Spark Joy? Compulsory Happiness and the Feminist Politics of Decluttering

Spark Joy? Compulsory Happiness and the Feminist Politics of Decluttering By Laurie Ouellette Abstract This essay analyzes the Marie Kondo brand as a set of neoliberal techniques for managing cultural anxieties around over-consumption, clutter and the family. Drawing from critical discussions of consumer culture and waste, as well as feminist scholarship on compulsory happiness and women’s labor in the home, it argues that Marie Kondo’s “joyful” approach to “tidying up” presents pared-down, curated consumption as a lifestyle choice that depends on women’s work, even as it promises to mitigate the stresses of daily life and facilitate greater well-being. Keywords: Marie Kondo, happiness, clutter, over-consumption, neoliberalism, post-feminism, housework, danshari Ouellette, Laurie: “Spark Joy? Compulsory Happiness and the Feminist Politics of Decluttering”, Culture Unbound, Volume 11, issue 3–4, 2019: 534–550. Published by Linköping University Electronic Press: http://www.cultureunbound.ep.liu.se Culture Unbound Journal of Current Cultural Research “The ideal of happiness has always taken material form in the house . .” --Simone de Beauvoir In the debut episode of the Netflix series Tidying Up With Marie Kondo, we meet the Friend family in their suburban, one-story bungalow on the outskirts of Los Angeles. Kevin is a sales manager for a restaurant supply company who works 50-60 hours per week and “then some on the weekends.” Rachel works part-time from home three days a week, while also caring for their two toddlers, Jaxon and Ryan, who is still nursing. The parents confess to fighting constantly about money and housework. Rachel is overwhelmed by the “chaos” of everyday life: With small children to watch over as well as waged labor to perform, dishes go unwashed, toys overflow the playroom, and dirty clothes pile up. Kevin resents the chronic mess, and is upset because Rachel has hired someone to help with the laundry— an expense he feels they could avoid. While economic instability, overwork and an uneven division of labor in the home are on full display, the premise of the program—which is billed as a home makeover—prompts the Friends to attribute their malaise to an overabundance of household goods. Rachel is shocked when prompted to place every item of clothing she owns in a giant pile and is confron- ted with the scale of her wardrobe; “I want to appreciate what I have instead of needing more things,” she tells decluttering expert Marie Kondo, who advises her to keep only those items that “spark joy” for her and to discard the rest. Kevin, who has fewer belongings, blames Rachel for the chronic mess, complaining about the children’s overstuffed closets and protesting the excessive number of decorati- ve pillows on the couple’s bed. Setting the template for future episodes, Rachel and Kevin, who are thirty- something and white, are coached for six weeks on the trademarked KonMari method of “tidying up.” This requires a massive purge of household possessions, followed by instruction on techniques for discarding, organizing and storing re- maining household items on a daily basis. The method is based on the notion that every material object one possesses should “spark joy”— a sense of delight that is simultaneously physical and emotional--and the promise that curating the home in such a way will bring “life-changing magic” to its inhabitants. “Through tidying up, you can rethink the way you live, think about your work or your interpersonal relationships, and consider how you want to live from this point on,” Kondo explains in the publicity for her blockbuster advice book The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing (2014). Kondo en- lists the Friends in a five-step process for sorting and discarding clothes, books, paper, general household items, and personal mementos. She also offers televised lessons (accentuated with graphics and close-ups) on folding and storing clothes, organizing kitchen drawers and other tidying activities. In between Kondo’s visits Spark Joy? 535 Culture Unbound Journal of Current Cultural Research to the bungalow, the Friends record themselves on cell phone cameras, capturing amateur footage of themselves as they figure out what possessions spark joy, fill dozens of oversized trash bags with throwaway items, and try to implement Kon- do’s methods on their own. This unpolished self-documentation is presented as an “authentic” window into the process of tidying up, and is interspersed with professionally-filmed scenes in every episode. Given the melodramatic conventions of reality television, it is not surprising that tensions flare. Shortly into the episode, Rachel confronts Kevin, telling him that it is unrealistic to expect her to keep the house tidy. She melts down emo- tionally after Kondo assigns her the kitchen—the messiest room in the house— to declutter and organize. In a frustrating moment captured on her cell phone, Rachel admits—with more than a hint of sarcasm—that the KonMari method of folding laundry does not spark joy for her. By the time of the reveal, however, these resentments have been largely smoothed over. On Kondo’s final visit, the Friends display their pared down closets and storage spaces, and declare a renewed sense of harmony and happiness. Rachel is exhausted, but also relieved to have confron- ted her consumption habits, and pleased that Kevin finds decluttering sexy and has “been more romantic lately.” Both parents report that the KonMari method has reduced their bickering and allowed them to enjoy themselves more as a family. However, Rachel alone accepts responsibility for keeping up the momentum, vowing to do what it takes to “keep the good feeling going.” This essay analyzes Tidying Up with Marie Kondo as a set of techniques for managing anxieties around over-consumption, clutter and the family. Drawing from critical discussions of consumer culture and waste, as well as feminist scholarship on compulsory happiness and women’s labor in the home, I argue that Kondo’s “joyful” approach to downsizing household possessions does little to challenge the priorities or consequences (fast consumption, environmental damage, labor exploitation, socio-economic inequality) of free market capitalism. On the con- trary, the Kondo brand, as mediated in particular by the Netflix series, presents pared-down, curated consumption as a lifestyle choice that depends on women’s work, even as it promises to mitigate the stresses of daily life and generate personal well-being. As shown in the debut episode, social problems and tensions are folded into the problematization of clutter, and women in particular are called upon to solve these issues by implementing the Kondo regimen in the service of families. In sync with neoliberal and postfeminist mantras (Gill 2007, Rottenberg 2018) emphasizing choice, personal responsibility and self-empowerment over collective action and social change, the structural problems that women and families face (lack of affordable daycare, a dismantled safety net, the persistent sex- ual division of labor, overwork and precarity) are displaced onto the mounting “problem” of the cluttered family home. This is a problem to be solved mainly by Spark Joy? 536 Culture Unbound Journal of Current Cultural Research women, to whom Kondo offers “not merely rules on how to sort, organize and put things away,” but also a step-by-step guide to acquiring a new, more positive mindset. “Once you have experienced what it’s like to have a truly ordered house, you’ll feel your whole world brighten . This is what I call the magic of tidying up. Not only will you never be messy again, but you’ll also get a new start on life” (Kondo 2014: 5-7). Just as consumption has been feminized historically, women have increa- singly been called upon to solve the “unbearable heaviness” of household clutter (Luchessi 2019), which has intensified since the 1990s as a concern for research- ers, psychologists, lifestyle gurus, the burgeoning decluttering industry and reality television. Targeting women as the assumed caretakers of the cluttered family home, Tidying Up with Marie Kondo presents an Eastern-inflected twist on qua- si-minimalist lifestyles by linking the labor of discarding household possessions to spiritual rituals, bodily sensations, and promises of happiness. The Netflix series glosses over the gender and class politics of consumption and housework (Strasser 1999, Federici 2012), but it does propose the compelling possibility that women can work domestic and emotional “magic” by embracing Kondo’s techniques for minimizing, decluttering and “tidying up.” This possibility is thwarted by the conventions of reality television, which demand authenticity and melodrama signi- fied by interpersonal conflict, trauma and emotional discord (Dubrofsky 2009). Despite Kondo’s cheerleading (Toomer 2019), the packaging of her regimen as a way to transform the “chaotic lives of people at a crossroads” brings it square- ly into reality television’s storytelling orbit (Rose 2018). By turning the KonMari method into televised stories about real people, Tidying Up simultaneously lends entertainment value to the problematization of clutter and carries the potential to kill joy, in the sense of questioning assumptions and norms about family, gender, consumption, and happiness (Ahmed 2010). Mobilizing women’s domestic labor in the service of what Sara Ahmed calls “happy objects,” the Netflix series con- nects neoliberal and postfeminist sensibilities to her clutter-free lifestyle template, and voices (however partially) female complaints (Berlant 2008) about societal messes that decluttering cannot fix. Marie Kondo and the Problematization of Clutter Marie Kondo was a twentysomething, Tokyo-based professional organizer with a backlog of clients when The Life-Changing Magic of Tidying Up was first published in Japanese in 2011. An instant sensation in Japan, the book was translated into multiple languages and published in more than 30 countries; it was a bestseller in Europe prior to its 2014 publication in the United States, where it has enjoyed 144 weeks (to date) on the New York Times best seller list.

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