The Prosthetic Novel And Posthuman Bodies

The human clone, the animal-human hybrid, the toxic body, the human-machine hybrid: these biotechnologically transformed bodies proliferate in the novels of many contemporary, Anglophone writers. Like the biologists (Ian Wilmut, E.O. Wilson, Craig Venter), academics (Francis Fukuyama) and journalists (The Economist and Time) who've labeled the 21st century "the biotech century," several celebrated contemporary writers have also underscored biotech's influence in their novels. Moving beyond the fear and excitement elicited by new developments in embryology, stem cell research and regenerative medicine, these novelists not only expose biotech's roots in 20th century biopolitics (Foucault, Agamben) but they also anticipate still emergent forms of biotechnological subjectivity. Kazuo Ishiguro's Never Let Me Go (2005), Margaret Atwood's Oryx and Crake (2003), Indra Sinha's Animal's People (2007), and Jeanette Winterson's The Stone Gods (2007) all focus on the prosthetic quality of biotech to imagine four very different posthuman bodies. While these writers represent a range of Anglophone novelists with very different literary projects, they all locate the fleshly body as the prosthetic meeting place for biotechnology and political subjectivities. Taken together, I claim, these novels describe a prosthetic society where humanist institutions are challenged by new technologies of reproduction, mobility, kinship, and ecology.