Friday, May 03, 2019
In a democracy of things every object exists in relation to others. What's more all classes of objects have equal status although some can, of course, have more influence than others. Broadly speaking that is what is meant by DeLanda's much used phrase 'flat ontology'. Thinking about this it occurred to me that someone should document all the different attempts that have been made to give voice to non-human objects, those more or less silent members of this parliament of things. Admittedly some social science researchers have tried, and poets often touch upon it, but in fiction it is usually the preserve of writers of fables or children's stories. The anthropomorphic conceit - for that's what it usually comes down to, is more often than not concerned with bestowing human characteristics on animals. After all it offers a compelling way for us to understand ourselves - here Kipling springs to mind. Animals and their inter-relations become ciphers for human characters, their interactions and even their social organisation (Rikki-Tikki-Tavi for instance). But inanimate objects are much harder to voice. Rilke does this brilliantly by writing about a tin lid, of all things, '...a lid like this could have no other desire than to be sitting on its tin; this must be the limit of what it could imagine; a satisfaction that could not be surpassed, the fulfilment of all its wishes. It almost represents something approaching an ideal, having been twisted patiently and softly into place, to be resting evenly on the little matching protrusion and feeling the interlocking rim within you, elastic and just as sharp as your own edge is when you lie there on your own.' (Rilke, 2016:105). The composition is so finely tuned, but in the end, like all anthropomorphic writing it is, when it comes down to it, a sort of extended metaphorical reflection on the human predicament. I'm still looking for examples!