"""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"

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.

Charlotte Perkins Gilman (1860-1935) penned this sardonic remark in her autobiography, encapsulating a lifetime of frustration with the gender-based double standard that prevailed in turn-of-the-century America. With her slyly humorous novel, Herland (1915), she created a fictional utopia where not only is face powder obsolete, but an all-female population has created a peaceful, progressive, environmentally-conscious country from which men have been absent for two thousand years. Gilman was enormously prolific, publishing five hundred poems, two hundred short stories, hundreds of essays, eight novels, and seven years' worth of her monthly magazine, The Forerunner. She emerged as one of the key figures in the women's movement of her day, advocating equality of the sexes, the right of women to work, and socialized child care, among other issues. Today Gilman is perhaps best known for the chilling depiction of a woman's mental breakdown in her unforgettable short story, "The Yellow Wall-Paper". This Penguin Twentieth-Century Classics edition includes both this landmark work and Herland, together with a selection of Gilman's major short stories and her poems.

The construction of a wall on the U.S.-Mexico border—whether to build it or not—has become a hot-button issue in contemporary America. A recent impasse over funding a wall caused the longest government shutdown in U.S. history, sharpening partisan divisions across the nation. In the Arizona borderlands, groups of predominantly white American citizens have been mobilizing for decades—some help undocumented immigrants bypass governmental detection, while others help law enforcement agents to apprehend immigrants. Activists on both the left and the right mobilize without an immediate personal connection to the issue at hand, many doubting that their actions can bring about the long-term change they desire. Why, then, do they engage in immigration and border politics so passionately? Divided by the Wall offers a one-of-a-kind comparative study of progressive pro-immigrant activists and their conservative immigration-restrictionist opponents. Using twenty months of ethnographic research with five grassroots organizations, Emine Fidan Elcioglu shows how immigration politics has become a substitute for struggles around class inequality among white Americans. She demonstrates how activists mobilized not only to change the rules of immigration but also to experience a change in themselves. Elcioglu finds that the variation in social class and intersectional identity across the two sides mapped onto disparate concerns about state power. As activists strategized ways to transform the scope of the state’s power, they also tried to carve out self-transformative roles for themselves. Provocative and even-handed, Divided by the Wall challenges our understanding of immigration politics in times of growing inequality and insecurity.

This New York Times bestselling book is filled with hundreds of fun, deceptively simple, budget-friendly ideas for sprucing up your home. With two home renovations under their (tool) belts and millions of hits per month on their blog YoungHouseLove.com, Sherry and John Petersik are home-improvement enthusiasts primed to pass on a slew of projects, tricks, and techniques to do-it-yourselfers of all levels. Packed with 243 tips and ideas—both classic and unexpected—and more than 400 photographs and illustrations, this is a book that readers will return to again and again for the creative projects and easy-to-follow instructions in the relatable voice the Petersiks are known for. Learn to trick out a thrift-store mirror, spice up plain old roller shades, "hack" your Ikea table to create three distinct looks, and so much more.

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.

In Wild Unrest, Helen Lefkowitz Horowitz offers a vivid portrait of Charlotte Perkins Gilman in the 1880s, drawing new connections between the author's life and work and illuminating the predicament of women then and now. Horowitz draws on a treasure trove of primary sources to explore the nature of 19th-century nervous illness and to illuminate the making of Gilman's famous short story, "The Yellow Wall-Paper": Gilman's journals and letters, which closely track her daily life and the reading that most influenced her; the voluminous diaries of her husband, Walter Stetson; and the writings, published and unpublished of S. Weir Mitchell, whose rest cure dominated the treatment of female "hysteria" in late 19th-century America. Horowitz argues that these sources ultimately reveal that Gilman's great story emerged more from emotions rooted in the confinement and tensions of her unhappy marriage than from distress following Mitchell's rest cure. Hailed by The Boston Globe as "an engaging portrait of the woman and her times," Wild Unrest adds immeasurably to our understanding of Charlotte Perkins Gilman as well as the literary and personal sources behind "The Yellow Wall-Paper."

"The Yellow Wall-Paper" is a short story that was written in the late 1800s by Charlotte Perkins Gilman, after she suffered a serious downturn with depression, upon taking a doctor's advice to engage in the "rest cure" and abandon creative pursuits forever. Now, more than a hundred years later, this image-rich work has been interpreted by artist Sara Barkat -in a manner that combines both philosophical thought and visual intrigue. Sometimes understood as feminist literature, sometimes understood as exploring mental illness, and sometimes understood as both at the same time, this story is oddly poetic even when it is chilling and challenging. The tale contains subtexts that touch upon the nature of Imagination, as well as the act of Writing, and the artist has enhanced these subtexts with the inclusion of Victorian flower symbols, such as thistle for independence and lupine for imagination. Watch, too, for the appearance of some of history's most imaginative art, refashioned and in dialog with the story at hand, which gives a sense of timelessness and broader societal import to the tale. / Buy now!