Seven charming tales explore relations between the sexes and offer witty insights from a feminist perspective. Includes the 1892 title classic, plus "Cottagette," "Turned," "Mr. Peebles' Heart," and more.
THE YELLOW WALL-PAPER is a short story by Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's physical and mental health.Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband has confined her to the upstairs bedroom of a house he has rented for the summer. She is forbidden from working and has to hide her journal from him, so she can recuperate from what he calls a “temporary nervous depression – a slight hysterical tendency,” a diagnosis common to women in that period.
'The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.' Written with barely controlled fury after she was confined to her room for 'nerves' and forbidden to write, Gilman's pioneering feminist horror story scandalized nineteenth-century readers with its portrayal of a woman who loses her mind because she has literally nothing to do. Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Charlotte Perkins Gilman (1860-1935). Gilman's work is available in Penguin Classics in The Yellow Wall-Paper, Herland and Selected Writings.
This sourcebook combines extracts from contemporary documents and critical reviews, providing an introduction, a publishing and critical history, a chronology of key events, a guide to further reading and original pictures.
Charlotte Perkins Gilman was America's leading feminist intellectual of the early twentieth century. The Yellow Wallpaper and Other Stories makes available the fullest selection ever printed of her short fiction, featuring the pioneering feminist masterpiece of the title, her stories contemporary with The Yellow Wallpaper, the fiction from her neglected California period (1890-95), and her later explorations of "the woman of fifty." Together, these impressive works throw new light on Gilman as a writer of fiction. About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
Wonderfully sardonic and slyly humorous, the writings of landmark American feminist and socialist thinker Charlotte Perkins Gilman were penned in response to her frustrations with the gender-based double standard that prevailed in America as the twentieth century began. Perhaps best known for her chilling depiction of a woman's mental breakdown in her unforgettable 1892 short story 'The Yellow Wall-Paper', Gilman also wrote Herland, a wry novel that imagines a peaceful, progressive country from which men have been absent for 2,000 years. Both are included in this volume, along with a selection of Gilman's major short stories and her poems. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. From the Trade Paperback edition.
A critical edition of Gilman's turn-of-the-century feminist novel presents both manuscript and magazine versions, critically edited, and printed in parallel.
In 1892, Charlotte Perkins Gilman published her landmark work, The Yellow Wall-Paper, generating spirited debates in literary and political circles on both sides of the Atlantic. Today this story of a young wife and mother succumbing to madness is hailed both as a feminist classic and a key text in the American literary canon. This sourcebook combines extracts from contemporary documents and critical reviews with incisive commentary, providing: an introduction to the political, biographical and medical contexts in which Gilman was writing a publishing and critical history of the work with extracts from the earliest reviews through to recent criticism a chronology of key biographical and contextual events an annotated guide to further reading original illustrations and photographs of the author and figures related to the story. The volume also constitutes an important critical edition, reprinting the complete original text as published in the New England Magazine in 1892, with extensive commentary.
In 1892, Charlotte Perkins Gilman published her landmark work, The Yellow Wall-Paper, generating spirited debates in literary and political circles on both sides of the Atlantic. Today this story of a young wife and mother succumbing to madness is hailed both as a feminist classic and a key text in the American literary canon. This sourcebook combines extracts from contemporary documents and critical reviews with incisive commentary, providing: *an introduction to the political, biographical and medical contexts in which Gilman was writing *a publishing and critical history of the work with extracts from the earliest reviews through to recent criticism *a chronology of key biographical and contextual events *an annotated guide to further reading *original illustrations and photographs of the author and figures related to the story. Filled with extensive commentary, as well as contextual and critical materials, this reprint of the complete original text--as published in the New England Magazine in 1892--constitutes an important critical edition.
Since its publication in 1892, Charlotte Perkins Gilman's "The Yellow Wall-paper" has always been recognized as a powerful statement about the victimization of a woman whose neurasthenic condition is completely misdiagnosed, mistreated, and misunderstood, leaving her to face insanity alone, as a prisoner in her own bedroom. Never before, however, has the story itself been portrayed as victimized. In this first critical edition of Gilman's "The Yellow Wall-paper," accompanied by contemporary reviews and previously unpublished letters, Julie Bates Dock examines the various myth-frames that have been used to legitimize Gilman's story. The editor discusses how modern feminist critics' readings (and misreadings) of the available documents uphold a set of legends that originated with Gilman herself and that promulgate an almost saintly view of the pioneering feminist author. The documents made available in the collection enable scholars and students to evaluate firsthand Gilman's claims regarding the story's impact on its first audiences. Dock presents an authoritative text of "The Yellow Wall-paper" for the first time since its initial publication. Included are a textual commentary, full descriptions of all relevant texts, lists of editorial emendations and pre-copy-text substantive variants, a complete historical collation that documents all the variants found in important editions after 1892, and a listing of textual sources for more than one hundred reprintings of the story in anthologies and textbooks. Other documents in the casebook that illuminate the story's publication and reception histories include Gilman's successive and varying accounts of the story's history, her diary and manuscript log entries and letters pertaining to the story, W. D. Howells's correspondence with Gilman and Horace Scudder, editor of The Atlantic Monthly, and his remarks on the story when he reprinted it in Great American Short Stories, and more than two dozen reviews of the story by Gilman's contemporaries. Taken together, the criticism, text, documents, and annotations constitute a rich and valuable contribution to Gilman scholarship, calling into question the feminist literary criticism that has helped to shape interpretations of a literary masterpiece.
Charlotte Perkins Gilman (1860-1935) was an American sociologist, author, poet, and lecturer whose influential work and unorthodox lifestyle made her an icon for future generations of feminists. Much of her work criticized common perceptions of the role of women in marriage and society, and advocated educational, financial, and cultural equality for women. This edition features "Herland", a utopian novel about the exploration of an isolated, entirely female, society by three American men. Also included is her most famous work, "The Yellow Wall-Paper", a semi-autobiographical story written by Gilman in 1890 after a severe bout of post-partum depression. The story of a woman who is driven insane after three months trapped in her home, deprived of any mental stimulation, was a direct criticism of the doctor who "treated" Gilman's depression. The stories and poems in this collection were taken from newspapers, periodicals and Gilman's self-published magazine, "The Forerunner".
Essay from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Tubingen, language: English, abstract: When you read The Yellow Wall-Paper, written by Charlotte Perkins Gilman, the first time it gives you on one hand a feeling of compassion for the narrator; and on the other hand you feel anger for the rude way she is treated by her husband and doctor and for the injustice the narrator has to bear. Nowadays, where it would be unimaginable for a woman to accept this “destiny” you cannot understand why the narrator does not defend herself against her medical therapy and the way her husband is treating her. In the 19th century, when this story probably takes place, it was the most usual way to cure women with mental problems. To analyze the story it must be related to the context of the 19th century and not of these days. The medical knowledge and the relationship between husband and wife were just absolutely different than today. By looking on marriage and medicine in the time Charlotte Perkins Gilman wrote “The Yellow Wall-Paper” it becomes clear that neither her husband nor her medical therapy can be called “unfair” or “unjust” – at least not in the historical context.
Seminar paper from the year 2015 in the subject American Studies - Literature, grade: 1,7, University of Duisburg-Essen (Institut für Anglophone Studien), language: English, abstract: “The Yellow Wallpaper” gives ample scope for interpretation, and therefore a great amount of (sometimes conflicting) readings emerged since its publication. As this term paper attempts to reveal the way Gilman criticizes the suppression of women in her days, the discussion will mainly include the analytical work of feminist critics. For the inquiry, the following questions will be central: 1) How does Gilman use language to criticize the patriarchal structures presented in the story? 2) In which way can the heroine’s behavior and progress be interpreted as a reflection of the rising feminist activism? 3) To what extend does the image of the woman in the wallpaper convey meaning?
Examination Thesis from the year 2008 in the subject American Studies - Literature, grade: 1,0, University of Tubingen (Institut für Amerikanistik), 58 entries in the bibliography, language: English, abstract: The nineteenth century was in love with duality. A strict separation between the public and the private spheres, that at the same time meant sharply separated spheres of action for men and women, is only one expression of the general be-lief in fixed binary oppositions that characterized both American and British so-ciety in the Victorian era. Since the innate and natural difference between man and woman, as the most compelling duality, was similarly taken for granted, ni-neteenth-century society was also structured and determined by a rigid gender-role differentiation. It should hardly surprise us, then, that writings of the mid- to late-nineteenth century are especially preoccupied with the motif of the double. While this fasci-nation with double figures could on the one hand be accounted for with the Victo-rian belief in the essential duality of life, the motif’s proliferation in works written at the turn of the century may also be interpreted as a symptom of the cultural transformation that dominated this era. In America, especially, the rapid growth of the nation following the Reconstruction period, together with the ensuing technological revolution, the rise of industrial capitalism, and the subsequent emergence of new social classes brought about a climate of change that stimulated both anxiety and expectation. These conflicting impulses contributed to a general feeling of fragmentation that, in literature, could best be expressed with the characters’ self-division or self-duplication (cf. Miyoshi ix-xix). Grave anxieties, however, were also prompted by the changes women sought, for rigid gender lines were feared to dissolve by the 1880s with women’s nascent emancipation and the emergence of the so-called ‘new woman.’ While political oratory and journalism had by then become an important factor in American society of the time, fe-male orators speaking out for equal rights, though growing in numbers, were still regarded an anomaly up until much later (cf. Levander 1-11).