It was originally seen as a Poe-like gothic tale, but it is now considered a classic story of a woman suffering postpartum depression and improperly treated with isolation and inactivity. Narratives of supernatural horror were a staple of magazines at the turn of the century, and Gilman's story—published in in The New England Magazine, in as a chapbook, and later by William Dean Howells in a story collection—was read without attention to the gender of the unnamed protagonist. It was revived by Feminist Press after being out of print for 70 years and is now one of the most often read and written-about stories of feminist consciousness. Gilman, an influential economist, lecturer, and publisher, experienced depression from the time of her first marriage to Charles Walter Stetson, and the depression intensified after their daughter was born.
Photograph by Frances Benjamin Johnston c. Inshe married the artist Charles Walter Stetsonafter initially declining his proposal because a gut feeling told her it was not the right thing for her. Charlotte Perkins Gilman suffered a very serious bout of post-partum depression.
This was an age in which women were seen as "hysterical" and "nervous" beings; thus, when a woman claimed to be seriously ill after giving birth, her claims were sometimes dismissed. The two divorced in She contacted Houghton Gilman, her first cousinwhom she had not seen in roughly fifteen years, who was a Wall Street attorney.
They began spending a significant amount of time together almost immediately and became romantically involved. While she would go on lecture toursHoughton and Charlotte would exchange letters and spend as much time as they could together before she left.
In her diaries, she describes him as being "pleasurable" and it is clear that she was deeply interested in him. Their marriage was nothing like her first one. In both her autobiography and suicide note, she wrote that she "chose chloroform over cancer" and she died quickly and quietly.
After moving to Pasadena, Gilman became active in organizing social reform movements. Throughout that same year,she became inspired enough to write fifteen essays, poems, a novella, and the short story The Yellow Wallpaper.
For instance, many textbooks omit the phrase "in marriage" from a very important line in the beginning of story: The story is about a woman who suffers from mental illness after three months of being closeted in a room by her husband for the sake of her health.
This story was inspired by her treatment from her first husband. Silas Weir Mitchelland she sent him a copy of the story. For the twenty weeks the magazine was printed, she was consumed in the satisfying accomplishment of contributing its poems, editorials, and other articles.
This book discussed the role of women in the home, arguing for changes in the practices of child-raising and housekeeping to alleviate pressures from women and potentially allow them to expand their work to the public sphere.
In she wrote one of her most critically acclaimed books, The Home: Its Work and Influence, which expanded upon Women and Economicsproposing that women are oppressed in their home and that the environment in which they live needs to be modified in order to be healthy for their mental states.
In between traveling and writing, her career as a literary figure was secured. By presenting material in her magazine that would "stimulate thought", "arouse hope, courage and impatience", and "express ideas which need a special medium", she aimed to go against the mainstream media which was overly sensational.
The magazine had nearly 1, subscribers and featured such serialized works as What Diantha DidThe CruxMoving the Mountainand Herland.
The Forerunner has been cited as being "perhaps the greatest literary accomplishment of her long career". Her autobiography, The Living of Charlotte Perkins Gilman, which she began to write inappeared posthumously in Already susceptible to depression, her symptoms were exacerbated by marriage and motherhood.
A good proportion of her diary entries from the time she gave birth to her daughter until several years later describe the oncoming depression that she was to face. Have your child with you all the time Lie down an hour after each meal. And never touch pen, brush or pencil as long as you live.
By early summer the couple had decided that a divorce was necessary for her to regain sanity without affecting the lives of her husband and daughter.
She writes of herself noticing positive changes in her attitude. She returned to Providence in September. She sold property that had been left to her in Connecticut, and went with a friend, Grace Channing, to Pasadena where the cure of her depression can be seen through the transformation of her intellectual life.
Gilman argued that male aggressiveness and maternal roles for women were artificial and no longer necessary for survival in post-prehistoric times. She wrote, "There is no female mind. The brain is not an organ of sex. Might as well speak of a female liver. From childhood, young girls are forced into a social constraint that prepares them for motherhood by the toys that are marketed to them and the clothes designed for them.
She argued that there should be no difference in the clothes that little girls and boys wear, the toys they play with, or the activities they do, and described tomboys as perfect humans who ran around and used their bodies freely and healthily. She believed that womankind was the underdeveloped half of humanity, and improvement was necessary to prevent the deterioration of the human race.
In she published Women and Economics, a theoretical treatise which argued, among other things, that women are subjugated by men, that motherhood should not preclude a woman from working outside the home, and that housekeeping, cooking, and child care, would be professionalized.
Housework, she argued, should be equally shared by men and women, and that at an early age women should be encouraged to be independent.The Yellow Wall Paper by Charlotte Perkins Gilman written in is considered a story that is a leading feminist view about a woman's place in a traditional marriage during that time period.
Gilman herself was an intellectual voice and staunch supporter of women's rights in marriage/5. Charlotte Perkins Gilman; also Charlotte Perkins Stetson, was a prominent American feminist, novelist, writer of short stories, poetry, and nonfiction, and a lecturer for social reform.
She was a utopian feminist and served as a role model for future generations of feminists because of her unorthodox concepts and lifestyle. Her best remembered . The Main Themes of Charlotte Perkins Gilman's The Yellow Wallpaper The short story "The Yellow Wallpaper" is about a woman who is suffering from depression (probably post-natal) and a nervous breakdown.
Start studying creative writing. Learn vocabulary, terms, and more with flashcards, games, and other study tools. Why do you think Charlotte Perkins Gilman wrote The Yellow Wallpaper?
for women suffering with depression after having a baby. Aug 02, · Gilman's most famous work, her short story "The Yellow Wallpaper", published in , is about a woman suffering from mental illness after of being confined to a bedroom in the attic of a vacation home by her husband, John, for the sake of her health.
She becomes obsessed with the room's repulsive, yet alluring yellow schwenkreis.coms: "The Yellow Wallpaper", by Charlotte Perkins Gilman: The Yellow Brick Road to Insanity Words | 3 Pages The story, "The Yellow Wallpaper", by Charlotte Perkins Gilman reflects society's attitude and treatment of mental health issues in the late s.