Hill puts the letters into biographical and historical context in an introductory essay that also explains their theoretical and historical importance. The edited and annotated letters then follow in chapters, each preceded by an introductory essay. The book concludes with a biographical sketch of the remaining thirty-five years of Gilman's life, together with an assessment of the letters' historical and biographical significance."--BOOK JACKET.
THE CHARLOTTE PERKINS GILMAN READER is an anthology of fiction by one of America's most important feminist writers. Probably best known as the author of "The Yellow Wallpaper," in which a woman is driven mad by chauvinist psychiatry, Gilman wrote numerous other short stories and novels reflecting her radical socialist and feminist view of turn-of-the-century America. Collected here by noted Gilman scholar Ann J. Lane are eighteen stories and fragments, including a selection from Herland, Gilman's feminist Utopia. The resulting anthology provides a provocative blueprint to Gilman's intellectual and creative production.
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.
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'.
A selection of short fiction by the renowned feminist author, including the classic title story about a woman whose "rest cure," itself symptomatic of the suppression of women's intellectual powers, leads from depression to insanity.
An anthology of fiction by one of America's important feminist writers, the author of the Yellow Wallpaper, in which a woman is driven mad by chauvinist psychiatry. Collected here, by Lane, are 18 stories and fragments, including a selection from Herland, Gilman's feminist Utopia.
Gilman's diaries document the struggles she endured: the loss of a close childhood friend; her turbulent courtship and failed marriage; her debilitating depression and mental illness; her fight against chronic poverty; her mother's losing battle with cancer; and her second marriage.
A definitive edition of the groundbreaking feminist fiction of a nineteenth century pioneer Library of America presents the fullest selection ever of visionary American writer Charlotte Perkins Gilman: two novels, forty-four brilliant short stories, nearly two-hundred poems, and both the published and manuscript versions of the landmark story “The Yellow Wall-Paper.” The short fiction presented here showcases Gilman’s mastery of ghost stories, allegorical fantasy, and social realism and includes a virtuoso series of stories written in imitation of the most acclaimed authors of her day. The utopian novels Herland and With Her in Ourland—about a remote and isolated society of women—are pioneering works of speculative fiction and still-incisive commentaries on the politics of gender. Gilman was known to her contemporaries first and foremost as a poet, and this volume brings together her collection In This Our World with more than fifty other poems, many written in support of suffrage and other causes.
This carefully crafted ebook: "Collected Works of Charlotte Perkins Gilman: Short Stories, Novels, Poems and Essays" is formatted for your eReader with a functional and detailed table of contents. Charlotte Perkins Gilman (1860-1935) was a prominent American feminist, sociologist, novelist, writer of short stories, poetry, and nonfiction, and a lecturer for social reform. Table of Contents: The Yellow Wallpaper Why I wrote the Yellow Wallpaper (1913) What Diantha Did The Crux Moving the Mountain Herland With Her in Ourland Three Thanksgivings According To Solomon Her Housekeeper A Middle-Sized Artist When I Was A Witch A Coincidence The Cottagette Mr. Robert Grey Sr. The Boys And The Butter My Astonishing Dodo A Word In Season Turned The Giant Wistaria Essays and Sketches: The Man -Made World; Or, Our Androcentric Culture The Home: Its Works and Influence Concerning Children Women and Economics A Small God And A Large Goddess Introducing The World, The Flash, and The Devil Where The Heart Is Why We Honestly Fear Socialism The Poor Relation Reasonable Resolutions Private Morality and Public Immorality The Humanness of Women The Barrel Kitchen-Mindedness Parlor-Mindedness Nursery-Mindedness Naughty A Village of Fools Believing and Knowing The House of Apples Ten Suggestions Genius, Domestic and Maternal A Man in Prison A Woman in Prison Improved Methods of Habit Culture Only an Hour Wholesale Hypnotism The Kitchen Fly Her Pets What Virtues Are Made Of Animals in Cities While The King Slept The Beauty Women Have Lost Is It Wrong To Take Life? The World and The Three Artists Woman and The State Why Texts? Women Teachers, Married and Unmarried Christmas Love Our Overworked Instincts The Permanent Child The New Motherhood How We Waste Three-Fourths of Our Money The Nun in The Kitchen Poems: Then This Arrears How Doth The Hat Thanksgiving Thanksong Love Steps Child Labor His Crutches Get Your Work Done A Central Sun, a song Locked Inside Here is the Earth ...
Charlotte Perkins Gilman, a leading feminist thinker of her age, is best known for her novella "The Yellow Wallpaper" which is a chilling description of post-partum depression. This volume also contains "Why I wrote 'The Yellow Wallpaper'," "Herland" (a novel set in a society consisting solely of women), "Women and Economics - A Study of the Economic Relation Between Men and Women as a Factor in Social Evolution," and a selection of her verse.
It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity—but that would be asking too much of fate! Still I will proudly declare that there is something queer about it. Else, why should it be let so cheaply? And why have stood so long untenanted?
Charlotte Perkins Gilman: The Yellow Wallpaper It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity—but that would be asking too much of fate! Still I will proudly declare that there is something queer about it. Else, why should it be let so cheaply? And why have stood so long untenanted? John laughs at me, of course, but one expects that in marriage. John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.
The first collection of lectures and sermons that Charlotte Perkins Gilman delivered in the first four years of her career The last decades have seen a resurgence of interest in Charlotte Perkins Gilman, now considered among the most important thinkers in US history. She is best known for fiction—such as the classic short story “The Yellow Wall-Paper” (1892)—and nonfiction, including her manifesto Women and Economics (1898), a work of intersectional sociology avant la lettre. Nevertheless, as a young writer, Gilman made her living delivering lectures. One cannot know Gilman without some knowledge of this body of lectures; this book fills that critical gap in Gilman scholarship. Since the recovery of Charlotte Perkins Gilman began in the late 1960s and continued with the republication of “The Yellow Wall-Paper” in the 1970s, her image in cultural memory has been increasingly celebrated. Andrew J. Ball presents here fifty previously unpublished texts. They trace the development of Gilman’s thoughts on diverse subjects like gender, education, labor, science, theology, and politics—forming an intellectual diary of her growth. These lectures are not just a testament to Gilman’s personal evolution, but also a crucial contribution to the foundations of American sociology and philosophy. The Essential Lectures of Charlotte Perkins Gilman, 1890–1894 marks a historic moment, unveiling the hidden genius of Gilman's oratory legacy.
The Man-Made World (1911) is a sociological study by American author and feminist Charlotte Perkins Gilman. Inspired by her work as a social reformer and advocate for women’s suffrage, Gilman sought to write a work of nonfiction that explained the effects of patriarchy not only on the lives of women, but on the structure and health of society at large. In the beginning, Gilman observes that though biology naturally attributes motherhood and fatherhood to women and men respectively, there is no evolutionary explanation for the widespread control of men over all other human activities. This inequity, Gilman explains, is what she means by the term “Androcentric Culture,” a culture organized by men, for men. Having established her thesis, Gilman dedicates chapters to such topics as the family, health, art, sports, religion, education, government, economics, and warfare in order to observe the impact of male domination on each. Ultimately, Gilman asks what, if anything, will men lose if women are granted the rights and responsibilities they have no reason not to share. The Man-Made World is a thorough and powerful experiment in sociological thought and a groundbreaking work of feminist nonfiction. With a beautifully designed cover and professionally typeset manuscript, this edition of Charlotte Perkins Gilman’s The Man-Made World is a classic of American literature and nonfiction reimagined for modern readers.
This book contains the complete novels and novellas of Charlotte Perkins Gilman in the chronological order of their original publication. -The Yellow Wallpaper -Women and Economics -What Diantha Did -The Man-Made World; or, Our Androcentric Culture -Herland -With Her in Ourland
́The Crux ́, by Charlotte Perkins Gilman, is a fictional novel about an entrepreneurial group of women in North America. First published as part of a series in the feminist journal ́The Forerunner ́ in 1910, ́The Crux ́ tells the story of Vivian Lane and her female associates, who move away to start a boarding house for men in Denver, Colorado. Often cited as an important early feminist work, the novel metaphorically and directly examines social issues relating to gender, the role of women, politics, marriage, and stereotypes. The fictional leading character, Vivian Lane, meets and falls in love with Morton Elder who carries the diseases gonorrhoea and syphilis – which becomes a barrier to marriage and having a family more due to the utopian notion that it would harm the ‘national stock’, rather than the concern of being a risk to Lane’s health. The book was originally written, in Gilman’s words, as a "story for young women to read in order that they may protect themselves and their children to come." Charlotte Perkins Gilman, also known as Charlotte Perkins Stetson, was born on 3rd July 1860 in Connecticut, USA. Her early family life was troubled, with her father abandoning his wife and family; a move which strongly influenced her feminist political leanings and advocator of women’s rights. After working as a tutor and painter, Perkins – a self-declared humanist and tomboy – began to work as a writer of short stories, novels, non-fiction pieces and poetry. Her best-known work is her semi-autobiographical short story, inspired by her post-natal depression, entitled ‘The Yellow Wallpaper’, which was published in 1892 and made into a film in 2011. Charlotte Perkins Gilman was a member of the American National Women's Hall of Fame and strongly believed that "the domestic environment oppressed women through the patriarchal beliefs upheld by society". A believer in euthanasia, she was diagnosed with incurable breast cancer in January 1932 and subsequently took her own life in August 1935, writing in her suicide note that she "chose chloroform over cancer".
The focus of Carol Farley Kessler's work is how Charlotte Perkins Gilman developed as a writer and how she imagined a full-blown utopia for women. This book, which offers a fresh reading of Gilman's fiction, fills a void in Gilman scholarship, in feminist utopian scholarship, and in American literary studies. Kessler provides three journeys through Gilman's life: "A Biographical Exploration'' discusses facets of her life having a substantial impact upon her utopian writing. Four themes influence this development: the legacy of ancestral expectations; her relationships to father, mother, and daughter; the experience of two marriages and a divorce; and her friendships with women. Gilman and her "Prancing Young Utopia" presents three stages in the development of Gilman's utopian writing. First, she imagined neighborhoods-writing alternately fiction and nonfiction. Second, she tested in fiction the expression of utopian principles explained in her nonfiction. Finally, she created the whole society in her 1915 satire Herland. All of the foregoing writing represents Gilman's effort to imagine in fiction solutions that she recommended in her 1898 feminist treatise, Women and Economics. "Writing to Empower Living'' connects Gilman's biography to her utopian writing as both personal expression and public activism. The writing can be understood as "equipment for living." Ten hard-to-locate utopian short stories and chapters from four novels conclude the volume.
At the turn of the twentieth century, Charlotte Perkins Gilman was a celebrity—acclaimed as a leader in the feminist movement and castigated for her divorce, her relinquishment of custody of her daughter, and her unconventional second marriage. She was also widely read, with stories in popular magazines and with dozens of books in print. Her most famous short story, the intensely personal “The Yellow Wallpaper,” was read as a horror story when first published in 1892 and then lapsed into obscurity before being rediscovered and reinterpreted by feminist scholars in the 1970s. Noted anthologist Barbara Solomon has put together a remarkable collection of Gilman’s fiction, which includes twenty short stories and the complete text of Herland, the landmark utopian novel that remained unavailable for more than sixty years. From “The Unexpected,” printed in Kate Field’s Washington in 1890, to such later tales as “Mrs. Elder’s Idea,” published in Gilman’s own periodical, The Forerunner, readers can again encounter this witty, original, and audacious woman who dared to challenge the status quo and who created fiction that continues to be fresh and timeless. Edited and with an Introduction by Barbara H. Solomon
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