The definitional boundaries of “the human” have been debated since Aristotle’s zoological theories on the scala naturae, which claimed humans uniquely possess rational souls and are, therefore exceptional to “animals” and plants. While contemporary sciences bely this hierarchy, Euro-American societies and cultures hold it to be true. Composite Creatures enters this long-running debate through a detailed analysis of Atwood’s speculative trilogy. Using an innovative framework of Animal Studies, posthumanism, Genettian narratology, and Anishinaabe ontologies, language systems, and storying techniques, Composite Creatures argues that the trilogy is a complex dramatization of humanity’s inherent hybridity; rather than “humans” and/or “animals,” the trilogy elucidates through content and form that “we” are inherently composite individuals. Consequently, Composite Creatures offers a vital contribution to Atwoodian Studies in its exploration of Atwood’s career-long interest in genre blurring, repetition and refraction, and the “third thing,” what she calls a productive escape from dangerous binaries. Through subtle manipulation of narrative, Atwood’s trilogy offers a homology with the profound relations forming the extradiegetic world.