Many of George Saunders' works focus on capitalism, which is a recurring concept in several of Saunders' Pastoralia short stories. However, Pastoralia not only focuses on the general functioning of capitalism, but also lists the difficulties faced by the poorer working class. Saunders slowly reveals the reality of the poor throughout the book and how each individual must sacrifice a part of their humanity to simply survive. The narrators of many short stories take on unusual and sometimes unrealistic jobs—such as stripping naked or playing the role of a living caveman—while facing the same ordeals as wealthier, working-class citizens, if not more. By developing unrealistic jobs but realistic experiences, Saunders “creates an environment that is both profoundly strange and uncomfortably familiar” (Hower). He meticulously creates such environments in works like “Pastoralia” and “Sea Oak,” where he denounces the injustice of capitalism through the exploitation of the impoverished working class. Say no to plagiarism. Get a Custom Essay on “Why Violent Video Games Should Not Be Banned”? Get an Original Essay In “Pastoralia” and “Sea Oak,” the main characters are “pathetic, trapped in soul-sucking existences, with degrading jobs and dysfunctional relationships” (Magee). Despite their excruciating jobs, they are motivated to pursue their careers due to financial shortages in their country. The narrator of “Pastoralia” works at a fairgrounds as a living caveman. He is expected to assume his role as completely as possible by doing things like skinning and eating a dead goat, not speaking English when on display, and even living on the job in a separate area. His job is incredibly demanding and humiliating, but it is revealed that he has a sick child and a wife at home who depend on the paychecks he receives. Nelson, the narrator's son, suffers from an illness that causes his muscles to stiffen to the point of immobility. Doctors prescribed a medication that eases the stiffness but also causes painful muscle swelling. While describing the situation, the narrator states, "They have a name for what they initially thought, but when the drugs made it swell, Dr. Evans had to admit that whatever he had, it didn't That wasn't what they had. I originally thought that was the case” (Saunders 18). Because the family is cash-strapped, they may not be able to afford a doctor who can properly diagnose and treat Nelson, and so they settle for affordable – if lackadaisical – treatment and unfairly misdiagnoses him. In a fax to the narrator, his wife Louise mentions Nelson's health and that "Evemplorin has gone up to $70 for 120 units." My God, it’s all drudgery, drudgery, drudgery, you should see me, I look like I’m about ninety” (Saunders 34). This once again implies that they are settling for the cheapest treatment options for Nelson, because in modern times, $70 is a pretty cheap price for a drug - especially for a drug intended to treat a disease that rare - and the fact that Louise talks about it with such exasperation indicates that rising prices could break the bank. Later in the fax she also states that "a large strip of trim or covering fell off as we were getting into the car and almost killed the twins." The insurance said it wouldn't pay. What should I do, should Iforget it? (Saunders 34-35). Louise asking whether or not she should forget about the trimmings falling out of the house is her way of asking if the narrator thinks he has enough money to fix them, now that the price of Nelson's medicine has gone up. Louise doesn't work, so all necessities must be financed by the narrator, meaning his job may require him to do ridiculous things and he must follow orders or risk being "remixed" (Saunders 16) . If the narrator's family can't afford to repair their house because of Nelson's medication, they probably can't afford much else, leaving the narrator no choice but to stay at home. work, even if the treatment is unfair. Like the narrator of “Pastoralia,” the unnamed narrator of “Sea Oak” also works degrading work. As a stripper at Joysticks, he relies on the advice of his clients to support himself and his family. Although the narrator is not the only one bringing a salary into his household, his income is the largest, and six people—himself, Aunt Bernie, Min, Jade, Troy, and Mac—depend on his income, not only three. as in “Pastoralia”. Aunt Bernie also earns a salary, but she was recently demoted after fifteen years from cashier to hostess in Drugtown, reducing her already meager salary. When Aunt Bernie dies, it places even greater financial strain on the family, because now the narrator must also cover the costs of Aunt Bernie's funeral. The narrator experiences emotional turmoil following Aunt Bernie's death, but not enough to discourage him from going to work the next day. However, his boss, Mr. Frendt, notices his lack of enthusiasm while trying to get a table and brushes him aside. When the narrator explains what happened and that he needs money more than ever, Frendt responds, "Am I supposed to let you dance without vigor just because you need money?" (Saunders 111). Frendt perfectly embodies the injustice of capitalism towards the working class due to their indifferent attitude and refusal to help unless services are offered in return. Later, the undead Aunt Bernie also serves as a symbol of capitalism's injustice to the working class. When Aunt Bernie returns from the grave, she warns the family that if they don't move somewhere safer than Sea Oak, "Troy is going to get caught in the crossfire in the backyard." In September. September eighteenth. He's going to get thrown from his little tricycle. With a leg twisted beneath him and blood pouring from his ear” (Saunders 119). The narrator feels the need to protect his family and move them out of Sea Oak, and is "fueled by care, but also by patriarchal initiative and a sense of masculine responsibility" (Rando). The narrator is the only man in the house, which would traditionally indicate that he is the provider. However, his need to take on such a traditional masculine role may also be fueled by the emasculation he experiences in his job. The narrator feels like he is not manly enough because of his job and that he must prove his masculinity by providing for his family. Nonetheless, there is no imaginable way the family would be able to move at the narrator's current income rate, so Aunt Bernie concocts a plan to move them. To speed up the process, she tells the narrator to "start showing your dick." You will show it and show it. You go to a lady's house, if she wants to see it, if she pays to see it, I will make a thumbprint on her forehead. You see the thumbprint, you ask” (Saunders 111). The narrator sees a woman with a.