Whether by striking workers, poets or Pussy Riot, our feline friends have long been used as a symbol of resistance – radical by nature, they refuse to be tamed
In the 60 years since Julie Andrews sang about the cheering possibilities of whiskers on kittens, the fetishisation of the feline form has only grown stronger. Earlier this year, Somerset House even opened a Hello Kitty cafe as part of its Cute exhibition. By way of balance there is, of course, a jokey online culture about the unspeakable evilness of cats. These are the ones who deliberately sabotage your printer, or post video diaries commenting on the futility of your dating life. But beyond this binary, there is a more nuanced narrative of the cat as a figure that makes a virtue out of complexity and ambivalence. So perhaps we would do better to think of the cat as dissident, oblique, even radical.
Rudyard Kipling caught this attitude best in his Just So Stories of 1902, a series of whimsical origin myths. In The Cat That Walked By Himself, Kipling tells how Wild Dog was the first animal to venture into the cave of stone age humans, attracted by the smell of roast mutton. The dog becomes a couple’s “First Friend”, a devoted and useful hunting companion and security guard who is happy to submit to the collar of domestic servitude. Wild Cow and Wild Horse soon follow suit, eager to labour in return for plenty of hay. Finally comes Wild Cat, who stalks up to the entrance of the dwelling and proceeds to lay down his terms. “I am not a friend, and I am not a servant. I am the Cat who walks by himself, and I wish to come into your cave.”
