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Source(google.com.pk)Dock’s casebook will teach readers several lessons about how much we should credit an author’s own account of the fate of a piece of writing. It is a fascinating study of the ways in which literature and political concerns can become intertwined, and how a faulty text and inept bibliographical procedures can seem to undergird statements that simply aren’t true.
Since its publication in 1892, Charlotte Perkins Gilman's "The Yellow Wall-paper" has always been recognized as a powerful statement about the victimization of a woman whose neurasthenic condition is completely misdiagnosed, mistreated, and misunderstood, leaving her to face insanity alone, as a prisoner in her own bedroom. Never before, however, has the story itself been portrayed as victimized.
In this first critical edition of Gilman's "The Yellow Wall-paper," accompanied by contemporary reviews and previously unpublished letters, Julie Bates Dock examines the various myth-frames that have been used to legitimize Gilman's story. The editor discusses how modern feminist critics' readings (and misreadings) of the available documents uphold a set of legends that originated with Gilman herself and that promulgate an almost saintly view of the pioneering feminist author. The documents made available in the collection enable scholars and students to evaluate firsthand Gilman's claims regarding the story's impact on its first audiences.
Dock presents an authoritative text of "The Yellow Wall-paper" for the first time since its initial publication. Included are a textual commentary, full descriptions of all relevant texts, lists of editorial emendations and pre-copy-text substantive variants, a complete historical collation that documents all the variants found in important editions after 1892, and a listing of textual sources for more than one hundred reprintings of the story in anthologies and textbooks.
Other documents in the casebook that illuminate the story's publication and reception histories include Gilman's successive and varying accounts of the story's history, her diary and manuscript log entries and letters pertaining to the story, W. D. Howells's correspondence with Gilman and Horace Scudder, editor of The Atlantic Monthly, and his remarks on the story when he reprinted it in Great American Short Stories, and more than two dozen reviews of the story by Gilman's contemporaries.
Taken together, the criticism, text, documents, and annotations constitute a rich and valuable contribution to Gilman scholarship, calling into question the feminist literary criticism that has helped to shape interpretations of a literary masterpiece.
was an eminent American writer of non-fiction and short stories, novelist, feminist social reformer, lecturer and commercial artist.
Born in Hartford, Connecticut in 1860, Charlotte Anne Perkins was related through her father Beecher to the famous Lyman Beecher, Henry Ward Beecher, Catherine Beecher and Harriet Beecher Stowe. Soon after she was born, young Charlotte’s father (an accomplished writer) abandoned her mother and left her to raise Charlotte and her older brother. Impoverished, and without means of support except for the infrequent appearances of her wayward husband, Charlotte’s mother spent time living with various family members in Rhode Island. She often left Charlotte in the care of her aunts – Catherine Beecher whose brand of “domestic feminism” would come to be seen as no better than domestic slavery by her niece; Isabella Beecher Hooker, whose suffragist activism inspired her neice; and Harriet Beecher Stower, the famous author of Uncle Tom's Cabin and champion of abolition whose failure to apply the same standards to the treatment of women would be corrected by the actions of her niece.
Charlotte’s mother did not show her children any affection in an effort to prepare them for what she perceived as the world’s callousness. She would, however, display signs of affection when she thought her daughter was sleeping and unaware of her mother’s attention. Young Charlotte was intelligent and taught herself to read through frequent trips to the public libraries. She attended public schools until she was fifteen and, though she impressed her teachers with the power of her mind, she failed to perform as a student. She was deeply interested in subjects which would later come to be identified with the emerging discipline of Sociology. Because the subjects that fired her interested the most were strictly the prevue of male scholars, however, Perkins chose to study art at the Rhode Island School of Design where she supported herself by making trade cards. During this time she also dabbled in painting and tutored young students.
At the age of 24, Charlotte reluctantly married Charles Stetson, an artist whose proposal she had initially declined. A year later they had a baby girl, named Katharine Beecher Stetson, and Charlotte began to suffer from depression. After three years of suffering, which a trip to Pasadena, CA did little to abate, Charlotte agreed to undergo the “rest” treatment being espoused by Dr. S. Weir Mitchell, a leading physician of the day. The treatement included:
massage and occasional use of electricity to stimulate the muscles
It was an extreme method intended to bring about the same state of patient dependence upon the clinician as being practiced by the Freudians in Europe. In the initial stage of the “rest” treatment, the patient could not leave her bed, sew, talk, read, write or even feed herself.
Mitchell’s instructions to Gilman after a month under his care were to return home and “Live as domestic a life as possible. Have your child with you all the time. . . . Lie down an hour after each meal. Have but two hours’ intellectual life a day. And never touch pen, brush or pencil as long as you live.”
It was too much for Charlotte and in 1888 she fled her husband and doctor to resettle in California. She began to be active as a suffragist lecturer. In 1892 she wrote her most enduring work, a short story critique of her experience under Mitchell’s care entitled “The Yellow Wallpaper” but it was her first book of poems In This Our World (1893) that established her as a writer. In 1894 she divorced Charles Stetson and sent her daughter back East to live with her ex-husband and his new wife, a friend of Charlotte’s whom she considered as, if not more, capable of raising young Katherine.
From 1894-1895 she served as the editor of the Impress, a feminist literary magazine and in 1897 she completed work on her groundbreaking Women and Economics (1898), in which she espoused that only by achieving economic independence could women truly achieve equality with men.
Gilman’s married her first cousin, a New York attorney named George Houghton Gilman, in 1900. Gilman’s notoriety as a leading lecturer on women’s rights coupled with the success of Women and Economics led to her inclusion in the International Congress of Women held in Berlin in 1903 and subsequent speaking tours of England and Europe.
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