The Feminism Of Charlotte Perkins Gilman

" ... The first comprehensive assessment of Charlotte Perkins Gilman's richly complex feminism."--Back cover.

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.

Women and Economics - A Study of the Economic Relation Between Men and Women as a Factor in Social Evolution is a book written by Charlotte Perkins Gilman and published in 1898. It is considered by many to be her single greatest work, [1] and as with much of Gilman's writing, the book touched a few dominant themes: the transformation of marriage, the family, and the home, with her central argument: "the economic independence and specialization of women as essential to the improvement of marriage, motherhood, domestic industry, and racial improvement."[2]The 1890s were a period of intense political debate and economic challenges, with the Women's Movement seeking the vote and other reforms. Women were "entering the work force in swelling numbers, seeking new opportunities, and shaping new definitions of themselves."[3] It was near the end of this tumultuous decade that Gilman's very popular book emerged

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.

Unpunished is a story about, love, abuse, sex, betrayal, deceit, mental illness, murder and the unknown. It's NOT a pretty story, however it is one woman's true story. Donna was on her way home from work one afternoon when she stopped to pick up her mail. She tore excitedly into a package that she assumed was from her mother; instead photographs from her past tumbled onto her lap. She is thrown into the memories of her past, memories that are unwanted and of deeds that went unpunished!!

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

Early feminist author Charlotte Perkins Gilman was a pioneer not only in the realm of women's fiction, but also in a remarkable array of other ventures, including publishing, journalism, sociological research, and social reform advocacy. Like many of her works, including the gripping and oft-anthologized tale "The Yellow Wallpaper," the novel What Diantha Did deals with the challenges facing women in nineteenth-century society. In this novel, the protagonist solves the conflict between women's household duties and the financial imperative to work outside the home by opening a somewhat unusual boarding house.

Known to her contemporaries as a fervent advocate of reform on social, economic, and religious fronts, designated an "optimist reformer" by William Dean Howells, Charlotte Perkins Gilman (1860-1935) today is celebrated more as a writer of novels and short stories, particularly Herland and The Yellow Wallpaper, than as the author of the many social and political essays that originally made her so prominent. The essayists in this spirited volume return to Gilman's primary focus by reminding us that the main purpose of her writing was reform. Charlotte Perkins Gilman: Optimist Reformer looks at Gilman's legacy for women at the end of the twentieth century; in doing so its contributors reassess both her reformist ideas and our own views on fin de siecle feminism. Gilman scholarship has indeed moved on from the much needed recovery of her work to more critical treatments that allow us to acknowledge elements now regarded as unacceptable. As a result, the essayists here reappraise Gilman and her writings in ways that directly address hithertofore overlooked points, such as her racism, her almost willful disregard of issues of class, and her broadly essentialist view of women. The effect of this collection is thus twofold: Gilman and her works are both reassessed in light of current feminist thought and presented in the context of her own time. A constant theme is the recognition of her unwavering belief that things could be changed for the better; it is this persistent optimism that made her such a forceful voice for reform. Thus the essayists demonstrate that engagement with Gilman's reformist views is still pertinent for feminist debate today.

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'.