Abstract
On the surface, Katherine Dunn's novel Geek Love explores how a family of freaks who are the grotesque attractions in their own carnival accept themselves and use their status as freaks to leverage themselves to a position of power within the dominant normative society that marginalizes them. Carnival seems to function as Bakhtin says it does. Yet under closer examination, the carnival setting does not break down hierarchies and liberate the society “from the prevailing view of the world, from convention and established truths” (Bakhtin 34). Mary Russo has noted that Bakhtin's concept has limits: “an examination of the materials on carnival can also recall limitations, defeats, and indifferences generated by carnival's complicitous place in dominant culture.
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