Entrance to a colonial exhibition in which we all begin to intricate
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In the critical preface to this pageant, I develop a theory of the grotesque that brings together Gilles Deleuze and Félix Guattari’s concept of “minor literature” with Lennard J. Davis’s idea of the disabled body. I argue that the grotesque mode is a way to undermine the majoritarian demand for a stable language and the state’s demand for an illusory whole, able body. The grotesque text discomforts because it reveals the lie of normal bodies and normal language. The pageant itself collapses the language and imagery of imperialism into the world of the American suburb. The threatening outsider is shown to be a fantasy essential to maintaining the heterosexual, xenophobic American idyll of suburbia. The language is exaggerated and interpenetrated by foreign languages. The leading characters of this grotesque resistance are The Passenger, an immigrant, and Miss World, a molested child. Both of them display a radical artificiality both in terms of actions and language.