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How did Americans come to believe that working at home is feasible, productive, and desirable? Easy Living examines how the idea of working within the home was constructed and disseminated in popular culture and mass media during the twentieth century. Through the analysis of national magazines and newspapers, television and film, and marketing and advertising materials from the housing, telecommunications, and office technology industries, Easy Living traces changing concepts about what it meant to work in the home. These ideas reflected larger social, political-economic, and technological trends of the times. Elizabeth A. Patton reveals that the notion of the home as a space that exists solely in the private sphere is a myth, as the social meaning of the home and its market value in relation to the public sphere are intricately linked.

Srinivas Aravamudan here reveals how Oriental tales, pseudo-ethnographies, sexual fantasies, and political satires took Europe by storm during the eighteenth century. Naming this body of fiction Enlightenment Orientalism, he poses a range of urgent questions that uncovers the interdependence of Oriental tales and domestic fiction, thereby challenging standard scholarly narratives about the rise of the novel.

Extraordinarily Ordinary offers a critical analysis of the production of a distinct form of twenty-first century celebrity constructed through the exploding coverage of reality television cast members in Us Weekly magazine. Erin A. Meyers connects the economic and industrial forces that helped propel Us Weekly to the top of the celebrity gossip market in the early 2000s with the ways in which reality television cast members fit neatly into the social and cultural norms that shaped the successful gossip formulas of the magazine. Us Weekly’s construction of the “extraordinarily ordinary” celebrity within its gossip narratives is a significant symptom of the broader intensification of discourses of ordinariness and the private in the production of contemporary celebrity, in which fame is paradoxically grounded in “just being yourself” while simultaneously defining what the “right” sort of self is in contemporary culture.