Tournier's robinson retreats, foetal and naked, to a deep cavern in the island; equating it with his mother's womb whom he has lost his physical contact with. The scenario is familiar, yet still striking; the imaginary unity of robinson's self gets distorted as he confronts the island with all its bipolarities (goods and bads, highs and lows, hazards and safeties). The symbolic order as its reified in the metaphor of the island, drives robinson's fears and forces him to escape. Hiding in the womb of his mother, robinson crosses out his subjectivity ($) both bisecting and neutralizing it.

At a historical point where all of us are retreating to the wombs, that is, enjoying the safety of other people's deciding for us, we can claim no subjectivity other than an imaginary one. If this coffin can represent our joyful imaginary state, then the disaster we confront at the screen is the bringing of the symbolic into this imaginary. Synchrisis rips our clothes off, takes us to a coffin and puts us under the ground. At our safest, it comes up with the disasters, destroying us and the coffin, body and the soil, imaginary subject and the objectivity. it manifests, in short, our reimagined oedipal crisis.