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This seems to suggest an existential correlate to the seeming perception of the void expressed by modern writers when ordinary objects and surroundings become defamiliarized. While the void is evoked as lurking within even ordinary objects, until salvaged by a vital aesthetic seeing of their true essence, in Heidegger’s account, death awaits Dasein and pursues life with the ever-latent possibility of confrontation. ’’ That there are experiences of ecstasis that maintain a more affirmative relation to the quotidian will be argued in the next chapter.

The stubborn life of these rooms had not let itself be stomped out’’ [Das za¨he Leben dieser Zimmer hatte sich nicht zertreten lassen] (46–47; 485–86). What is important, he thinks, is the fact that he recognized them (43; 487). Here Malte does not mourn the lost significance of the now-torn down houses, rather he is fascinated by the walls’ present state of being, pockmarked by dilapidation, by the scars of their former quotidian functionality and their present disuse. They are a kind of objective correlative for the ambivalence of experiencing the world in its full obtrusiveness as its familiarity recedes.

In this way the world becomes first visible (172). That is, literary language allows the phenomenon ‘‘world’’ to show itself; the world becomes a world seen. Important for Heidegger is that in Rilke’s description Being ‘‘leaps toward us from the things’’ (173). In such experience the human situation becomes ecstatic, if that means that it intrinsically affords a ‘‘stepping-outside-self ’’ (267). Yet Malte’s assertion that the house is ‘‘in mir’’ suggests a lingering relation to the self of the ordinary feeling from which he has broken out.