This early work by Charlotte Perkins Gilman was originally published in 1935. It is the autobiography of the American sociologist, novelist and poet who is best remembered for her semi-autobiographical short story 'The Yellow Wallpaper'.
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 biography of Charlotte Perkins Gilman (1860-1935): Beecher-descendent, zealous reformer, exhilarating lecturer, prolific writer, scandalous divorcee, "unnatural mother," international celebrity, and life-long controversialist.
"""The Yellow Wallpaper"" is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.[1] It is regarded as an important early work of American feminist literature, due to its illustration of the attitudes towards mental and physical health of women in the 19th century.Narrated in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of air, so she can recuperate from what he calls a ""temporary nervous depression - a slight hysterical tendency"", a diagnosis common to women during that period"
Her highly acclaimed first edition of verse, In This Our World (1893), earned her instant celebrity and was followed by such groundbreaking works as Women and Economics (1898) and The Home (1903). At the time of her death, Gilman was in the process of preparing a second volume of her poetry for publication. Although she grew increasingly weak during the final stages of her three-year battle with breast cancer, Gilman's resolve to see her second book of poetry in print never diminished.
A fictional autobiography of an 18-year-old who attempts to overcome hardship by way of her intellect and strong-mindedness, ‘Benigna Machiavelli’ tells the story of her brave battle to free her family from the control of their abusive father. Set in America at the turn of the 20th century, this important work follows Benigna’s journey to womanhood, and her courageous break free from society’s shackles. A compelling story, ́Benigna Machiiavelli ́ will surely delight anyone who is familiar with Charlotte Perkins Gilman's other works. Charlotte Perkins Gilman, also known as Charlotte Perkins Stetson (1860-1935), was an American feminist, writer, publisher, and advocate for social reform. She wrote novels, short stories, poetry, and nonfiction, and has served as a role model for future generations of feminists. She is best remembered for her semi-autobiographical short story, ‘The Yellow Wallpaper’ (1899), which she wrote after suffering a severe bout of postpartum depression. Other works of note include her feminist utopian trilogy, ‘Moving the Mountain’ (1911), ‘Herland’ (1915), and ‘With Her in Our Land’ (1916), while her non-fiction titles contain the pioneering ‘Women and Economics’ (1898), ‘The Home: Its Work and Influence’ (1903) and ‘Does a Man Support His Wife?’ (1915). Gilman also published a collection of poems addressing women’s issues, called ‘In This Our World’ (1993).
Reflecting on Montaigne, Virginia Woolf remarked, "The most common actions-a walk, a talk, solitude in one's own orchard-can be enhanced and lit up by the association of the mind." In Quotidiana, Patrick Madden illuminates these common actions and seemingly commonplace moments, making connections that revise and reconfigure the overlooked and underappreciated.