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Charlotte Perkins Gilman (1860–1935)

Auteur van Het gele behang

134+ Werken 12,329 Leden 349 Besprekingen Favoriet van 21 leden

Over de Auteur

Charlotte Perkins Gilman was born in 1860 in Hartford, Conn. Her traumatic childhood led to depression and to her eventual suicide. Gilman's father abandoned the family when she was a child and her mother, who was not an affectionate woman, recruited relatives to help raise her children. Among toon meer these relatives was Harriet Beecher Stowe, the author of Uncle Tom's Cabin. Due to her family situation, Gilman learned independence, but also became alienated from her many female relatives. Gilman married in 1884 and was soon diagnosed with depression. She was prescribed bed rest, which only seemed to aggravate her condition and she eventually divorced her husband, fearing that marriage was partly responsible for her depressed state. After this, Gilman became involved in feminist activities and the writing that made her a major figure in the women's movement. Books such as Women and Economics, written in 1898, are proof of her importance as a feminist. Here she states that only when women learn to be economically independent can true equality be achieved. Her fiction works, particularly The Yellow Wallpaper, are also written with feminist ideals. A frequent lecturer, she also founded the feminist magazine Forerunner in 1909. Gilman, suffering from cancer, chose to end her own life and committed suicide on August 17, 1935. More information about this fascinating figure can be found in her book The Living of Charlotte Perkins Gilman: An Autobiography, published in 1935. (Bowker Author Biography) Charlotte Perkins Gilman was born in 1860 in Hartford, Conn. Her traumatic childhood led to depression and to her eventual suicide. Gilman's father abandoned the family when she was a child and her mother, who was not an affectionate woman, recruited relatives to help raise her children. Among these relatives was Harriet Beecher Stowe, the author of Uncle Tom's Cabin. Due to her family situation, Gilman learned independence, but also became alienated from her many female relatives. Gilman married in 1884 and was soon diagnosed with depression. She was prescribed bed rest, which only seemed to aggravate her condition and she eventually divorced her husband, fearing that marriage was partly responsible for her depressed state. After this, Gilman became involved in feminist activities and the writing that made her a major figure in the women's movement. Books such as Women and Economics, written in 1898, are proof of her importance as a feminist. Here she states that only when women learn to be economically independent can true equality be achieved. Her fiction works, particularly The Yellow Wallpaper, are also written with feminist ideals. A frequent lecturer, she also founded the feminist magazine Forerunner in 1909. Gilman, suffering from cancer, chose to end her own life and committed suicide on August 17, 1935. More information about this fascinating figure can be found in her book The Living of Charlotte Perkins Gilman: An Autobiography, published in 1935. (Bowker Author Biography) toon minder
Fotografie: From Wikipedia

Reeksen

Werken van Charlotte Perkins Gilman

Het gele behang (1892) 3,163 exemplaren
Moederland (1915) 2,575 exemplaren
Herland and Selected Stories (1892) 311 exemplaren
Women and Economics (1898) 212 exemplaren
Unpunished: A Mystery (1998) 119 exemplaren
Yellow Wallpaper & Other Stories (2018) 93 exemplaren
Herland/The Yellow Wallpaper (1600) 87 exemplaren
With Her in Ourland (1916) 67 exemplaren
100 Eternal Masterpieces of Literature - volume 1 (2017) — Medewerker — 56 exemplaren
What Diantha Did (1912) 47 exemplaren
The Crux (1911) 44 exemplaren
Moving the Mountain (2009) 38 exemplaren
The home; its work and influence (1972) 30 exemplaren
21 Essential American Short Stories (2011) — Medewerker — 22 exemplaren
Benigna Machiavelli (1993) 12 exemplaren
If I Were A Man (1914) 9 exemplaren
The Yellow Wallpaper (2021) 9 exemplaren
When I Was a Witch (2017) 5 exemplaren
Concerning Children (2002) 5 exemplaren
The Classic Gothic Horror Collection (2021) — Medewerker — 3 exemplaren
Making a Living 2 exemplaren
The Giant Wistaria 2 exemplaren
Dr. Clair's Place 2 exemplaren
Her Houskeeper 1 exemplaar
Herland Illustrated 1 exemplaar
Three Thanksgivings 1 exemplaar
My Poor Aunt 1 exemplaar
The Unexpected 1 exemplaar
Dagi Yerinden Oynatmak (2021) 1 exemplaar
La ‰carta gialla 1 exemplaar
Martha's Mother 1 exemplaar
Cross-Examining Santa Claus (2013) 1 exemplaar
Human work (2005) 1 exemplaar
Joan's Defender 1 exemplaar
Spoken To 1 exemplaar
Her Beauty 1 exemplaar
Mrs. Elder's Idea 1 exemplaar
Collected Stories 1 exemplaar
Žuti tapet i druge priče (2013) 1 exemplaar
The Forerunner 1 exemplaar
Herland Annotated (2021) 1 exemplaar
Turned 1 exemplaar
Old Mrs. Crosley 1 exemplaar
The Crux (Annotated): A Novel (2017) 1 exemplaar
[No title] 1 exemplaar

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Tagged

Algemene kennis

Officiële naam
Gilman, Charlotte Anna Perkins
Pseudoniemen en naamsvarianten
Stetson, Charlotte Perkins
Geboortedatum
1860-07-03
Overlijdensdatum
1935-08-17
Graflocatie
cremated
Geslacht
female
Nationaliteit
USA
Geboorteplaats
Hartford, Connecticut, USA
Plaats van overlijden
Pasedena, California, USA
Oorzaak van overlijden
suicide
Woonplaatsen
Providence, Rhode Island, USA
Pasadena, California, USA
New York, New York, USA
Norwich, Connecticut, USA
Opleiding
Rhode Island School of Design
Beroepen
novelist
short story writer
social reformer
magazine editor
public speaker
economist (toon alle 8)
women's rights activist
suffragist
Relaties
Stowe, Harriet Beecher (great-aunt)
Beecher, Catharine (great-aunt)
Hooker, Isabella Beecher (great-aunt)
Korte biografie
Charlotte Perkins Gilman was born in Hartford, Connecticut, to Frederick Beecher Perkins and his wife Mary Fitch Westcott.
Harriet Beecher Stowe, Catharine Beecher, and Isabella Beecher Hooker, three of the most distinguished 19th-century American writers and women's advocates were her great-aunts of whom she was very proud. Charlotte herself became a noted writer, public speaker, economist, and women's rights and suffrage activist. In 1884, at the age of 24, she married Charles Walter Stetson, an aspiring artist, and the following year gave birth to their daughter. Shortly after the birth, Charlotte suffered a serious bout of what today would be diagnosed as post-partum depression. Her best remembered work today is her semi-autobiographical short story "The Yellow Wallpaper," published in 1892. She also wrote a famous treatise, Women and Economics (1898), in which she said women could never be truly independent until they first had economic freedom. This theme was explored through her lectures, her more than 1,000 nonfiction publications, and her fiction. In 1900, Gilman remarried to her first cousin, George Houghton Gilman. Over the next 25 years, Charlotte also ran her own magazine, The Forerunner, in which many of her stories appeared. An advocate of euthanasia, Gilman ended her life at the age of 75 with an overdose of chloroform. Her work fell into obscurity until it was revived by the women’s movement in the 1960s. In 1994, Charlotte Perkins Gilman was inducted into the National Women’s Hall of Fame in Seneca Falls, New York.

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Discussies

Besprekingen

Charlotte Perkins Gilman was een zeer productieve schrijver en heeft een indrukwekkende lijst van korte verhalen, romans, essays, gedichten, artikelen en andere boeken op haar conto staan, maar dit is het verhaal waar ze nog steeds beroemd om is. Geschreven in 1890, gepubliceerd in 1892, de tijd ver vooruit. Een anonieme briefschrijver aan de Boston Transcript vond het letterlijk een levensgevaarlijk verhaal: "The story could hardly, it would seem, give pleasure to any reader ... [S]uch literature contains deadly peril. Should such stories be allowed to pass without severest censure?" De bezorgde briefschrijver had ongetwijfeld het beste voor met de nietsvermoedende aspirantlezers van het verhaal, maar goede bedoelingen zijn lang niet altijd een garantie voor goede adviezen. Dat is nu juist één van de dingen die maar al te duidelijk en al te pijnlijk blijken uit dit verhaal.
Gilman baseerde 'The Yellow Wallpaper' op haar eigen ervaring met psychische problemen. Na de bevalling van haar dochter zonk ze weg in een jarenlange zware depressie. Destijds werd in zo'n geval vaak volledige rust voorgeschreven. Het fragiele vrouwelijke gestel en de zwakke vrouwelijke geest waren immers het best gebaat bij zo weinig mogelijk prikkels en zo weinig mogelijk inspanning. Inmiddels weten we wel beter en het zal de meeste mensen dan ook niet verbazen dat Gilman hierdoor alleen nog maar depressiever werd. De ik-persoon in dit verhaal wordt er zelfs letterlijk stapelgek van. Min of meer opgesloten in een landhuis, met een echtgenoot die arts is en dus weet wat goed voor haar is, is het enige waar ze haar geest en intellect mee bezig kan houden de wilde geometrische motieven van het behang in de kamer die haar is toegewezen. Schrijven is  verboden, dus dat moet ze stiekem doen
Personally, I disagree with their ideas.
Personally, I believe that congenial work, with excitement and change, would do me good.
But what to do?
I did write for a while in spite of them; but it does exhaust me a good deal – having to be so sly about it, or else meet with heavy opposition.


"There is no female mind. The brain is not an organ of sex. Might as well speak of a female liver."
Dit is een bekend citaat van Gilman, waarvan ik de bron niet heb kunnen achterhalen, maar dat veelzeggend is in de context van dit verhaal en helemaal raak. Er zijn immers alleen maar mensenhersens, geen mannen- en vrouwenhersens, en die hebben allemaal dezelfde behoeftes: "congenial work, with excitement and change". In 1892 was lang niet iedereen daarvan overtuigd, getuige de anonieme briefschrijver die ik hierboven citeerde en die dit kennelijk een griezelig standpunt vond, maar dit verhaal illustreert nu juist hoe funest een leven zonder intellectuele stimulansen voor de geestelijke gezondheid is. Geen wonder dat zoveel vrouwen uit de gegoede klasse destijds gestoord werden van het niets doen en het niets hoeven. Maar lees dit verhaal niet in de eerste plaats om de boodschap, want daar zullen de meeste lezers tegenwoordig wel achter staan, laat staan dat ze er van op zullen kijken. Lees dit verhaal om de vertelkunst, om de beklemmende manier waarop Gilman je laat meemaken hoe haar hoofdpersoon afdaalt in waanzin en om de huiveringwekkende manier waarop ze het behang van een kamer gebruikt om die waanzin tastbaar te maken. 'The Yellow Wallpaper' is daarmee een schoolvoorbeeld van hét geslaagde korte verhaal: weinig middelen, geen echte gebeurtenissen, nauwelijks personages, een plaats van handeling bestaande uit één kamer, maar met maximale emotionele impact.
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Lijsten

1910s (1)
1890s (1)
Utopia (1)

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Maggie O'Farrell Introduction
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Statistieken

Werken
134
Ook door
75
Leden
12,329
Populariteit
#1,901
Waardering
3.9
Besprekingen
349
ISBNs
757
Talen
18
Favoriet
21

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