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“Nothing Could Be That Grotesque and Live”: Mapping Abject Body Space in Robert Coover's Pinocchio in Venice

This article analyzes the significance of the unstable body in Robert Coover's Pinocchio in Venice (1991), focusing on a triple model of body space: city, body, and knowledge. Notably, these body spaces are rooted in Julia Kristeva's notion of abjection, as they simultaneously horrify and compel. Further, the reinscription of Pinocchio into a “talking book” offers a new look at postmodern notions of the body and its control.