At the End of Morality lies Capitalism
At the End of Morality lies Capitalism
The pre apocalyptic assertion that the end of the human race will be factored in by technology is one portrayed in Margaret Atwood’s Oryx and Crake. The author portrays the extinction of human kind through a biotechnological virus created by a mad scientist. In the eyes of the scientist, the entire universe is a laboratory meant for globalized experiments as seen in the various products such as Genetically Modified Organisms (GMOs) released in the market just to increase profits. Scientific experimentations push the limits of morality as humans attempt to discover novel ways to adapt and survive. At the end of morality, lies the start of capitalism that shapes the development of a novel human identity characterized with disintegration of truths and loss of control. The annihilation of humankind in Atwood’s novel is one caused by the dissolution of morality for commercial gains resulting in a dehumanized society. In a society where morality is negated, capitalism manipulates reality to drive consumer behavior and profit generation in the long haul.
Corporations in their race for profit disintegrate truth in order to capture their objectives. The fatal virus “Reejooven Essence” in the narrative is distributed to the human society by hiding it in the “BlyssPluss” pill (Atwood 201). Commercial gain negates the societal process of communication acting immorally by manipulating the target market in their marketing strategies. In order to maximize on generation of revenue, companies manipulate people to unwind on their products through use of mass media. The communication powerhouses shape the audience’s perception of firm products encourages them to consume more (Farshid and Moradizadeh 3). The actualization of the vast experiment stage-manages reality for the benefit of capitalism. This in the novel is identified in Snowman’s reflection on the past where corporate experiments instead of adding to the consumer’s quality of life were spun to inflate personal desires for beauty, youth, and pleasure.
The ‘Craking’ society in its lack of sexual control factors in its own demise as it falls prey to the over emphasized BlyssPluss sexual potency drug. The mad scientist and the corporation he works for employs human nature to drive distribution of the virus. Sex in the destructive society is a harmful symbol that the multinational firm CorpSeCorps familiarizes its consumers to resulting to an elusive fantasy on their lives. The company implants into the audience’s mind the ‘supposed’ way of life characterized by sweet eating, drinking, and love making (Farshid and Moradizadeh 4). The fictitious representation of reality provides the consumer with a sense of purpose resulting in more product consumption. Corporations in the novel are able to symbolize sex because the population is immoral in its lack of sexual control.
When an individual begins to create his or her own reality from fiction, then that person can never again perceive that what is initially true. Simply from the Craker’s insufficient self-control and dependence of mass media, the society fashions its own demise in elevated sexual relations. The BlyssPluss pill as sold by CorpSeCorps falsely promised to increase vigor while protecting against sexually related implications. The objective of the firm was to increase sales ultimately large scaling the virus transmission. The subsequent implication of the loss of sexual control and fictitious realities is the extinction of the human race. The Craker community can only blame itself for giving multinational corporations the niche to manipulate their reality. If the people in the narrative remained to be moral limiting their sexual impulses, the consequences of the viral experiment would have been less adverse.
Atwood, Margaret. Oryx and Crake: A Novel. New York: Nan A. Talese, 2003. Print.
Farshid, S, and B Moradizadeh. “Capitalism and Fabrication of Hyper-Reality: a Baudrillardian Reading of Margaret Atwood’s Oryx and Crake.” International Journal of Literary Humanities. 11.1 (2013): 1-8. Print.
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