The idea of perfection or of being perfect engulfs us all in its suffocating grip. Our bodies, our work, our dress, our hair, and our everything must be somehow perfect in this deeply flawed society. Such are the contradictory expectations that society foists on us all, egged on particularly by the mass media and mass popular culture. Protagonists in movies, pop culture idols, and even politicians are projected as embodying the perfect. The ideal to achieve, then, is only perfection in all spheres of life.
Ancient Greek playwrights were perhaps one of the first to talk about characters with a deep flaw through the concept of hamartia which means ‘to err.’ Shakespeare’s tragic plays feature protagonists that are wholly defined by flaws such as Hamlet and his indecisiveness, Othello with his jealousy, or Macbeth and his greed. Even popular culture has slowly embraced imperfection, often treating its characters through a more nuanced lens rather than just the dichotomous notion of perfect versus imperfect.
Aparna Upadhyaya Sanyal in her prose poetry novel, Circus Folk and Village Freaks, wholly rejects these superficial notions of the perfect ideal and instead portrays 18 different tales of characters who are misunderstood and rejected by society as being out of the ordinary, who we would also label ignorantly as ‘freaks.’
When society rejects these freaks in the novel, they all find solace and space in a village circus, whose circus master is more than happy to accommodate and make a spectacle out of them.
From Siva, the Snake Man who finds an affinity to reptiles rather than humans, to Miss Rita with her chin full of hair because of hirsutism, from the Siamese twins, Sita and Gita to Miss Luxmi whose passion was throwing darts; all kinds of people could make it big and feel accepted among the peculiar circus folk.