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The 1890s brought with them the rise of modern American consumer culture; the Industrial Revolution
had caused substantial growth in production and commerce, and it continued to transform the economy
in the United States. Chopin’s 1897 short story is fittingly littered with references to this modern
consumerism; the reader learns early on that Mrs. Sommers is a veritable shopper, adept at finding
bargains and one “who could stand for hours” in order to buy a “desired object that was selling below
cost.” As the concept of shopping shifted from a functional necessity to a leisure activity, consumer
identity was also increasingly tied to notions of femininity—a notion reflected in everything from the
glossy magazines Mrs. Sommers buys to the “gaudy” outfits worn by superficial women in the theater.
The story can be read as a direct response to the birth of a capitalist America that promised women an
escape from their mundane domestic lives through the thrill of shopping. Chopin reveals, however, the
trivial and deceptive nature of consumerism, which is ultimately an inadequate form of escape, and a
misplaced endeavor for Mrs. Sommers.
A vision of the future like some dim, gaunt monster sometimes appalled her, but luckily to-morrow never
comes.
She went on feeling the soft, sheeny luxurious things—with both hands now, holding them up to see
them glisten, and to feel them glide serpent-like through her fingers.
Her foot and ankle looked very pretty. She could not realize that they belonged to her and were a part
of herself.
The play was over, the music ceased, the crowd filed out. It was like a dream ended.
Wanted the cable-car to never stop anywhere but go on and on with her forever.