Zoya Pirzad’s I’ll Turn Off the Lights occupies a distinguished place in contemporary fiction for its subtle portrayal of domestic life’s boundaries. By bringing into dialogue Rita Felski’s concept of “gendered modernity”—a focus on the female lifeworld as a central site for modernity’s emergence—and the “aesthetics of everyday life” as a domain of sensory meaning, this study demonstrates how Pirzad, through a mind-centered narrative form, relocates everyday experience from the margins to the center of female subjectivity. The research adopts a descriptive-analytical method with a feminist post-phenomenological approach. The findings reveal that the novel represents gendered modernity not in the grand public sphere, but within the texture of domestic relations, where the rhythmic repetition of everyday acts reflects a “gendered cyclical temporality” set against the linear, development-oriented temporality of masculine modernity. Within this framework, the “female body” functions as a site where cultural discipline and lived perception intersect, becoming worn down under the pressure of constant “cognitive load” and “emotional labor” required to maintain the family’s emotional balance. Ultimately, the study shows that female agency and resistance in the novel do not take the form of grand heroic acts of rebellion; rather, they are embodied in the sphere of “affirmative resistance” through minor negotiations, sensory materialism in encounters with objects, and the use of aesthetic creativity in redefining domestic space. In this way, the novel challenges the traditional binary between the private sphere (home) and the political sphere (power).