Prostheses are fabricated in order to replace limbs or organs and are made of parts – metal rods, connectors, elastic bands, an artificial skin – that come together to mimic the structure and function of a lost original. One central aspect of the prosthetic ‘experience’ is an eerie relationship between the organic body and the assemblage of inanimate objects made to supplement what had been severed from the organic. On the one hand, it is, as I shall discuss later in this chapter, a tool of survival, a thing or prop. On the other, it is the kind of prop used to mimic the organic, and as a result one that also foregrounds the inanimate features of the ‘living’ or ‘organic’ body. Rods are rods, indeed, but so are bones, and the ways in which the inanimate enters the realm of the living body and thus also confuses those very terms funnel into one general concept – ‘unease’. In David Wills’s depiction of his father’s false leg given in the Introduction, he provides an essential moment of such unease, describing the manner with which his father, who uses a prosthetic leg, is painfully and uncontrollably reminded of his artificial limb. It is the scene of a shooting pain that highlights not only the artificiality and falsity of the prop, or the missing organic part it is meant to replace, but his own objecthood, as he is rendered, for a moment, helpless with pain: