The present study, with a descriptive-analytical approach and using the concepts of cultural economy, political economy, and Lukács's objectivity theory, examines the position of goods and their functions in the novel The Blind Owl and seeks to answer the question: "How is the position of goods reflected in the object-like world of The Blind Owl?" The findings show that Hedayat has used a wide range of goods in his narrative, and each of these goods acquires different meanings and functions in accordance with the story situation and the narrator's psychological state. For example, wine, opium, and opium, which are considered harmful goods in the conventional view, appear in some parts of the novel as a means of relieving mental pain and even as therapeutic goods. Also, pens, painting tools, and some tools related to the narrator's profession play the role of capital goods and participate in the production and income-generating process. In contrast, objects such as painted jars, paintings, and some works of art have cultural, symbolic, and historical value in addition to economic value and go beyond the level of a material object. In the second part, relying on the concept of objectification, how objects are transformed into meaning-making and influential elements in the narrator's mental world was examined, and the results show that in The Blind Owl, objects are not only tools for meeting material needs, but gradually gain an independent position and play a role in the formation of the main character's perception, memory, identity, and relationships. In many cases, the narrator's emotional and mental connection with objects is deeper than his connection with the people around him.