chapter  3
Witnessing without Witnesses: Atwood’s Oryx and Crake as Limit-Case of Fictional Testimony
Pages 17

This chapter establishes the isotropy between Umbrella, a knotty, entangled fiction, and the subject that undergirds it as tangled objects or hybrid assemblages. The inner mind versus outer space dichotomy is abolished since places are called up in terms of cerebral interiority following what self has often described as his passion for psycho-geography. The humour is totally excluded from Self's last work, but it is definitely wry and caustic, as the newsreels of the enkies in their hyper-kinetic phase invite comparisons with Charlie Chaplin, Buster Keaton, and Lloyd George. The Sisyphean circling of the inmates at the mental hospital coalesces with the weaving and turning along zigzagging trenches once Stanley Death finds himself in the thick of the war. The possibility of establishing the dialogic bond between this two streams of consciousness, runs parallel throughout the novel, that is, Audrey's and Busner's, through the experience of reading, is ultimately Umbrella's commitment.