From Modernity to Dystopia: Debord’s "The Society of the Spectacle" in Atwood’s "Oryx & Crake" as an Outgrowth of Bauman’s Liquid Modernity

Abstract

Margaret Atwood (2003) in Oryx & Crake embarks upon a post-apocalyptic narrative odyssey that intricately addresses genetic engineering, environmentalism, social stratification, and the profound repercussions of human violence. Central to this paper’s discussion is the intriguing interplay between Guy Debord’s (1967) seminal construct, The Society of the Spectacle, and the overwhelming presence of Liquid Modernity – a concept eloquently fleshed out by the distinguished sociologist, Zygmunt Bauman. In Bauman’s framework, Liquid Modernity is typified by a society in a relentless state of transition, constantly reshaping its identity. This fluid societal model becomes deeply intertwined with Debord’s exposition on “The Spectacle” as rendered in Atwood’s dystopian world. Within the novel, we encounter a sharp critique of a Western society increasingly subsumed by an insidious consumerism and an ever-expanding entertainment complex, wherein even the most private and intimate dimensions of human life are not exempt from commodification. Atwood’s masterful juxtaposition of these potent theoretical concepts accentuates an intrinsic relationship between the evolving paradigms of modern society and its seemingly inexorable trajectory towards a dominion marked by unbridled consumerism, superficiality, and alienation. Furthermore, Oryx & Crake functions not merely as a reflective lens into the excesses and pitfalls of Western capitalism and its resultant socio-political divisions but also, and perhaps more pertinently, as a prescient warning – illuminating a potentially bleak and calamitous horizon for human civilization.