge and to enact
radical social change at a national level that protects and equalizes
marginalized individuals with their long-time oppressors through
social accommodation.
The “ATA Freedom to Read Statement” attempts to protect
marginalized individuals by advocating for free access to knowledge
and personal expression. Unfortunately, speaking truth to power
is often not enough to make real societal change. However, stories
can be a powerful tool that educates oppressed individuals on
concepts and ideas that they may not otherwise understand or have
the language to discuss with others. Facilitating freedom through
access to knowledge is one of the first steps towards making
progress toward freedom; this freedom to read is the ultimate
goal and purpose of the American Library Association. However,
in a nation that supposedly prides itself on being the “home of
the free,” can one truly be free if their experiences are silenced
and their mere existence brings on prejudice and discrimination?
Coates suggests that radical social change is the answer, but the
statement of that is much easier than the logistical implication
of that statement. In a country where progress has been a slowmoving and excruciatingly painful process, how do we attempt
to break down power structures that have been in place since
before the founding of our country? While there may be no clear
�Fntdom to Read:What is Progress?
answer currently, acknowledging the need for a radical upheaval of
societal norms and expectations, and growing spaces of empathy
and learning towards experiences divergent from tradition or
“the norm,” may be the first large step towards enacting social
accommodation and equality
References
Alexander, M. (2010, March 9). The
Jim Crow.
Brown University [PDF}, https://wwwbrown.edu/
DepartmentsEconomics/Faculty/Glenn_Loury/louryhomepage/
teaching/Ec%2Oi37/The%2oNew%2oJim%2oCrow^from%2O
The%2oNation.pdf
American Library Association. (1953, June 25). Thefreedom to
readstatement, https://wwwala.org/advocacy/intfreedom/
freedomreadstatement
American Library Association. (2013, March 26). Top 10 most
challenged book lists, https://wwwala.org/advocacy/bbooks/
frequentlychallengedbooks/topio
Coates, W. H. (1948, January 29). What is progress? TheJournal of
Philosophy, 45(3), 67-77. https://doi.org/1o.23o7/2o2o364
Lawson, B. (1992). Nobody knows our plight: Moral discourse,
slavery, and social progress. Social Theory and Practice, 18(1),
1-20. https://wwwjstor.org/stable/23557455
Niccolini, A. D. (2015, January). Precocious knowledge: Using
banned books to engage in a youth lens. The English Journal,
104(3), 22-28. https://www.jstor.org/stable/24484452
Rossuck, J. (1997, February). Banned books: A study of censorship.
The English Journal, 86(2), 67-70. https://doi.org/1o.23o7/819679
106
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yerpctuaTina T(ic
jantasg
Skylar Rowyn Cooper
Academic Prose
Perpetuating the Fantasy: Disney and Queer
Representation
Disney has a long history of silencing voices that don’t
fit within the rigid lens of White Culture that the company was
built upon and continues to defend to this day. White American
Culture is inherently exclusionary against anything that doesn’t
fit within the current power structures based on “traditional”
ideas of the American Dream. While labeling this “White
Culture” communicates the racial implications of this narrative,
other communities are purposefully excluded within this lens
such as women and queer communities. Disney has a distinct
lack of representation for any marginaUzed community stifling
the perspectives of millions of people in the process. Looking at
Disney’s practices through the lens of Muted Group Theory, it is
apparent that there are long-lasting effects on society and culture
as a whole when diverse narratives are excluded from media.
These effects can be clearly seen by analyzing one of Disney’s
most popular franchises of all time: Frozen. Disney’s consistent
choice to silence queer narratives in Frozen and Frozen II, often
at the detriment of their own content, strips queer audiences of
the ability to recognize and communicate their experiences as an
oppressed group.
In order to understand the experiences of others, one
must use language to communicate those experiences. Muted
Group Theory (MGT), crafted by Edwin Ardener but largely
attributed to Cheris Kramarae who expanded on the theory,
states that marginalized communities lack the language to
properly communicate their experiences of oppression and
prejudice because language is created by those in power. Muted
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�Perpetuating the Fantasy
groups are kept from proper language by those in power who work
as gatekeepers of media and information. Although the original
research on this communication theory focuses on the dichotomy
of women and men, theorists within this area of study note that
these ideas can be applied to any marginalized group. In this
situation, Disney acts as the gatekeeper of information for children
across America and the world and has wide-reaching impacts. This
is evident by Disney’s continued popularity for over one hundred
years and the number of adults who are devoted and persistent in
their love of Disney throughout their lifetimes. The perspectives
that Disney chooses to focus on, and how they represent muted
groups when they do choose to show them, alters the way that
society views these groups and teaches children how to view and
interact with these groups.
Since its founding, Disney has profited from portraying
marginalized communities as the villain, especially queer
individuals. Villains such as Jafar from Aladdin^ Captain Hook from
Peter Pan, Scar from The Lion King, Sheer Khan from The Jungle Book,
and King Candy/Turbo from Wreck it Ralph are all recognized as
being queercoded due to their femininity and lack of conformity
to societal expectations of gender. One of the most famous and
blatant queercoded Disney villains is Ursula from The Little
Mermaid. Directors John Musker and Ron Clements confirmed in
an interview with Australia’s Special Broadcasting Service (SBS)
that Ursula was inspired by Baltimore Drag Queen, Divine. Musker
states that Howard Ashman, one of the major writers of The Little
Mermaid, knew Divine and had artists sketch Ursula's concepts
based on Divine’s stage persona. Howard himself was a gay man
who died of AIDS shortly before his other well-known project,
Beauty and the Beast, was finished and released CAnderson, 2016).
This pattern perpetuates a harmful stereotype of predatory
gay men. Most of these villains are depicted preying on young men
for their evil schemes, which is a long-held belief of White Culture
against gay men. These depictions of queercoded men in Disney
films stirred controversy from both sides. Many White Evangelicals
boycotted Disney from 1997 through 2005, citing they were
unhappy with Disney’s “promotion of‘homosexuality infidelity, and
adultery” (Parks, 2021). In Josh Parks’ article discussing “Christian
Disney Dads,” he discusses many individuals who expressed anger
114
�Perpetuating the Fantasy
at Disney for adding small, inconsequential amounts of queer
representation into films like Onward and the live-action Beauty and
the Beast. Park also describes parkgoers' complaints that Disney’s
“politically motivated changes” ruin the immersiveness and fantasy
of the parks (2021). Disneyland is seen by many as an escape from
reality into their best fantasy world away from the worries and
complexities of society These reactions make it evident that
White Culture’s fantasy is one in which queer people and people
of color don’t exist - where racism, sexism, and homophobia are
not thought of because the only people who matter are the White
Evangelicals.
When Disney isn’t perpetuating harmful stereotypes of gay
men, they are co-opting queer experiences to place in their films
without providing genuine representation. Frozen grossed over
four million dollars in box office sales during its run in theatres.
Out of the top ten highest-grossing animated films of all time,
eight of them are Disney films. Frozen ranks second only to Frozen
II (Sim, 2021). This should be no secret considering the recordbreaking music sales that “Let It Go” managed the year Frozen
came out. Disney has a near stranglehold on children’s media
markets, meaning Disney is the biggest gatekeeper of media and
information for growing minds in America. The stories they choose
to tell and the language they utilize heavily affects the language and
information that American children grow up with.
The Frozen franchise was a huge missed opportunity for
queer representation; they could have told an equally heartfelt
and compelling story while subverting the stereotypes and troupes
pushed by Disney villains of the past. Initially, Elsa was written to
be the villain of Frozen. Several of the minds behind the film have
discussed how Elsa was originally supposed to be a self-proclaimed,
evil snow queen and that ultimately Ana would have persuaded her
to good (BBC, 2017). It’s impossible to say when they made the
change for Elsa to no longer be the villain of the story, but a story
where Elsa becomes the villain could have been the perfect way to
tell a modernized queer story. After fleeing Arendelle and singing
“Let It Go,” Elsa could have become closed off and protective
of herself to the point where she is a villain to the kingdom she
once called home. She could have grappled between whether her
powers, and her sexuality, makes her good or evil. In the end, she
115
�Perpetuating the Fantasy
would come to realize that her powers and sexuality aren’t curses,
but blessings that make her distinct and unique while finally being
accepted by Ana and her kingdom.
Elsa, whether intentionally or not, is heavily queercoded.
Queer individuals are often, if not always, forced to hide their true
selves from the world. Elsa is taught at a young age by the trolls
to be scared of her powers. Elsa’s lines in “For the First Time in
Forever” show the terror that she holds behind showing her true
self. “Conceal, don’t feel, put on a show. Make one wrong move
and everyone will know” (Bell & Menzel, 2019). This is reflective
of the way that queer individuals have to constantly mask and
hide themselves to avoid the scrutiny of society. Due to this, queer
people often live in hiding for years and some never come out due
to the fear of how their family and society will treat them. Queer
people are often forcibly isolated from becoming too close to
anyone in their lives for fear of being discovered and outed.
There is clear evidence that these experiences influenced
Elsa’s characterization and creation. “Let It Go” was seen by many
in the LGBTQ+ community as an anthem for the experiences of
fear, anxiety, and relief of coming out. Songwriter Robert Lopez
described the process behind writing the song as follows,
Bobby and I took a walk in Prospect Park and put ourselves
in Elsa’s shoes {...] That’s when we realized the song had
to be about what it would feel like to carry that secret and
shame and finally feel free of that weight. (Atkins, 2022)
The parallels between Lopez’s words and the feelings of secrecy
and shame surrounding the act of coming out are undeniable. Later,
during the reprise of “For the First Time in Forever,” Elsa tells
Ana that she’s happier being alone because she’s free to be who
she wants to be. When Ana gives her a reason to feel obligated to
go back, because her secret has caused chaos in the kingdom that
only she can fix, Elsa panics. She calls herself a fool for thinking
that she could be free from criticism and backlash from her
family and community. Often when a queer person chooses to
isolate themselves from their family, family members attempt to
convince or even guilt trip them into coming back to the family
This is despite any mistreatment the person may have faced or
will continue to face at the hands of unaccepting family members.
This can cause them to feel panicked and trapped like they have
116
�Perpetuating the Fantasy
no other option than to bend to their family’s wishes regardless of
what it does to them as an individual. Disney’s framework crafter
from co-opted queer experiences in combination with her lack of
interest in men or marriage have led to many queer people latching
onto her as a form of pseudo-representation.
After the first film came out, there was a large push from
the queer community for Elsa to be canonically confirmed as
either lesbian or asexual. People felt connected to her because
she embodied the experiences of a group of people who lack the
ability to properly communicate these experiences. If Disney
had outwardly made Elsa gay, they could have made additional
commentary on the queer experience and assisted queer children
and adults in crafting the language needed to properly convey
queerexclusive experiences. In the years between the releases
of Frozen and Frozen fl, many speculated on how Disney would
handle Elsa’s queer coding. Many were hopefill after the initial
promotional images about Frozen II came out that Honeymaren,
a citizen of the Northuldra tribe, would be Elsa’s love interest in
the film. Unfortunately, none of the hopes or predictions that the
queer community had for this film came true.
While Frozen was a huge success despite its lack of true
queer representation, the same can’t necessarily be said for Frozen
II. The sequel may have done better at the box office by $170,000,
but the movie was not received as well by critics and older
audiences. The film wasn’t terrible by any means, but Disney made
a clear choice of which story it wanted to represent. Instead of
having any kind of love or queerrelated storylines for Elsa, the love
story the movie focuses on is the one between Ana and Christophe.
Disney had the opportunity to connect with one of its major
muted groups and instead chose the safe, traditional white culture
approach. Meanwhile, Elsa goes on a journey of self-discovery
that was yet again another huge missed opportunity for queer
representation.
At the beginning of the film. Ana has a song with Olaf
discussing how desperately she wants things to stay the same.
Change is inevitable, and often necessary, but Ana is choosing to
focus on the things that are static instead and clearly fears change
due to her abandonment trauma from growing up completely alone
post the death of her parents. However, Elsa is clearly miserable.
117
�Perpetuating the Fantasy
She is constantly having to fake a smile for Ana and pretend that
things are fine. Disney gives a glimpse into the reasoning behind
Elsa’s struggles during the song “Into the Unknown.”
Throughout the song, Elsa grapples with wanting to
maintain a relationship with her family despite feeling deep down
that she doesn’t belong. She is confused and conflicted with the
rising feelings within her. She seems frustrated about the fact
that she is going through yet another identity crisis. Looking at
this through a queer lens, there’s a clear queer story hidden here.
Many queer people don’t figure out their entire identity at once;
many end up coming out multiple times because either their initial
understanding of their sexuality was incorrect or due to discoveries
surrounding their gender identity This could be the same thing
that Elsa is experiencing in Frozen II. Her kingdom just accepted
her ice powers (and, metaphorically, being gay), but her coming
out as something beyond their understanding could ruin these
newly built relationships. This is evident when looking at the
lyrics, “I had my adventure, I don’t need something new. I’m afraid
of what I’m risking if I follow you into the unknown” (Menzel &
AURORA, 2019). She talks to the voice about being kept awake by
feelings of not belonging, of there being more about herself she has
still yet to discover. There’s also an inherent risk to identifying as
trans* as even those who are accepting of gay and lesbian identities
are not always accepting of trans* identities and family members
often refuse to use the preferred name and pronouns of trans*
individuals.
Ultimately, Elsa is desperate to find the voice once she
realizes that it might be a key to alleviating her anxieties. During
“Show 'Vburself,” she finally gets to the place where she is able
to find the voice. She describes the voice calling out to her as
“something familiar” and a friend she’s always known (Menzel &
Wood, 2019). She finally feels like she’s home. She realizes that she
is not trying to find someone else, but instead the true version of
herself - that she is the person she has been searching for. This is
indicative of the trans* experience. Being trans* is often described
as feeling out of place in one’s own body feeling lost. Then,
when a person realizes that they’re trans*, there’s this moment of
transcendence and enlightenment in realizing where the feelings
are coming from. “Show Yourself” embodies the experience of
trans* selfidiscovery.
118
�Perpetuating the Fantasy
Throughout the scene, Elsa converses with the voice,
which turns out to be her inner self. She says, “I’m dying to meet
you,” and she is instructed to “grow into something new” (Menzel
& Wood, 2019). Trans* people coming into their identities often
describe it as finally meeting their true selves. Elsa then goes
through a transformation sequence in obtaining new powers and
a new identity, and directly after death and rebirth. The discovery
of a new self is emotional and overwhelming. Elsa is crying as she
realizes the truth about herself and undergoes a transformation.
These experiences are clearly trans* coded, and having this scene
end with Elsa transforming into a true version of herself as a
transman or somebody who is genderfluid or nonbinary could
have been revolutionary. The feelings and experiences that Elsa is
going through are ones that are not talked about in the media and
are terrifying to experience alone. Disney showing audiences that
this experience isn’t something one has to ensure alone could have
moved leaps and miles ahead in beginning to create shared language
and experiences for queer and straight audiences.
With this context in mind. Ana’s grief over Elsa’s death
and the related song, “The Next Right Thing,” would have been
the perfect follow-up to this. For many loved ones of trans*
people, there is grief related to the feeling of losing the person
that they know and love. They feel as though this is no longer
the same person. This is demonstrated through the terminology
in “deadnames” and the metaphorical rebirth of the individual
through social, presentational, and medical transitioning. Family
and friends of trans* people have to adjust to changes that often
feel overwhelming. Ana discusses her struggles over losing Elsa
while acknowledging that despite her feelings she must move on
and do the “next right thing” (Bell, 2019). This could be shown
through respecting Elsa’s new name and pronouns, even if Ana
doesn’t understand right away, and attempting to learn about and
discuss Elsa’s experiences with her in order to better empathize
with her. This could have been an invaluable example for queer
kids everywhere in understanding how to recognize their feelings
and personal identity and for straight kids on how to interact with
trans* kids.
White Culture is all about stripping muted groups of their
ability to understand themselves, so many queer people don’t
realize what their sexuality or gender identity is until later in life.
119
�Perpetuating the Fantasy
The queer community is currently at a crucial stage in creating
a shared language. While current smaller depictions of queer
characters in children’s media are beginning to start a conversation,
there is currently little to no good representation of queer
individuals in content made for children. Disney has gone out of
its way to do the bare minimum in terms of queer representation
in order to avoid being called out for its homophobia and queer
exclusion while simultaneously co-opting queer experiences for
their narratives. Disney’s choice to avoid telling queer stories is a
choice to continue silencing muted groups and their experiences.
Disney had an opportunity to tell touching, emotional queer
stories through one of their most popular franchises and instead
played it safe and undermined queer voices. It is a distinct and
purposeful way to ignore and exclude the experiences of oppressed
and marginalized groups. Just like the White Evangelicals within
its parks, Disney attempts to live in a fantasy land where there is
no racism, sexism, homophobia, or prejudice because those muted
groups are just that: muted.
120
�Perpetuating the Fantasy
References
Anderson, S. M. (2016, November 9). Funfact: Ursula is based on the iconic
dragqueen Divine. SBS. https://www.sbs.com.au/topics/pride/fast-lane/
article/2016/11/09/fun-fact-ursula-based-iconic-drag-queen-divine
Atkins, J. (2022, December 19). Let it Go: The story behind the Frozen classic.
U Discover Music, https://www.udiscovermusic.com/stories/let-it-gofrozen-disney-feature/
BBC. (2017, March 30). Elsafrom Frozen was meant to be an evil
queen with an army ofsnow monsters, https://wwwbbc.com/news/
newsbeat-39440458
Bell, K. (2019). The next right thing [Song]. On Frozen II {Ori^nalmotion
picture soundtrack) [Album]. Walt Disney Records.
Bell, K. & Menzel, I. (2013). For the first time in forever [Song]. On
Frozen: Ori^nal motion picture soundtrack [Album]. Walt Disney
Records.
Lang, N. (2017, March 21). Disney’s long complicated history with queer
characters. Bazaar, https://www.harpersbazaar.com/culture/film-tv/
news/a2i5o6/disney-gay-lgbt-characters-history/
Menzel, I. & AURORA. (2019). Into the unknown [Song], On Frozen II
IDri^nal motion picture soundtrack) [Album]. Walt Disney Records.
Menzel, 1. & Wood, E. R. (2019). Show yourself [Song]. On Frozen II
{Original motion picture soundtrack) [Album]. Walt Disney Records.
Parks, J. (2021, May 5). The lament ofthe Christian Disney dad-. What
Evangelicals really hate about “wokeness”at Disney World. Religion
Dispatches, https://religiondispatches.org/the-lament-of-thechristian-disney^dad-what-evangelicals-really-hate-about-wokenessat-disney-world/
Sim, B. (2021, June 26). Drawingan audience: highest-grossing animated
movies ofall time. Screen Rant, https://screenrant.com/highestgrossing-animated-movies-ever/
121
�
Text
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Perpetuating the Fantasy
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Date Created
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Text
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Skylar Rowyn Cooper
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ENG
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
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CCA 04.ii.c.2022.01_Exp_2023_Prose_05
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PDF Text
Text
Wlcalfove $Wrg of
till’ Hudi’niToildV, (j^ueen
Skylar Rowyn Cooper
Tending fertile ground,
Sunlight, wind blowing fresh scents.
Mundane, lonely life.
Nymphs whisper rumors;
The Dark Prince fancies a wife.
My mom will be pissed.
Sneaking through the ground,
Darkness swallows, furies guard...
Open, welcome arms.
He offers intrigue.
New, exciting life and love.
She demands justice.
He which holds my fate
Rules in just half my favor:
Pomegranate seeds.
200
�
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The Real Love Store of the Underworld's Queen
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<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
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Date Created
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2023
Type
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Text
Creator
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Skylar Rowyn Cooper
Language
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ENG
Is Part Of
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
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CCA 04.ii.c.2022.01_Exp_2023_Poetry_16
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Searchable PDF
Publisher
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Casper College
-
https://caspercollege.cvlcollections.org/files/original/d78acfa9c7228e0a1e434220e6bb2fff.pdf
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PDF Text
Text
<0 £ove Another,
<0 loveAfPuroelf
Skylar Rowyn Cooper
My eyes are caught, distracting from her words,
By shimmering of wallpaper floral
Our eyes connect, my smile vanishes
As she utters about deceptive views.
My tongue then freezes, heart pounding too loud
As she preaches of obstructed false truths.
Biting my lip, knowing it is unwise
Attempting to correct such blatant lies.
Poison begins to corrode heart and soul.
Masking welled tears, fidgeting unseen.
For as all of the old sayings describe.
Pointless to teach an old dog empathy
No matter where I turn I can’t escape
The crimson signs with messages of hate.
Hearing the cries of my brother so dear,
Unable to consent to live and serve
And slowly witnessing horrors unheard
Of sisters doomed once expelled from their womb.
Financial bliss is what we hear them cite
Excusing “jokes” to hang us all on sight.
Even the love given to me from birth
Cannot persuade enlightenment of harm.
My brother hesitant to live his truth
When being him results in early tombs;
Whether by cruelty or “conscious freedoms”
The rights of disdain held above our lives.
My wife consoles my useless, empty womb
With children left dissolving in empty rooms,
Where “unnatural” leads to “boarding schools,”
Or never being picked for fostering.
204
�To LoveAmtber, To Lovt Tourutf
We want nothing more than to give love,
But together seen as “unqualified.”
Those advocating for lives of unborn
Refuse us to give the same ones a home.
The One seen as the maker of the rules
Condones signs banning us from entering.
Why would a love cause for such induced hate?
Reduced to vermin, no longer humans.
20$
�
Text
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Print Magazine
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To Love Another, To Love Yourself
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<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
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Date Created
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2023
Type
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Text
Creator
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Skylar Rowyn Cooper
Language
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ENG
Is Part Of
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
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CCA 04.ii.c.2022.01_Exp_2023_Poetry_18
Format
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Searchable PDF
Publisher
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Casper College
-
https://caspercollege.cvlcollections.org/files/original/9ec9f57e996bcdcf795728f3cae6ff1c.tif
0f9949b77fb85a031bcb731447e2a587
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Print Magazine
Dublin Core
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Title
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Iris Valerie Bairs
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<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
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Date Created
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2023
Type
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Image
Creator
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Skylar Rowyn Cooper
Is Part Of
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
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CCA 04.ii.c.2022.01_Exp_2023_Art_100
Format
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TIF
Publisher
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Casper College
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https://caspercollege.cvlcollections.org/files/original/2725297ba32c361210e5ce1ed35539c2.pdf
a37bb8918c45618cf8466ac691fe1a5a
PDF Text
Text
Frosted
Sophia ZettI
So let us take we our frosted edges,
As mountainsides and sea glass be differed.
And yet here we be both so admired.
Fleetingly my snow blown slopes cave to spring.
Your soft curves glitter in the sun-kissed sand.
I, struck again by our differences,
Must marvel at a beauty never seen,
Nor by my experience felt before.
Alas, but that you might be carried hence
By hand or foot to my rocky facade.
I cannot be moved to the endless shore.
But if you should find yourself swept my way,
By sincere thoughts or happy accidents
Stay, that I may show a summit sunrise.
And admire the way the snow drops glow
And gently gleam against your sea-scored skin.
And when you leave, take with you a token.
Be it quartz or granite or crystal jade.
My thanks, for you to cherish by seaside.
And allow me the pleasure to wonder
To the degree that its rough hemmed edges
Might be burnished and smoothed by your soft hand.
XIV
Expussian.
�
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Print Magazine
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Frosted
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<div class="element-text"><em>Expression</em><span> </span>claims first North American rights to submissions selected for publication. All rights revert back to the author/artist after publication.</div>
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Date Created
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2024
Type
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Text
Creator
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Sophia Zettl
Language
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ENG
Is Part Of
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
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CCA_04.ii.c.2022.01_Exp_2024_Poetry_03
Format
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Publisher
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Casper College
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https://caspercollege.cvlcollections.org/files/original/e90243f56572eafddb5106f14bfbab7b.pdf
d603b9f445a75a56b4309c02fd654c96
PDF Text
Text
Motkci
Sophia ZettI
Amber hair gleams like golden autumn leaves
Their jokes lightning quick makes blue eyes twinkle
Delighted smiles make crows feet crinkle
Her laughter pouring forth without reprieve
I find I must sing praise of one who gave
Like the giving in itself was a gift
Whose word was stern but her forgiveness swift
And kept such kindness in her heart engraved
She held our hands upon the narrow road
A willing guide with firm yet gentle touch
But sacrifice is love pierced by the sword
From it she fills our cups to overflowed
I could say more she always does so much
Her love for us spills as Christ’s Blood outpoured
64th EdltionLLte.'iatuV.
XXI
�
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Print Magazine
Dublin Core
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Title
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Mother
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Date Created
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2024
Type
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Text
Creator
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Sophia Zettl
Language
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ENG
Is Part Of
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Expression Literary and Arts Magazine, CCA 04.ii.c.2022.01 WyCaC US. Casper College Archives and Special Collections.
Identifier
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CCA_04.ii.c.2022.01_Exp_2024_Poetry_08
Format
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Publisher
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Casper College