Introduction A scholar, literary critic and a philosopher among others, Mikhail Bakhtin contributed largely to literature. In his theory of dialogism, Bakhtin claims that language is based on the construct of dialogue where a writer or speaker exchanges information with the respondents and meaning of this language is only definable based on those communicators. In his book Rabelais and His World , Bakhtin comes up with two subtexts; that is, carnival and grotesque realism. According to Morris (1994, p. 249), “Bakhtin refers to the multiple voices at work within any given culture as heteroglossia , a term which foregrounds the clash of antagonistic social forces. Moreover, he uses the term polyphony with regard to the fully realized form of a novel, a word coined to describe Dostoevsky’s ‘multi-voiced’ novels, whereby author’s and heroes’ discourses interact on equal terms.” This understanding forms the background of The Grapes of Wrath and As I Lay Dying analysis in this paper. John Steinbeck and William Faulkner’s Grapes of Wrath fits well into these Bakhtinian perspectives. The polyphonic traits of these works have given rise to numerous debates concerning their genre among other philosophical issues. Bakhtin would concern himself with establishing the evolutionary ontogenesis of the genre in these texts. The unity of structure and language in any comical genre take after carnivalistic folklore …”there is a strong rhetorical element, but in the atmosphere of joyful relativity characteristic of a carnival sense of the world this element is fundamentally changed: there is a weakening of its one-sided rhetorical seriousness, its rationality, its singular meaning, its dogmatism” (Bakhtin 1984, p. 107). Steinbeck and Faulkner’s works fit well in this concept. This paper analyses these works from a Bakhtinian perspective employing some of his literal principles. The Grapes of Wrath and As I Lay Dying are carnalized literatures. The Grapes of Wrath As aforementioned; Bakhtin talks of two subsets in his analysis viz. carnival and grotesque realism. These two subsets come with different characteristics, which will be exposited in this text. Nevertheless, the outstanding element of Bakhtinian interpretation would be establishing whether these novels qualify as carnivalized literature or not. According to Bakhtin, any carnalized literature should have Socratic dialogue and Menippean satire among other elements and these elements stand the test of time; they do not die from any carnalized literature. Moreover, a carnalized literature detaches itself from traditional sorts like the tragedy, history, and the epic. On the contrary, carnalized literature is serio-comical and relates strongly to carnivalistic folklore. The biggest task here is to determine whether The Grapes of Wrath fit in this description and is it fits, on what scale. To analyze The Grapes of Wrath from a Bakhtinian perspective, it is good to trace its serio-comical links. Bakhtin points out that, the commixing element of serio-comic genres lies in its relation to carnivalistic folklore and any literal work moulded by this lore, “directly and without mediation, or indirectly, through a series of intermediate links qualifies as carnival