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63 pages 2 hours read

Katherine Dunn

Geek Love

Fiction | Novel | Adult | Published in 1989

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Book 3, Chapters 13-16Chapter Summaries & Analyses

Book 3: “Spiral Mirror”

Book 3, Chapter 13 Summary: “Flesh—Electric on Wheels”

The story returns to Oly’s earlier life. One day, a man named Zephir McGurk shows up at the Fabulon, asking for Arty. McGurk is an electrician and inventor, and he’s put together a contraption for Arty. Since Arty has no hands, McGurk thought Arty would need a machine to help him masturbate. Arty assures McGurk that he has plenty of women around to help take care of his needs. McGurk, who walks on artificial legs, stays on to work as the camp electrician and becomes devoted to Arty. Arty tells McGurk that he should walk on his stumps, rather than his artificial legs, to improve his own love life.

One night, Oly sees a dark figure trying to enter Arty’s trailer. Oly assumes that it is an assassin and she attacks the intruder, imagining Arty’s rapturous gratitude. As the porch lights turn on, a guard grabs Oly and Oly releases the young woman she’s attacked. Arty comes out, ushers the young woman into the trailer, and coldly tells Oly that the woman was invited. Oly is humiliated.

Oly keeps the encounter a secret, pained that Arty would be involved with a girl, especially a norm. When she sees many other girls visit Arty, and always a different one, Oly feels better, because it means that Arty is not having an actual romance.

McGurk designs an electronic system to wire the benches in Arty’s performance tent, so that the audience will feel the vibrations of Arty’s words, as well as hear them. The system makes Arty’s oration even more effective.

Book 3, Chapter 14 Summary: “The Pen Pal”

Arty is working the crowd during his act, making them feel sorry for themselves and seducing them with his words. Arty points to a weeping young woman in the crowd and asks her what she wants. Arty expects her to be silent, so that he can tell the crowd what she wants. Instead, the woman echoes the thoughts of the whole crowd as she screams, “I want to be like you are!” (178). Arty is shocked to stillness and he tells the crowd to go away and come back the next day, so that he can give them what they want.

The next day, Oly finds the obese woman who had said she wanted to be like Arty waiting in his performance tent. Her name is Alma Witherspoon and she is desperate for help. Alma is the pen pal of a man incarcerated in prison and this man has asked her to marry him, but she is afraid he will reject her because he doesn’t know what she looks like. Arty has Alma sent to Dr. Phyllis’s trailer and plans are made to amputate Alma’s toes, with Chick keeping any pain at bay with his powers. Dr. Phyllis wants to go ahead and amputate Alma’s arms and legs, but Arty wants the process to go slowly. Arty is deeply happy, happier than Oly has ever seen him. Alma later begs to have more of her limbs removed.

Alma begins testifying before Arty comes out for his act, telling the carnival audiences about the wonderful life-changing experience she has had. Alma’s message captivates people in the crowds and they flock to join Arty as well. His group comes to be known as “Arturism” or the “Arturan Cult.” Alma leads the converts and “takes over the process of organizing with a smug zest that made [Oly] want to kick her” (184). Alma calls the new followers the “Admitted”; they are required to give Arty all their worldly possessions. The Admitted trail after the carnival in their own vehicles; within a few years, the group strings out for a hundred miles. Dr. Phyllis works on removing fingers and toes, with Chick providing pain relief. Alma has the last portion of her upper arm removed and grows frail, then leaves the group for an Arturan “rest home.” 

Book 3, Chapter 15 Summary: “Press”

Oly talks about changes to the family. The twins turn seventeen and fight constantly. Lil has deteriorated further, physically and mentally. Al busies himself with the carnival crew to distract himself from the fact that he isn’t the boss anymore. The followers of Arturism, Dr. Phyllis, McGurk, and a newspaper reporter named Sanderson all belong to Arty.

Reporters become increasingly interested in the carnival and in the uniqueness of the Admitted. One reporter, named Norval Sanderson, is a writer for a national news magazine. At first, Sanderson is highly contemptuous of Arty, calling him a “transcendental maggot […] who used his own genetic defects and the weakness of the unemployed and illiterate to create an insanely self-destructive following that fed his maniacal ego” (189).

Soon, however, Sanderson finds himself beginning to understand the appeal of Arty to the crowds. During the brief amount of time Sanderson watches Arty’s show, he gets caught up in the aura of Arty’s power. Sanderson begins to see how Arty makes his followers believe that he can free them from the immense pain of their lives.

Oly, in the present time, says that she kept a folder of Sanderson’s news clippings and private notebooks. There are several clippings concerning grocery stores in various towns being robbed of foodstuffs, with rumors that the perpetrators were missing fingers or toes. Suspects who were arrested in Spokane committed suicide.

Al and Arty grudgingly decide to start feeding the hordes of Arturans when the police come to complain that groceries are being ransacked by Arty’s followers, who have given Arty all their money. 

Book 3, Chapter 16 Summary: “The Fly Roper and the Transcendental Maggot”

Oly describes how Norval Sanderson has become more and more captivated with the carnival and with Arty. Sanderson roams around the camp, quizzing the Admitted about their experiences, talking to every type of carnival worker and vendor, hanging out on the midway talking to customers, examining the workings of the rides and machinery, and watching each and every act. In particular, Sanderson is fascinated with the Fly Roper, a newer addition to the Fabulon, who ropes and ties houseflies with strands of hair.

Sanderson closely studies Arty’s show, examining the hierarchy of attendees in the tent, which fits 10,000 viewers. In the very front are the most sanctified, the limbless, while at the back are newcomers and the curious, with devotees of every other level in between. After two months, Sanderson leaves the carnival, takes a leave of absence from his newspaper, and goes back to his home in Georgia. After a few weeks, he returns and goes to see Arty. Sanderson hands Arty a glass jar with something dark and hairy inside, then drops his pants to show that his testicles have been removed. Arty chuckles and says that if Sanderson wishes to become one of the Admitted, he must “still go through the finger and toe basics before [he’ll] get any credit for that grandstand play” (199). Sanderson goes out to move his van into the Admitted camp and Arty tells Oly that the testicles in the jar are not Sanderson’s, because Arty knows Sanderson lost his testicles to a land mine in North Africa. Oly sees that Arty likes Sanderson.

Sanderson sets up a business for himself in the carnival, selling “Transcendental Maggots” from a tent. Sanderson collects amputated body parts from Dr. Phyllis, cuts them up, and puts them into jars, where they grow maggots that visitors to the carnival flock to buy.

Book 3, Chapters 13-16 Analysis

These chapters examine the evolution of Arty’s cult. It begins almost by accident, as a by-product of Arty’s showmanship and effect on his crowds. Arty knows what touches people deep down: their fears and desires. One day, Alma responds to his question of what she wants by shouting out that what she wants is to be like Arty, which is a revelation to him. Arty realizes that he can capitalize even more on the raw emotional cravings of people by creating them in his image. First Alma, and then more and more of the Admitted, become devotees of Arty. The physical manifestation of this is the amputation of body parts, to make them physically like Arty. Alma is eager to “shed” her limbs: “They were such a burden to her and she was in such a hurry to be like HIM” (183).

There are rituals associated with Arty’s newly-founded religion, Arturism. To become one of the Admitted, Alma insists each newcomer pay a “dowry” of all their worldly goods. The Admitted follow Arty in their own vehicles and novices set up on the carnival midway to hand out literature on their philosophy of P.I.P. (Peace, Isolation, Purity). There is a hierarchy of the Admitted who attend Arty’s shows:

The limbless lay on their bellies in the sawdust in front of the Holy Tank. The legless were behind them on the first slope of the risers. The bandages got ostentatiously thick further up where the ankle and knee crowd jostled each other. Beyond were the novices, all dressed in white and crushed close on the benches, waving their bandages proudly. Behind and above them in the highest bleachers were the unscathed newcomers, the curious, the scoffers, the occasional reporter, all antsy and jiggling to see Arturo the Aqua Man’s life-defying invitation to ultimate sanctity (195-96).

These chapters also show the influence Arty possesses over other outsiders. McGurk attaches himself to Arty and helps him improve his effect on his audiences through new technologies. Sanderson is an example of how even the most cynical, intelligent, and worldly man can fall under Arty’s sway. Sanderson is a reporter who has covered wars, disasters, and world events. When Sanderson begins covering Arty and his followers, he thinks the cult is all a scam, a power play on Arty’s part to make money: “Says his awareness is such that he feels the pain of others and is therefore required to alleviate it by offering the sanctuary of Arturism. Obvious horseshit” (190). Over time, however, Sanderson comes to understand Arty’s command of his crowds, and eventually he himself gives his devotion to Arty, though he does not treat Arty with the same outward reverence as the other Admitted. Sanderson even uses his position to earn a living by selling maggots that feed on the amputated flesh of the Admitted to carnival goers: “It took him two years just to shed four toes […] but he conscientiously deposited each toe […] in its own jar with its own worm and sold it for the usual price” (198).

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