“All-Electric” Narratives is the first in-depth study of time-saving electrical appliances in American literature. It examines the literary depiction of refrigerators, vacuum cleaners, oven ranges, washing machines, dryers, dishwashers, toasters, blenders, standing and hand-held mixers, and microwave ovens between 1945, when the “all-electric” home came to be associated with the nation’s hard-won victory, and 2020, as contemporary writers consider the enduring material and spiritual effects of these objects in the 21st century. The appropriation and subversion of the rhetoric of domestic electrification and time-saving comprises a crucial, but overlooked, element in 20th-century literary forms and genres including Beat literature, Black American literature, second-wave feminist fiction, science fiction, and postmodernist fiction. Through close-readings of dozens of literary texts alongside print and television ads from this period, Dini shows how U.S. writers have unearthed the paradoxes inherent to claims of appliances’ capacity to “give back” time to their user, transport them into a technologically-progressive future, or “return” them to some pastoral past. In so doing, she reveals literary appliances’ role in raising questions about gender norms and sexuality, racial exclusion and erasure, class anxieties, the ramifications of mechanization, the perils and possibilities of conformity, the limitations of patriotism, and the inevitable fallacy of utopian thinking—while both shaping and radically disrupting the literary forms in which they operated.
The anonymous narrator of Donald Barthelme's "The Rise of Capitalism" (1970) opens his story by saying he has made a mistake (198). He thought he had understood capitalism, but now realizes it eludes his grasp. In the ensuing ten passages, the narrator taking the reader through a series of increasingly bizarre scenes populated by factory employees, monarchs, Catholic saints, the woman to whom his story is directed, and the members of a country club. The events he narrates are startling. "Honoré de Balzac [goes] to the movies," he states (200). "Capitalism ar[ises] and [takes] off its pyjamas" (201). Meanwhile, the narrator bemoans various current crises, including the allegedly polluted state of the Ganges, which he attributes to the by-products of the Western wig factories that line it: Strands of raven hair floating on the surface of the Ganges. Why can't they clean up the Ganges? If the wealthy capitalists who operate the Ganges wig factories could be forced to install sieves, at the mouths of their plants. And now the sacred Ganges is choked with hair, and the river no longer knows where to put its flow, and the moonlight on the Ganges is swallowed by the hair, and the water darkens. By Vishnu! This is an intolerable situation! Shouldn't something be done about it? (201) From this proto-environmentalist diatribe, the scene cuts to a dinner party of generic bourgeoisie discussing capitalism over crudités and elegant place settings, while parenthetically considering the value of human beings: Friends for dinner! The crudités are prepared, green and fresh. The good paper napkins are laid out. Everyone is talking about capitalism (although some people are talking about the psychology of aging, and some about the human use of human beings, and some about the politics of experience). (201) Capitalism, Barthelme posits, is both insidious and intangible. Its language and logic permeate every aspect of Western culture, while its physical by-products clog the arteries
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