The Stepford Wives

You're not going to get any true confessions out of me," she said. "I'm a Leo, and our thing is changing the subject.

That’s what she was, Joanna felt suddenly. That’s what they all were, all the Stepford wives: actresses in commercials, pleased with detergents and floor wax, with cleansers, shampoos, and deodorants. Pretty actresses, big in the bosom but small in the talent, playing housewives unconvincingly, too nicey-nice to be real.

I want you to know I won't always be here,' Fertility says, 'but I'll always find you.

What’s the going price for a stay-in-the-kitchen wife with big boobs and no demands?

They never stop, these Stepford wives. They something something all their lives. Work like robots. Yes, that would fit. They work like robots all their lives.

That green stuff outside is grass, and the yellow stuff coming down on it is sunshine.

No, thanks, we’re not keen on cat pix.

And you’ll put a deposit on the house tomorrow?

What’s wrong with Bill McCormick? Can’t he run a washer? I thought he was one of our aerospace brains.” “He’s taking care of Marge,” Kit said, folding the T-shirt. “These things came out nice and white, didn’t they?” She put the folded T-shirt into the laundry basket, smiling. Like an actress in a commercial. That’s what she was, Joanna felt suddenly. That’s what they all were, all the Stepford wives: actresses in commercials, pleased with detergents and floor wax, with cleansers, shampoos, and deodorants. Pretty actresses, big in the bosom but small in the talent, playing suburban housewives unconvincingly, too nicey-nice to be real.

One great difference between good writing, that readers overlook, and bad writing, that they fail to notice, has to do with the number of rewrites and revisions usually required by the former. It isn’t at all easy to write clear, declarative prose—transparency evolves from ruthless cutting and trimming and is hard work—while lumpy, tangle-footed writing flows from the pen as if inspired by the Muse.

Today the combat takes a different shape; instead of wishing to put man in a prison, woman endeavors to escape from one; she no longer seeks to drag him into the realms of immanence but to emerge, herself, into the light of transcendence. Now the attitude of the males creates a new conflict: it is with a bad grace that the man lets her go.