/lit/ - Literature

>>19225763
And of course, the spinning jenny as a dominant image along with the train - which is the very picture of the mobilisation of domestic life. Transition of the world and resettlement. One sees this early on with the Land of Cockaigne. There is never any opposition between bourgeoisie and worker, and in fact it is the bourgeois figure who is dominant. This is where Tocqueville's image is so strong, the worker who does not even see himself as a worker. Each is only a type within the metamorphosis of power which is the Third Estate.
Just as the anarchist and simple baker are combined in Chaplin's image, or that the ingredients for the atom bomb are already listed on the walls of the chemist's shop. The figure himself is only a coming into being of perfection - one must be an apostolate against all the dreadful misery, and yet also declare himself as the iceberg set forth into the hull of the Titanic.

These are all manly things. And yet where woman is created as the perfect machine, not only in its image, then one might say she is all the more prepared for this monstrous life. She is more than willing to marry herself off to plainness, and to be stripped of outward appearances so that her inner core might be freed. This is passed down from Aphrodite to Dull Griet: only a woman can plunder hell and remain unscathed. Whereas a man, captured in the figure of Orpheus, cannot even look behind himself. For the hidden ugliness reveals itself fully in what is plain.

The woman abandoned to her home and cutting up her dress is no less technological than the Komsomol who masters state organisation with plain charm rather than Stakhanovite dedication. She may even take over the figure of Oblomov, yet will be praised as the very face of extraordinary effort.

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