Freak Show
In "From Stage to Page: Franz Kafka, Djuna Barnes, and Modernism's Freak Fictions," Blyn argues, "we can find direct links between Kafka's and Barnes's notoriously opaque fictions and the premier low culture form of their era, the freak show or display of human curiosities," (135). Moreover, the authors' respective engagement with the trope of the freak show serves a distinct political motive: to subvert modernist aesthetics and to ironically predict the twisted horrors of fascism and Nazism. Written prior to the emergence of fascism and Nazism on the world stage, Kafka's body of work and Barnes's too seem prescient in light of their mocking the carnevalesque. Central to Blyn's argument is an understanding of the difference between the carnival and the freak show. The freak show was, for one, a side attraction at a carnival and thus deviant even within the spectacle of the carnival. The freak show was compelling because it was abusive and fetishistic at the same time. The object of the freak show was exploited within a capitalist framework and objectified in ways that have clear implications for gender, race, and social power metaphors. Therefore, it is easy to see why authors would be able to capitalize on the imagery of the grotesque and phantasmagoric as represented by freak shows.
Furthermore, Blyn claims "it is their engagement with such spectacles that differentiates Kafka's and Barnes's work...
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