My paper explores the comingling queer disability histories of 1) Flush, an actually existing historical cocker spaniel who was both Cornell’s co-star and a member of her extended queer family (including her partner Nancy Hamilton, Helen Keller, and rehabilitation leaders Mary Switzer and Isabella Stewart Diamond); and 2) “Flush,” a theatrical representation of Barret Browning’s service animal. Drawing upon Cornell’s biographies, theatre criticism, personal correspondence, and additional archival materials, my paper will address a series of labor controversies that haunted Flush’s stage career. These controversies, I argue, reveal the conflicts and confluences between Flush’s work as a family member and “Flush’s” work as a service animal. By tracing public and private debates about Flush’s labor onstage and off, I examine how U.S. theatrical culture linked queer and disability communities at midcentury.
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