The Yellow Wallpaper And Other Stories Of Liberation

Charlotte Perkins Gilman's short story "The Yellow Wallpaper" is one of the key texts in American women's fiction and also a rallying cry for feminism. Since its original printing in 1892, it has been routinely anthologized in collections of women's literature, American literature, and textbooks. This volume gathers nine other equally momentous stories by a diverse group of renowned American women authors who changed the world with their compelling tales. These ten stories testify to the power of the imagination to create personal transformation and political change. Charlotte Perkins Gilman (1860-1935) was an American author of novels, short stories, poetry, and nonfiction. She was also a utopian feminist who gained fame and developed a social circle of like-minded activists and writers of the feminist movement as she lectured widely for social reform. She is most known today for her semi-autobiographical short story "The Yellow Wallpaper."Ulrich Baer earned a B.A. from Harvard and a Ph.D. from Yale. A widely published author, he is University Professor at New York University, and has been awarded Guggenheim, Getty, and Alexander von Humboldt fellowships. He has written numerous books on poetry, photography and cultural politics, and edited and translated Rainer Maria Rilke's The Dark Interval, Letters on Life, and Letters to a Young Poet. He hosts leading writers and artists on the "Think About It" podcast. In the Warbler Press Contemplations series, he has published: Nietzsche, Rilke, Dickinson, Wilde, and Shakespeare on Love.

A collection of twelve short stories from American feminist author Charlotte Perkins Gilman, including her best-known work, "The Yellow Wallpaper."

"The Yellow Wallpaper" is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.

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.

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.

Herland is a utopian novel from 1915, written by feminist Charlotte Perkins Gilman. The book describes an isolated society composed entirely of women, who reproduce via parthenogenesis (asexual reproduction). The result is an ideal social order: free of war, conflict, and domination. It was first published in monthly installments as a serial in 1915 in The Forerunner, a magazine edited and written by Gilman between 1909 and 1916, with its sequel, With Her in Ourland beginning immediately thereafter in the January 1916 issue. The book is often considered to be the middle volume in her utopian trilogy; preceded by Moving the Mountain (1911), and followed by, With Her in Ourland (1916). It was not published in book form until 1979.

A compelling study of the Southern Oregon Women's Community, one of the most vital and dynamic alternative communities to take root during America's back to the land movement of the 1970s. The editors provide an in-depth analysis of the roots, heart, and spirit of this lively and largely lesbian circle of women which extends from the border of Northern California up the I-5 corridor through Eugene, Oregon.

In Living a Feminist Life Sara Ahmed shows how feminist theory is generated from everyday life and the ordinary experiences of being a feminist at home and at work. Building on legacies of feminist of color scholarship in particular, Ahmed offers a poetic and personal meditation on how feminists become estranged from worlds they critique—often by naming and calling attention to problems—and how feminists learn about worlds from their efforts to transform them. Ahmed also provides her most sustained commentary on the figure of the feminist killjoy introduced in her earlier work while showing how feminists create inventive solutions—such as forming support systems—to survive the shattering experiences of facing the walls of racism and sexism. The killjoy survival kit and killjoy manifesto, with which the book concludes, supply practical tools for how to live a feminist life, thereby strengthening the ties between the inventive creation of feminist theory and living a life that sustains it.