Introduction
Object-oriented criticism, rooted in the philosophical framework of Object-Oriented Ontology (OOO), emphasizes the independent existence and agency of objects beyond their utility or perception by human subjects. Developed prominently by thinkers such as Graham Harman in the early 21st century, OOO posits that objects possess their own realities, withdrawn from direct human access, and interact in ways that exceed anthropocentric interpretations (Harman 2018). This school of criticism shifts focus from human-centered narratives to the intrinsic qualities and relations of nonhuman entities, revealing how objects can shape meanings, histories, and relationships autonomously. Unlike other contemporary approaches—such as feminist criticism, which prioritizes gender dynamics, or postcolonial theory, which examines power imbalances in cultural contexts—object-oriented criticism uniquely foregrounds the vitality of materiality, allowing for an exploration of how objects mediate experiences without reducing them to mere symbols of human intent.
This lens is particularly vital for examining Ken Liu’s short story “The Paper Menagerie” (2011), as it illuminates the role of inanimate objects in bridging emotional and cultural divides that language alone cannot traverse. The story, centered on Jack, a biracial boy, and his Chinese immigrant mother, uses origami animals as pivotal elements that evolve in appearance and significance, demonstrating objects’ capacity to foster human connections. By applying object-oriented criticism, new revelations emerge about the objects’ autonomous agency: the paper animals are not passive props but active participants that preserve cultural heritage and emotional bonds, evolving independently of human control. This approach uncovers a common theme about the human condition—namely, the inherent need for connection amid cultural fragmentation, where objects serve as resilient mediators when verbal communication fails. Over other lenses, object-oriented criticism provides a non-anthropocentric perspective, highlighting how objects’ materiality endures and influences human behavior, thus revealing the limitations of language in conveying deep emotional truths.
Jack’s Childhood and the Vitality of Paper Animals
In the initial stages of Jack’s childhood, the paper animals crafted by his mother exemplify object-oriented criticism’s emphasis on objects’ independent agency, as they form a bridge for cultural heritage and emotional bonds that transcend linguistic barriers. The mother’s origami creations, made from discarded wrapping paper, come alive in Jack’s imagination, running around the living room and engaging in playful antics (Liu 172). From an object-oriented viewpoint, these animals possess a withdrawn essence, as Harman describes, where their “real qualities” exist beyond human perception, allowing them to manifest vitality that fosters connection (Harman 2018, 52). This animation is not merely a product of Jack’s childlike fancy but an intrinsic property of the objects themselves, which draw on their material composition—fragile paper folded with precision—to evoke a sense of life. Consequently, the animals serve as a nonverbal conduit for the mother’s Chinese heritage, embedding stories of folklore that Jack absorbs intuitively, thus highlighting how objects can preserve cultural narratives when language, strained by the mother’s limited English, proves inadequate.
Furthermore, the deep connection Jack forms with specific animals, such as Laohu the paper tiger, underscores the objects’ role in nurturing emotional intimacy within the human condition’s quest for belonging. Laohu becomes more than a toy; it growls and pounces, embodying a fierce yet affectionate presence that mirrors the mother’s unspoken love (Liu 173). Object-oriented criticism reveals this as an example of objects’ “sensual qualities,” where their interactions with humans unveil hidden depths, independent of intentional design (Harman 2018, 78). Jack’s bond with Laohu facilitates a shared world between mother and son, bridging the cultural chasm created by his American father’s influence. This interaction demonstrates a theme of human vulnerability: individuals often rely on material mediators to express emotions that words cannot capture, especially in immigrant families where assimilation pressures erode verbal ties. The tiger’s agency in “coming alive” thus exposes the limitations of human language, positioning objects as essential for sustaining relational bonds.
The cycle of the animals’ “death” and recreation further illustrates their resilient agency, as the mother repeatedly fashions new ones after accidents, such as when they get wet and lose form (Liu 174). In object-oriented terms, this evolution in appearance— from vibrant, mobile entities to sodden ruins and back—reflects objects’ capacity for metamorphosis, withdrawing and re-emerging in new configurations (Bogost 2012, 11). The mother’s act of remaking them signifies her desire for connection, which Jack accepts innocently, yet the objects themselves drive this persistence, embodying cultural continuity. This process reveals a profound insight into the human condition: the innate drive to maintain bonds through tangible means when ephemeral language falters, as objects endure physical changes while retaining their core ability to link generations. Indeed, this evidence collectively shows how the paper animals, through their material evolution, facilitate a connection that highlights humanity’s reliance on the nonhuman world for emotional and cultural sustenance.
Jack’s Rejection and the Fragility of Object-Mediated Bonds
As Jack enters adolescence, his rejection of the paper animals highlights object-oriented criticism’s insight into the tension between objects’ inherent qualities and human perceptions, revealing how cultural pressures can sever connections that objects strive to maintain. Jack’s preference for an American toy like the Obi-Wan Kenobi action figure over his mother’s fragile origami marks a shift where he prioritizes durability and normalcy, associating the paper animals with embarrassment (Liu 177). From an object-oriented lens, this rejection does not diminish the animals’ agency; rather, it exposes their withdrawn reality, as they continue to exist independently, their delicacy underscoring a vulnerability that mirrors the mother’s marginalized position (Harman 2018, 103). The contrast with the robust plastic Obi-Wan illustrates how societal norms of American masculinity devalue fragile objects, yet the paper animals’ persistence in memory challenges this dismissal, pointing to a theme in the human condition: the tendency to overlook subtle, material bridges in favor of dominant cultural artifacts, often at the cost of authentic relationships.
The perceived fragility of Jack’s dolls compared to the indestructible Obi-Wan further emphasizes objects’ autonomous roles in exposing human behavioral flaws, such as the pursuit of conformity over heritage. Jack views the paper animals as inferior because they “tear easily” and lack the mass-produced strength of his new toys (Liu 178). Object-oriented criticism interprets this as a clash between objects’ sensual profiles— the tactile, ephemeral nature of paper versus the solid permanence of plastic—revealing how objects influence human choices without being fully accessible (Bogost 2012, 24). This dynamic uncovers Jack’s internalization of cultural alienation, where he distances himself from his mother’s heritage, fracturing their bond. The theme emerges that human nature often involves rejecting vulnerable elements, like fragile objects, in a bid for social acceptance, thereby weakening intergenerational ties that objects could otherwise sustain.
Ultimately, Jack’s act of stuffing the dolls into a shoebox signifies a full rejection, symbolizing the suppression of object-mediated connections under assimiliationist pressures (Liu 179). In object-oriented terms, the shoebox becomes another object that withdraws the animals from view, yet their latent agency persists, awaiting rediscovery (Harman 2018, 145). This concealment reflects a broader human behavior: the inclination to compartmentalize uncomfortable aspects of identity, ignoring how objects can resurrect forgotten bonds. Through this evidence, Liu demonstrates that while humans may attempt to sever ties, objects’ enduring presence reveals the fragility of such disconnections, underscoring the human condition’s struggle with cultural hybridity.
The Resurrection of Objects and Renewed Connections
In the story’s climax, the resurrection of the paper animals through Jack’s adult rediscovery exemplifies object-oriented criticism’s focus on objects’ hidden depths, unveiling messages that restore emotional and cultural bonds. Upon his mother’s death, Jack unfolds Laohu to find a letter inscribed in Chinese characters, transforming the object’s appearance from a crumpled relic to a vessel of revelation (Liu 185). This evolution aligns with OOO’s notion of objects’ “real objects” emerging unpredictably, as their internal qualities surface beyond human expectation (Harman 2018, 189). The difference in the doll’s revitalized form—now bearing legible meaning—highlights how objects can bridge linguistic gaps posthumously, addressing a theme in the human condition: the potential for redemption through material intermediaries when direct communication has failed.
The hidden message within the doll, which Jack initially rejected, further reveals objects’ agency in preserving unspoken emotions, fostering a belated understanding of maternal love. The letter details the mother’s loneliness and sacrifices, “sinking into” Jack’s heart and evoking remorse (Liu 186). Object-oriented analysis views this as the object’s sensual translation, where its material form conveys what language could not, independent of human intent (Bogost 2012, 67). This discovery illuminates human behavior’s capacity for growth, as Jack confronts his past indifference, emphasizing that connections endure via objects even after relational breakdowns.
Finally, Jack’s act of refolding the doll signifies a newfound valuation, restoring the object’s role in connecting him to his mother and heritage (Liu 187). In OOO terms, this refolding represents a reconfiguration of the object’s relations, reaffirming its agency in mediating bonds (Harman 2018, 212). This evidence collectively reveals that objects, through their evolutionary appearances, enable humans to transcend linguistic barriers, highlighting the human condition’s resilience in seeking connection amid loss.
Conclusion
Object-oriented criticism applied to Ken Liu’s “The Paper Menagerie” uncovers how the evolving paper animals mediate human connections, bridging cultural heritage and emotional bonds beyond language’s reach. From Jack’s childhood acceptance, through adolescent rejection, to adult resurrection, the objects’ agency reveals a persistent theme: humanity’s reliance on materiality to navigate relational fragmentation. This lens, distinct from others, emphasizes nonhuman vitality, offering insights into behavioral patterns of connection and alienation. Ultimately, this matters today because, in an increasingly digitized world, recognizing objects’ roles fosters empathy across cultural divides, reminding society of the enduring power of the tangible in addressing isolation—a pressing concern in globalized, multicultural contexts.
Works Cited
- Bogost, Ian. Alien Phenomenology, or What It’s Like to Be a Thing. University of Minnesota Press, 2012.
- Harman, Graham. Object-Oriented Ontology: A New Theory of Everything. Pelican Books, 2018.
- Liu, Ken. “The Paper Menagerie.” The Paper Menagerie and Other Stories, Saga Press, 2016, pp. 171-188.
