“All honey, all honey!”: The Grotesque Body in the Carnivalesque City in The London Spy
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The London Spy is a serial prose fiction that recounts the fictitious adventures of the spy, the narrator of the work, in his exploration of high and low life of London. The interest that the work shows toward the dark areas is partly based upon a practical aim of avoiding danger since walking the streets of London was frequently dangerous even to those who were accustomed to the metropolitan way of life. This manifest intention alone, however, does not fully account for the persistence of the spy in walking through the scenes of mire and hazard. The urban poor and their filthy districts are not merely objects to observe and shun for the narrator. In almost every episode, he mixes with the multitudes, tasting a freedom that he had not experienced before. The unfamiliarity looms as dangerous but enticing, and a moment of temporary union repeatedly interrupts the political, commercial intrigues of the capital city, transforming it into a site of filthy diversion. In this respect, the city space in The London Spy is analogous to Bakhtinian carnivalesque, the simultaneous erection and transgression of a fictional boundary between the high and the low. The act of walking in this work implicates multifaceted ways of using and exchanging city space, bringing in what is termed the “grotesque body.” Open to the random sensations of the metropolitan cries, stenches, and contacts, this body is opposed to the “classical body,” whose detachment signals the identity of the rational and reasonable individual. The London Spy, through the attraction of repulsion, resists the closure of the self and shows the futility of attempts to block out heterogeneity in the metropolis.
Abstract
The London Spy is a serial prose fiction that recounts the fictitious adventures of the spy, the narrator of the work, in his exploration of high and low life of London. The interest that the work shows toward the dark areas is partly based upon a practical aim of avoiding danger since walking the streets of London was frequently dangerous even to those who were accustomed to the metropolitan way of life. This manifest intention alone, however, does not fully account for the persistence of the spy in walking through the scenes of mire and hazard. The urban poor and their filthy districts are not merely objects to observe and shun for the narrator. In almost every episode, he mixes with the multitudes, tasting a freedom that he had not experienced before. The unfamiliarity looms as dangerous but enticing, and a moment of temporary union repeatedly interrupts the political, commercial intrigues of the capital city, transforming it into a site of filthy diversion. In this respect, the city space in The London Spy is analogous to Bakhtinian carnivalesque, the simultaneous erection and transgression of a fictional boundary between the high and the low. The act of walking in this work implicates multifaceted ways of using and exchanging city space, bringing in what is termed the “grotesque body.” Open to the random sensations of the metropolitan cries, stenches, and contacts, this body is opposed to the “classical body,” whose detachment signals the identity of the rational and reasonable individual. The London Spy, through the attraction of repulsion, resists the closure of the self and shows the futility of attempts to block out heterogeneity in the metropolis.
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