Charlotte Perkins Gilman

Rundgång är en serieantologi initierad av Elisabet Ericson, My Eklund, Nathalie Ruejas Jonson, Malva Fürst och Ulrika Netzler.

By the poet, young sheep are preferred, the lamb gambolling gaily; unless it be in hymns, where "all we like sheep" are repeatedly described, and much stress is laid upon the straying propensities of the animal. To the scientific mind there is special interest in the sequacity of sheep, their habit of following one another with automatic imitation. This instinct, we are told, has been developed by ages of wild crowded racing on narrow ledges, along precipices, chasms, around sudden spurs and corners, only the leader seeing when, where and how to jump. If those behind jumped exactly as he did, they lived. If they stopped to exercise independent judgment, they were pushed off and perished; they and their judgment with them. All these things, and many that are similar, occur to us when we think of sheep. They are also ewes and rams.

But Miss Rebecca, being concerned about her dignity, would not allow herself to be hustled, and the three proceeded in irregular order under the high-arched elms and fence-topping syringas of the small New England town toward the austere home of Mr. Samuel Lane. It was a large, uncompromising, square, white house, planted starkly in the close-cut grass. It had no porch for summer lounging, no front gate for evening dalliance, no path-bordering beds of flowers from which to pluck a hasty offering or more redundant tribute. The fragrance which surrounded it came from the back yard, or over the fences of neighbors; the trees which waved greenly about it were the trees of other people. Mr. Lane had but two trees, one on each side of the straight and narrow path, evenly placed between house and sidewalk-evergreens. Mrs. Lane received them amiably; the minister's new wife, Mrs. Williams, was proving a little difficult to entertain. She was from Cambridge, Mass., and emanated a restrained consciousness of that fact. Mr. Lane rose stiffly and greeted them. He did not like the Foote girls, not having the usual American's share of the sense of humor.

Terry was rich enough to do as he pleased. His great aim was exploration. He used to make all kinds of a row because there was nothing left to explore now, only patchwork and filling in, he said. He filled in well enough-he had a lot of talents-great on mechanics and electricity. Had all kinds of boats and motorcars, and was one of the best of our airmen. We never could have done the thing at all without Terry. Jeff Margrave was born to be a poet, a botanist-or both-but his folks persuaded him to be a doctor instead. He was a good one, for his age, but his real interest was in what he loved to call "the wonders of science." As for me, sociology's my major. You have to back that up with a lot of other sciences, of course. I'm interested in them all. Terry was strong on facts-geography and meteorology and those; Jeff could beat

Whole books full of notes, carefully copied records, firsthand descriptions, and the pictures-that's the worst loss. We had some bird's-eyes of the cities and parks; a lot of lovely views of streets, of buildings, outside and in, and some of those gorgeous gardens, and, most important of all, of the women themselves. Nobody will ever believe how they looked. Descriptions aren't any good when it comes to women, and I never was good at descriptions anyhow. But it's got to be done somehow; the rest of the world needs to know about that country.

Classics for Your Collection: goo.gl/U80LCr --------- The Yellow Wallpaper (original title: "The Yellow Wall-paper. A Story") is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental. Presented 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 exercise and air, so she can recuperate from what he calls a "temporary nervous depression - a slight hysterical tendency", a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate. The story depicts the effect of understimulation on the narrator's mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. "It is the strangest yellow, that wall-paper It makes me think of all the yellow things I ever saw - not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper - the smell ... The only thing I can think of that it is like is the color of the paper A yellow smell." In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. "For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way." Scroll Up and Get Your Copy Timeless Classics for Your BookshelfClassic Books for Your Inspiration and Entertainment Visit Us at: goo.gl/U80LCr

A liberal feminist text. Rather than considering what is appropriate masculine or feminine behaviour, we should investigate what it is to be human.

First published serially in Gilman's magazine the Forerunner in 1909-10, the novel tells the story of Diantha Bell, a young woman who leaves her home and her fianc to start a housecleaning business. A resourceful heroine, Diantha quickly expands her business into an enterprise that includes a maid service, cooked food delivery service, restaurant, and hotel. By assigning a cash value to women's "invisible" work, providing a means for the well-being and moral uplift of working girls, and releasing middle- and leisure-class women from the burden of conventional domestic chores, Diantha proves to her family and community the benefits of professionalized housekeeping.

First published serially in Gilman's magazine the Forerunner in 1909-10, the novel tells the story of Diantha Bell, a young woman who leaves her home and her fianc to start a housecleaning business. A resourceful heroine, Diantha quickly expands her business into an enterprise that includes a maid service, cooked food delivery service, restaurant, and hotel.

*EDICI N REVISADA A 10 DE AGOSTO DE 2017. El Papel de Pared Amarillo (The Yellow Wallpaper), de Charlotte Perkins Gilman. Nueva traducci n. Incluye rese a biogr fica. Charlotte Perkins escribi El Papel de Pared Amarillo como una advertencia sobre los efectos de la cura de reposo en las personas diagnosticadas con depresi n. Ella misma hab a sufrido los efectos de esa cura tras una depresi n posparto que la mantuvo inactiva durante tres meses. De hecho, le envi una copia de la obra al m dico que la hab a tratado para que fuese consciente de su experiencia. Hay alg n dato autobiogr fico m s en el relato, aunque no todos lo son. Como ella se encarg de se alar a os m s tarde con cierta iron a, yo nunca tuve alucinaciones ni objeciones a mis decoraciones murales. As , a pesar de que el relato fue concebido como una protesta contra un tratamiento que Perkins consideraba peligroso para la salud mental del paciente, y tambi n como una celebraci n por haberse recuperado de su propia depresi n, con el tiempo se ha convertido en un cl sico de la narrativa g tica o de terror norteamericana. Llevado a la pantalla en varias ocasiones, en los ltimos a os ha vivido una segunda juventud gracias a la serie de televisi n American Horror Story, que le dedic un cap tulo de su primera temporada en 2011. Cuando fue publicado por primera vez en la revista New England Magazine en 1891, el impacto fue tremendo. Varios m dicos se quejaron, ya que consideraban que la obra era un peligro para la salud mental de los lectores. No obstante, con el paso del tiempo fue ganando popularidad, y Perkins tuvo la satisfacci n de llegar a enterarse de que el m dico que le hab a prescrito la cura de reposo, el mismo que le hab a prohibido acercarse a una pluma, un l piz o un pincel el resto de su vida, modific su tratamiento de la neurastenia tras leer su relato. En sus propias palabras: No ten a la intenci n de volver loca a la gente, sino de salvar a la gente de que la volvieran loca, y funcion .

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.

Sequel to Herland. Herland described an all-women utopia in a secluded high valley, where 3 adventurous young men visit by airplane. Eventually, 2 of the 3 are expelled, along with a young Herland woman who has married one of the men. With Her in Ourland continues as the husband and wife tour the world outside of Herland, interviewing people, taking notes and photographs, and discussing history, religions, war, child-rearing, the role of women, treatment of immigrants, women's suffrage, and more. The two novels together convey the author's social criticisms of our world at her time and her prescriptions to improve the human condition in the United States.