A behind-the-scene look at the life of Charlotte Perkins Gilman.

Die von Männern geschaffene Welt von Charlotte Perkins Gilman

Charlotte Perkins Stetson Gilman (1860 - 1935) Charlotte Perkins is best known as a writer and leader in the women's movement from the 1890s till her death in 1935. When she was young she supported herself and her mother with commercial art. Her diaries are full of references to painting and drawing greeting and advertising cards. Charlotte's drawing for a Soapine trade card. The Schlesinger Library at Harvard has her papers. The published card advertising laundry soap In February 1881 when she was 21 she described her day in Providence, Rhode Island after waking up under "14 thicknesses of blanket...Paint marguerites with good success. Do a bit on cards" She was crocheting a shawl and in the manner of someone focused on production rather than process she calculated, "It takes about 30 hours as I estimate it to make one of those shawls. I do five times across tonight, twenty minutes at a time." She may have cared about time because she was selling her crocheting too. Despite her sewing business, teaching art and selling card designs, she and her mother Mary Fitch Perkins were always on the edge of hunger. A pair of shoes was an elusive goal one winter. Father Frederick Beecher Perkins, related to Harriet Beecher Stowe, was remarkably indifferent to the family he abandoned, sending little money and paying little attention to his son and daughter. Charlotte wrote in her diary of struggling with the whale, a Soapine theme, as in this display poster 38" wide. Charlotte managed to spend the academic year in evening classes at the Rhode Island School of Design in 1878-79. Her cousin Robert Brown, bookkeeper at the Kendall Soap Company, found a sideline profitable for him and Charlotte. With Robert designing and Charlotte doing the drawing Perkins & Company Designers earned $370 in the early 1880s. Feb 7 1881. "Bah! A lazy wasted miserable mispent day....Paint less than one card." (She'd spent her day reading.) The following day: "Work on Archery cards with some application and finish 'em.... R(obert) isn't satisfied of course so I needs lug my poor little cards back again." Walter Stetson painted flowers in Charlotte's copy of Keats's poetry. The Schlesinger Library at Harvard has her papers. In 1884 she quit her freelance work after she married artist Charles Walter Stetson and gave birth to daughter Kate a year later. Katherine Beecher Stetson (1885-1979) with her mother in 1893. Is that a quilt behind them? Some blame an unhappy marriage for Charlotte's depression after childbirth but it is most likely post-partum depression aggravating her life-long bipolar disorder, which terminated only with her suicide when she was 65 and ill with cancer. She and Walter Stetson separated in 1888 at her request and she moved to California with Kate. From Hometown Pasadena Charlotte and Kate rented a “little wood-and-paper four-room house,” at the corner of Orange Grove and Arroyo Terrace in Pasadena for four years, where she taught art and began her writing career in earnest. She then moved to Oakland and San Francisco. She went on to a very different life with a particular interest in the economic injustices women faced but her youthful career as a commercial artist gives us some insight into the free-lancers behind those thousands of advertising cards. Read more about Charlotte Perkins Gilman here: http://schlesinger.radcliffe.harvard.edu/onlinecollections/gilman/learnmore https://www.abaa.org/member-articles/charlotte-perkins-gilmans-trade-card-designs Denise D. Knight, The Diaries of Charlotte Perkins Gilman, 1994.

If you’re looking for some inspiration to set words to paper (or screen), these images of women authors at their writing desks might just do the trick.

Virginia Woolf and Charlotte Perkins Gilman were both patients of his infamous rest cure.

aru en 1915, ce roman de la sociologue Charlotte Perkins Gilman, l'auteure de La Séquestrée, rencontra un grand succès en son temps...

At the centenary of the 1918 Representation of the People Act that paved the way for universal suffrage, this ringing, turn-of-the-century denunciation of domestic servitude has not lost its bite

This is a limited, letterpress edition of Margaret Heffernan's 2016 Coleridge lecture. Each copy is numbered and can be signed by the author. It explores the work and ideas of Mary Wollstonecraft, Charlotte Perkins Gilman and Shulamith Firestone and explores how far feminist thinking has achieved reality.

Editeur : Libretto - Traduit de l'américain et postfacé par Diane de Margerie - Date de parution : 2008 - 97 pages à lire! La narratrice et son mari médecin s’installent durant l’été dans une vielle maison en attendant que les travaux de leur future demeure soient achevés. Souffrant d’une dépression post-partum, son mari lui interdit tout effort, toute sortie ou tout création artistique (entendez par là écrire) pour son bien. Il lui faut dormir, se reposer et manger . Elle occupe l’ancienne nurserie dont papier jaune l’obnubile et la fascine. Ses pensées sont accaparées par les motifs et elle en vient à imaginer des personnages dont une femme qui rampe et cherche à s’échapper. Le papier peint devient le miroir de sa condition. Elle commence à douter de son mari, de ses soi-disant bonnes attentions (n’est-elle pas enfermée ?) et tombe dans la spirale de la folie. Ce court roman est glaçant et il est suivi d’une postface brillante et très intéressante rédigée par Diane de Margerie qui nous éclaire sur la vie de Charlotte Perkins Gilman. Elle-même a connu cette forme d’enferment sur ordre médical en 1887. Au XIXe siècle aux Etats-Unis, les femmes étaient considérées comme des personnes dont seuls les hommes pouvaient décider pour elles ce qui était bien. Diane de Margerie nous éclaire sur ce ce qu’on attendait d’une femme : le mariage , les enfants et rien d’autre. Si elles entraient en résistance, la pression sociale se chargeaient de les rentrer dans le droit chemin.Nombre d’entre elles qui étaient habitées par l’envie d’écrire, d’être publiées voyant leurs rêves s’évanouir et soufraient de ce fait de neurasthénie. Un état traité par des « cures de repos » c’est-à-dire un enfermement. La liberté de la femme (exister sans être réduite à un rôle d’épouse et de mère car la médecine obscurantiste jugeait toute activité créatrice comme dangereuse pour les femmes) était une chimère. Un livre essentiel, fondamental et marquant ! Enfin j’ai fait une découverte. A force de guetter les métamorphoses du papier au cours de la nuit, j’ai enfin compris. Le motif du premier plan bouge vraiment – et ce n’est pas étonnant : la femme qui se cache derrière le secoue ! Parfois, il me semble que plusieurs femmes se dissimulent derrière le motif, et parfois qu’une seule y rampe en rond, à toute allure, et qu’à force de ramper à une telle vitesse le papier peint en est tout agité de secousses ! Ce livre fait partie de la bibliothèque idéale d'Arnaud (Dialogues).

“Each generation of young people should be to the world like a vast reserve force to a tired army. They should lift the world forward.”

The Yellow Wallpaper : Gilman, Charlotte Perkins: Amazon.es: Libros