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||Charlotte (Anna) Perkins Gilman (1860-1935) - Original name Charlotte Anna Perkins, earlier married name Stetson|
American writer, economist, and lecturer, an early theorist of the feminist movement, who wrote over two hundred short stories and some ten novels. Gilman refused to call herself a "feminist" - her goal as a humanist was to campaign for the cause of women's suffrage. Gilman saw that the domestic environment has become an institution which oppresses women. Her famous story, 'The Yellow Wallpaper' (1892), depicted a depressed woman who slowly descends into madness in her room, while her well-meaning husband is often away due to his work at a hospital.
"Personally, I disagree with their ideas.
Charlotte Perkins Gilman was born in Hartford, Connecticut,
the daughter of Frederick Beecher Perkins, a librarian and writer, and
Mary (Westcott) Perkins. Among her father's forebears was the novelist
Harriet Beecher Stowe, his aunt. Perkins abandoned his wife after their
infant died in 1866 -
Mary Perkins lived with
her children on the brink of poverty and was often forced to move from
relative to relative or to other temporary lodgings.
Gilman was a voracious reader and largely self-educated. He interests covered a wide range of subjects, including reform Darwinism. She studied two years at Rhode Island School of Design (1878-80) and then earned her living designing greetings cards. Gilman's closest friend in Providence was Martha Luther, to whom she wrote passionate letters: "O my litle love! I'd like to wind all round and round you and let you feel my heart." (Charlotte Perkins Gilman: A Biography by Cynthia J. Davis, 2010, p. 49)
Against her conviction
that she was destined for "world service," Gilman married
in 1884 Charles Walter Stetson, a self-taught aspiring artist. Gilman also modeled
for him at the Fleur-de-Lys, his Providence studio. When she unbound
her hair and let it fall over her shoulders, Stetson wrote in his diary
"it fell . . . in rich dark waves and framed her rich complexion and
intensified the soft ivory of her neck! I have never seen her so
beautiful." ('Artistic Renderings of Charlotte Perkins Gilman' by Denise D. Knight, in Charlotte Perkins Gilman and a Woman's Place in America, edited by Jill Annette Bergman, 2017, p. 51)
From her early adulthood, Gilman had suffered from periodic bouts of melancloly, and after the birth
of her daughter Katharine, she was beset by depression. In 1887, she began in Philadelphia a rest cure, prepsychoanalytic
treatment, with the neurologist and writer Silas Weir Mitchell. His recommendations
were "live as domestic a life as possible" and "never to touch pen,
brush or pencil again". Gilman later satirized this in
her autobiography, and used the discussion with him in her most renowned short
story, 'The Yellow Wallpaper,' which first appeared in New England
Magazine in January 1892 and was reprinted as a chapbook in 1899.
she wrote in her article 'Why I Wrote 'The Yellow Wallpaper'' (1913),
she spent in bed "for some three months, and came so near the border
line of utter mental ruin that I could see over. I wrote The Yellow Wallpaper
. . . and sent a copy to the physician who so nearly drove me mad."
Noteworthy, Mitchell also treated Harriet Russell Strong, a Californian
feminist, and Jane Addams, founder of Hull House, who later said that
"I was very glad to have a physician's sanction for giving up clinics
and dissecting rooms and to follow his prescription of spending the
next two years in Europe." (The
Feminism of Charlotte Perkins Gilman: Sexualities, Histories,
Progressivism by Judith A. Allen, 2009, p. 23)
Loosely based on Gilman's own experiendes, the story tells of a young mother suffering from a temporary nervous depression. John, her husband, is a physician, who doesn't believe in supernatural things. He has ordered her to "rest" in the bedroom of their rented house. There narrator records her psychological torment in a secret diary. The patterns of the room's hideous yellow wallpaper start to haunt her. She sees a woman creeping around it, as if she wanted to get out. "Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling snakes it all over." Finally she locks her inside the room to creep around as she pleases. It has been argued, that the rest cure was the turning point in Gilman's life and eventually led to her decision to leave Stetson in 1888. Gilman's other short stories in the gothic tradition include 'The Giant Wistaria' (1891), 'The Rocking Chair' (1893), and 'The Unwatched Door' (1894).
separating from Stetson (the two divorced officially in 1894), she
moved to California. Stetson married Gilman's first cousin, the poet
Ellery Channing; they took custody of Katherine, which allowed Gilman
to pursue her lecturing and writing career. Despite everything, the
wide press coverage
of the love triangle and the public
condemnation that followed, Gilman and Grace remained good friends. Two
decades later Gilman wrote an article titled 'Are Love Affairs News?'
(1915) - the answer was an unconditional "No". Stetson died in 1911 in Italy after complications from surgery. Endure: The Diaries of Charles Walter Stetson, in which Stetson described his life as a young painter and relationship with Gilman, were published in 1985.
Gilman's second husband was her cousin George
Houghton Gilman, a New York lawyer. He was seven years her junior,
conservative and conventional, but he was also a loving and devoted
husband. She once confessed, "I still get kind of mad at you sometimes
because you are so unconscionably unlike anything I ever expected to love and marry - but there you are!" (A Journey from Within: The Love Letters of Charlotte
Perkins Gilman, 1897-1900, edited by Mary A. Hill, 1995, p. 240) In 1894-95 Gilman served as editor of The
a literary weekly published by the Pacific Coast Women's
Press Association, and published an experimental series of stories, in
which she imitated the style of such well-known authors as Louisa May
Alcott, Hathaniel Hawthorne, Henry James, Edgar Allan Poe, and Mark
Twain. Throughout the years, Gilman herself was told she resembled a
number of famous women such as the French writer George Sand, the
English novelist George Eliot and even the biblical Rachel. ('Artistic Renderings of Charlotte Perkins Gilman' by Denise D. Knight, in Charlotte Perkins Gilman and a Woman's Place in America, edited by Jill Annette Bergman, 2017, p. 68)
Our World (1893), Gilman's first book, was a collection of satiric poems with feminist
themes. "Her civic satire is of a
form which she has herself invented; it recalls the work of no one
else," wrote the critic William Dean Howells in the North American Review in 1899. ('Introduction' by Denise D. Knight,
Later Poetry of Charlotte Perkins Gilman, 1996, p. 29) In
Gilman's most famous piece, titled 'Similar Cases' (1890), a Neolithic
Man says to his neighbours: "My friends, in course of time, / We shall
be civilized! / We are going to live in cities! / We are going to fight
in wars! / We are going to eat three times a day / Without the natural
cause! / We are going to turn life upside down / About a thing called
gold! / We are going to want the earth, and take / As much as we can
During the next two decades Gilman gained fame with her lectures on women's issues, ethics, labor, human right, and social reform. These themes were dealt also in her fiction. From 1909 to 1916 Gilman edited and wrote her own feminist paper, The Forerunner, in which most of her fiction appeared. The magazine, sold for ten cents an issue, or a dollar for an annual subscribtion, had nearly 1,500 subscribers at its peak.
Gilman was active in Nationalism, a reform movement which predicted the fall of capitalism and was inspired by Edward Bellamy's utopian socialist romance Looking Backward. This work also influenced her utopian novel Herland (Women's Press, 1979). In the story three young men discover a peaceful, lost civilization, populated entirely by women who reproduce parthenogenetically. There are no wars, no disease. motherhood is divine. "It would be so wonderful – would it not? To compare the history of two thousand years, to see what the differences are – between us, who are only mothers, and you, who are mothers and fathers, too. Of course we see, with our birds, that the father is as useful as the mother, almost. But among insects we find him of less importance, sometimes very little. Is it not so with you?" (from Herland) Originally Herland appeared in Gilman's monthly journal, The Forerunner, like her other novels, What Diantha Did (1909-1910), The Crux (1911), and Moving the Mountain (1911), all published by Charlton. Benigna Machiavelli was reissued by Bandanna Books in 1994.
Gilman's best-known contribution to feminist theory is Women and Economics (1898), in which she attacked the old division of social roles. However, she refused the title "feminist," arguing that "feminism" should be retitle "humanism." The study was translated into seven languages and sold stedily. According to Gilman, male aggressiveness and maternal roles of women are artificial and not necessary for survival any more. "There is no female mind. The brain is not an organ of sex. As well speak of a female liver." (from Woman and Economics, 1898) Only economic independence could bring true freedom for women and make them equal partners to their husbands. In Concerning Children (1900) Gilman advocated professional child-care.
Annoyed with life in a metropolis, she moved in 1922 with her
husband from New York to Norwich, Connecticut, and wrote there His Religion and Hers, in which she
planned a religion freed from the
dictates of oppressive patriarchal instincts. In 1932 she was diagnosed
with breast cancer. After her husband died suddenly from a cerebral
hemorrhage in 1934, she returned to California to live near her
daughter. Gilman died on August 17, 1935, in Pasadena, California -
an advocate of euthanasia for the terminally ill, she ended her own
life by taking an overdose of chloroform. In her typewritten suicide
note, titled 'A Last Duty,' she wrote that "when all usefulness is
over, when one is assured of unavoidable and imminent death, it is the
simplest of human rights to choose a quick and easy death in place of a
slow and horrible one." Her autobiography, The Living of Charlotte Perkins Gilman
(1935), came out posthumously; the suicide note was included in the final chapter of the book.
Gilman's mystery novel, Unpunished, did not appear during
lifetime, but was published in 1997 by The Feminist Press.
and her work were mostly forgotten for two decades until the feminist
movement of the 1960s revived interest in her. The historian Carl N.
Dengler contrasted Gilman with Simone Beauvoir, and
introduced her as "a sociologist and a social
critic," who had proposed strategies for women's emancipation
decades before Beauvoir.
For further reading: Charlotte Perkins Gilman and a Woman's Place in America, edited by Jill Bergman (2017); Charlotte Perkins Gilman, edited by Patricia Lengermann, Gillian Niebrugge (2013); Charlotte Perkins Gilman: New Texts, New Contexts, edited by Jennifer S. Tuttle & Carol Farley Kessler (2011); Hysteria and Melancholy as Literary Style in the Works of Charlotte Perkins Gilman, Kate Chopin, Zelda Fitzgerald, and Djuna Barnes by Zeljka Svrljuga; with a foreword by Patrizia Lombardo (2011); Charlotte Perkins Gilman: A Biography by Cynthia J. Davis (2010); The Feminism of Charlotte Perkins Gilman: Sexualities, Histories, Progressivism by Judith A. Allen (2009); Charlotte Perkins Gilman: A Study of the Short Fiction by Denise D. Knight (1997); Critical Essays on Charlotte Perkins Gilman, ed. by J. Kaprinski (1992); To Herland and Beyond by Ann J. Lane (1990); Building Domestic Liberty by P. Allen (1988); Charlotte Perkins Gilman, the Woman and Her Work, ed. by S. Meyering (1988); Charlotte Perkins Gilman by G. Scharnhorst (1985); The New Feminist Criticism, ed. by E. Showalter (1985); Charlotte Perkins Gilman by M. Hill (1980) - See also: Virginia Woolf, who stated in her classical essay A Room of One's Own (1929), that a woman must have money and room of her own if she is to write, and intellectual freedom requires financial freedom.
Some rights reserved Petri Liukkonen (author) & Ari Pesonen. 2008-2018.