She has just given birth to their child. He labels her postpartum depression as »hysteria.« He rents the attic in an old country house. Here, she is to rest alone – forbidden to leave her room. Instead of improving, she starts hallucinating, imagining herself crawling with other women behind the room's yellow wallpaper. And secretly, she records her experiences. The Yellow Wall-Paper [1892] is the short but intense, Gothic horror story, written as a diary, about a woman in an attic – imprisoned in her gender; by the story. Charlotte Perkins Gilman's feminist novella was long overlooked in American literary history. Nowadays, it is counted among the classics. CHARLOTTE PERKINS GILMAN (1860–1935), born in Hartford, Connecticut, was an American feminist theorist, sociologist, novelist, short story writer, poet, and playwright. Her writings are precursors to many later feminist theories. With her radical life attitude, Perkins Gilman has been an inspiration for many generations of feminists in the USA. Her most famous work is the short story The Yellow Wall-Paper [1892], written when she suffered from postpartum psychosis.
A wealth of design inspiration for any home: wallpaper styles to suite every taste, from nostalgic floral prints to playful retro revivals. While it has long been an essential element of interior decor, wallpaper is currently experiencing a creative boom. This everyday material has always reflected social shifts as well as changing fashions, and now designers everywhere are rediscovering its versatility, using it to achieve a variety of imaginative effects. It can add texture, warmth, wit, or personality to any space, becoming a tranquil backdrop or a striking conversation piece. A room may be papered with a profusion of patterns, or a wallpaper mural can make a bold statement, even blurring the boundaries between design and art installation. This book explores the art of wallpaper from its historical beginnings to the present day. Beginning with the handcrafted papiers peints of the eighteenth century through the Arts and Crafts movement, modernism, and Pop art, it traces the influences behind today’s popular motifs and showcases a dazzling selection of the very best in contemporary wallpaper. Some designers are reviving and reinventing traditional craft techniques while others embrace the latest in digital printing technology, even incorporating glow-in-the-dark effects or LED lights.
Thirteen-year-old Floey Packer feels like she’s always blended into the background. After all, she’s the frumpy younger sister of the Fabulous Lillian, a girl so popular and spontaneous that their house is always packed with a gaggle of admirers. But when Lillian suddenly gets married and heads off on a month-long honeymoon, Floey decides it’s her time to shine. Armed with her trusty diary, some books on Zen philosophy, and a jar of Deep Wild Violet hair dye, Floey embarks on a self-improvement mission—with excellent results. People are finally noticing her, especially the boy who really counts. But then disaster strikes. Are people noticing Floey because she’s so fabulous—or because her evil cousins posted her diary on the Internet? And how will Floey ever repair the damage?
If you love to colour, and enjoy experimenting with palettes and combinations, then this surprising and beautiful colouring book is for you. Discover twenty wallpapers in classic designs spanning the decades, from the 18th century to the present day. For each design there are several options to try different colour combinations, and in addition, each is accompanied by a room furnished for the era. The walls are yours to complete in the colours of your choice. And watch out for signs of their occupants: they have left a few clues!
Drawing on the extensive collections of the Cooper-Hewitt Museum, the Smithsonian Institution's National Museum of Design, as well as from sources across America and Europe, the author documents the changing tastes in pattern and color preferences. Richly illustrated with 102 color plates and over 245 black and white photographs, this book is a stunning achievement.
The story details the descent of a young woman into madness. Her supportive, though misunderstanding husband, John, believes it is in her best interests to go on a rest cure after experiencing symptoms of "temporary nervous depression". The family spends the summer at a colonial mansion that has, in the narrator's words, "something queer about it". She and her husband move into an upstairs room that she assumes was once a nursery. Her husband chooses for them to sleep there due to its multitude of windows, which provide the air so needed in her recovery. In addition to the couple, John's sister Jennie is present; she serves as their housekeeper. Like most nurseries at the time the windows are barred, the wallpaper has been torn, and the floor is scratched. The narrator attributes all these to children, as most of the damage is isolated to their reach. Ultimately, though, readers are left unsure as to the source of the room's state, leading them to see the ambiguities in the unreliability of the narrator.The narrator devotes many journal entries to describing the wallpaper in the room - its "yellow" smell, its "breakneck" pattern, the missing patches, and the way it leaves yellow smears on the skin and clothing of anyone who touches it. She describes how the longer one stays in the bedroom, the more the wallpaper appears to mutate, especially in the moonlight. With no stimulus other than the wallpaper, the pattern and designs become increasingly intriguing to the narrator. She soon begins to see a figure in the design, and eventually comes to believe that a woman is creeping on all fours behind the pattern. Believing she must try to free the woman in the wallpaper, the woman begins to strip the remaining paper off the wall.After many moments of tension between John and his sister, the story climaxes with the final day in the house. On the last day of summer, she locks herself in her room to strip the remains of the wallpaper. When John arrives home, she refuses to unlock the door. When he returns with the key, he finds her creeping around the room, circling the walls and touching the wallpaper. She excitedly exclaims, "I've got out at last... in spite of you and Jane", causing her husband to faint as she continues to circle the room, creeping over his inert body each time she passes it, believing herself to have become the personification of the woman trapped behind the yellow wallpaper.
Wallpaper has burst back onto the interiors scene and shows no sign of departing.Here, Charlotte Abrahams has scoured the interior design world to create a stunning visual compendium of modern wallpapers.
This version of 'Shadows from the Walls of Death' is a tribute to Robert Clark Kedzie, who produced the originals of which there are now only two left in existence. They are located at the University of Michigan and Michigan State University. The originals are approximately 22 x 30 inches containing a title page and an 8 page preface followed by 86 samples cut from rolls of arsenic impregnated wallpaper. The book is sealed in a protective container and each individual page is encapsulated. This particular edition does not actually contain any arsenic. Further to that the content of this volume including both text and images are for entertainment purposes.
