Geek Love

The modern definition of a “geek” is someone who is unfashionable or socially inept, and therefore viewed with distaste because they are not normal by society’s standards. This story uses a different definition of a geek, meaning a sideshow performer who bites the heads off live chickens, but there is a related sense of freakishness associated with everyone in the carnival. The Binewski children are viewed as freaks by “norms.” Norms are fascinated and attracted to the Binewskis and the Fabulon, but in the real world, the carnival performers are feared and despised for their physical abnormalities. Vern Bogner, a man who had never exhibited any signs of violence, feels compelled to kill members of the carnival troupe the instant he sees them. Lil says, “You can’t imagine what it is to realize that there are people at large whose first reaction to the sight of your children is to reach for a gun” (223). The doctors and nurses at the hospital also seem disgusted and frightened by the children’s freakishness, and Arty fears that they will be taken away from Lil because of their deformities. At Vern’s trial for shooting the children, a woman who was at the scene testifies, “If you ask me I’d say it was a charitable instinct for mercy. I felt the same way. I’m not one who’d say it was a wrong thing to do” (211).

Arty understands better than any of the family members how “norms” view the Binewski children. Early in life, Arty loves to read horror stories, which frighten Oly, who turns his pages for him. She wonders why Arty is not scared. Arty replies, “These are written by norms to scare norms. And do you know what the monsters and demons and rancid spirits are? Us, that’s what. You and me. We are the things that come to the norms in nightmares” (46).

Conversely, the Binewskis view norms as the true weirdos. Oly says that as a child, it would never have occurred to her to have a conversation with one of the “brutes.” Oly and her family see themselves as superior to norms; their abnormalities are a source of strength. Sanderson asks Oly if she would wish to snap her fingers and make her family physically and mentally normal. In reply, Oly scoffs, “That’s ridiculous! Each of us is unique. We are masterpieces. Why would I want us to change into assembly-line items? The only way you people can tell each other apart is by your clothes” (282).

Arturism evolves largely as an outgrowth of Arty’s ideas about the world of norms, the carnival crowds he sees growing up, and from his copious readings. Arty believes that his understanding of human nature makes him perfectly suited to develop a way of life that people will choose freely. This is the reason Arty resists Dr. Phyllis’s desires to amputate the Arturans’ digits and limbs all at once. Arty wants the Admitted to choose each step of the long process through progressive procedures. Arty is accused of having a god complex, but he believes that his adherents see what the rest of the world has to offer and recognize Arturism, the abnegation of the superfluous self, as the undeniable choice. Yet Arty is remaking the Admitted in his own image, and they certainly view him as a godlike figure. Arty also does not tolerate dissent of his policies and program, so when Dr. Phyllis defies him and tries to bring other Arturans over to her side, Arty gets rid of them all in one fell swoop.

Similarly, Miss Lick acts in a godlike manner, paying to mold the bodies of her “projects” in ways that suit her. She sees it as a benevolent act, a way to set them free of the curse of their sexual attractiveness, so that they can live more meaningful, happier lives. Though both Miss Lick and Arty change these people physically and mentally, they both feel that they are not taking away free will, because their subjects always have a choice of whether or not to accept the change. Yet both of them cannot imagine why any sane, logical person would not see theirs as the better way.