For example, there is a scene where Victor and the monster come face-to-face for the first time since Victor created the monster and then abandoned him. Victor demands for the monster to leave and the monster replies: "Remember, that I am thy creature; I ought to be thy Adam" (Shelly 93). In this scene, the monster is demonstrating a moment of inferiority to his master, his creator, his pseudo-God. Shortly after this exchange the monster has told Victor his story and has demanded a certain deed, which Victor at first refuses. The monster communicates his anger and displeasure with Victor and we see an example of the reversal of roles through the monster's language: "Slave, I have reasoned with you, but you have proved yourself unworthy of my condescension. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master; -- obey!" (Shelly 146).
The idea of characters being trapped in a constant reversal of roles led me to wonder if there are characters in Geek Love who like in Frankenstein demonstrate this notion of the carnivalesque. I think perhaps Elly, Iphy, and Arty demonstrate such a notion. There is a definite power struggle between the twins and Arty such that the twins did not allow for Arty or anyone to control them (at first at any rate). "[The twins] were self-sufficient. They needed only each other" (Dunn 51).
I think that the reversal of authority and power roles between the twins and Arty is at first evident with Arty's jealousy towards the twins regarding their successful performances: "What [Arty] really wanted to know was how he had done compared to the twins. If they had as many or more in their audience he was furious" (Dunn 74). At this point in their lives, I think Arty's jealously spawned from the idea that perhaps the twins were better than him which in turn could exemplify the notion of a constant entrapment of reversal of roles. That is, there are times where the twins are superior to Arty and vice versa.
As the years progress in the novel, I think when the character's begin to explore their sexuality also demonstrates a entrapment of the carnivalesque between Arty and the twins; but it during this time that also leads to the twin's final entrapment in an inferior position to Arty. In selling their body, the twins in a way demonstrate how their "freakishness" is superior to Arty's:
"Most of the guys wonder what it would be like to fuck us. So, I figure, why not capitalize on that curiosity? They don't care that I play bass and Iphy plays treble, or whether we both like the same flavor ice cream or any of the other stupid questions they ask. The thing that boggles them and keeps them staring all the way through a sonata in G is musing about our posture in bed." (Dunn 207)
Of course, when all hell breaks loose and Arty discovers the twin's secret, Elly and Iphy's moment of superiority ends and they become subjective to Arty; they are given to the Bag Man, confined to their rooms, and later undergo surgery all against their will. There are demonstrations throughout Dunn's novel of the reversal of authority and power roles, particularly in the sections regarding the Binewskis. However, it seems that in the end, it is Arty who ultimately ends up in a superior position to everyone else.
Works Cited
Dunn, Katherine. Geek Love. Vintage Books: New York, 2002. Print.
Shelly, Mary. Frankenstein. 2nd ed. Ed. Johanna M. Smith. Boston:Bedford/St. Martin's, 2000. Print.
