Charlotte Perkins Gilman (1860–1935)
Author of The Yellow Wallpaper [short story]
About the Author
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 show more 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) show less
Image credit: From Wikipedia
Series
Works by Charlotte Perkins Gilman
The Yellow Wallpaper and Selected Writings {Virago Modern Classics} (2009) — Author — 162 copies, 2 reviews
Charlotte Perkins Gilman's "The Yellow Wall-Paper" and the History of Its Publication and Reception: A Critical Edition and Documentary Casebook (1998) 27 copies, 1 review
"The Yellow Wall-Paper" by Charlotte Perkins Gilman: A Dual-Textbook Critical Edition (2006) 17 copies
Delphi Complete Works of Charlotte Perkins Gilman US (Illustrated) (Series Six Book 1) (2015) 14 copies
Charlotte Perkins Gilman's The Yellow Wall-Paper: A Sourcebook and Critical Edition (2004) 13 copies, 1 review
The Wadsworth Casebook Series for Reading, Research and Writing: The Yellow Wallpaper (1998) 9 copies
The Dress of Women: A Critical Introduction to the Symbolism and Sociology of Clothing (2001) 7 copies
The Giant Wistaria 5 copies
Charlotte Perkins Gilman Collection Volume I (Illustrated): The Yellow Wallpaper, Herland and The Man-Made World (2014) 4 copies
Turned 3 copies
The Rocking-Chair 3 copies
O papel de parede amarelo e outros contos (Clássicos da literatura mundial) (Portuguese Edition) (2019) 3 copies
The Yellow Wallpaper {video} 2 copies
Old Water 2 copies
Librivox Ghost Story Collection 005 2 copies
Making a Change {story} 2 copies
Dr. Clair's Place 2 copies
Herland and Other Works by Charlotte Perkins Gilman (Unexpurgated Edition) (Halcyon Classics) (2010) 2 copies
Her Beauty 1 copy
Ev: İşleri ve Etkileri 1 copy
A Mischievous Rudiment 1 copy
Mrs. Elder's Idea 1 copy
[No title] 1 copy
Spoken To 1 copy
世界恐怖小說選 卷二: 曲折詭異的世界名家名作 1 copy
Joan's Defender 1 copy
Mrs. Beazley's Deeds 1 copy
W.S. Maugham - La moglie del Colonnello | Charlotte Perkins Gilman - La carta da parati gialla — Author — 1 copy
The Unexpected 1 copy
Collected Stories 1 copy
My Poor Aunt 1 copy
A Collection of Poems by Charlotte Perkins Gilman (In This Our World, Suffrage Songs and Verses) (2019) 1 copy
'The Yellow Wallpaper'; with 'Woman', Gilman's acclaimed feminist poetry (Aziloth Books) (2015) 1 copy
Three Thanksgivings 1 copy
Her Houskeeper 1 copy
Mr Peeble's Heart 1 copy
The Essential Lectures of Charlotte Perkins Gilman, 1890–1894 (Studies in American Literary Realism and Naturalism) (2024) 1 copy
Martha's Mother 1 copy
The Boys and the Butter 1 copy
Old Mrs. Crosley 1 copy
Associated Works
Great American Short Stories: From Hawthorne to Hemingway (2004) — Contributor — 675 copies, 2 reviews
Points of View: An Anthology of Short Stories, Revised & Updated Edition (1995) — Contributor — 443 copies, 7 reviews
American Fantastic Tales : Terror and the Uncanny from Poe to the Pulps (2009) — Contributor — 290 copies, 4 reviews
Daughters of Decadence: Women Writers of the Fin-de-Siècle (1993) — Contributor — 205 copies, 2 reviews
Classic American Short Stories [Barnes & Noble Leatherbound Classics] (2001) — Contributor — 175 copies, 1 review
Four Stories by American Women: Rebecca Harding Davis, Charlotte Perkins Gilman, Sarah OrneJewett, Edith Wharton (Penguin Classics) (1990) — Contributor — 137 copies, 1 review
Writing Women's Lives: An Anthology of Autobiographical Narratives by Twentieth-Century American Women Writers (1994) — Contributor — 128 copies, 3 reviews
The Glorious American Essay: One Hundred Essays from Colonial Times to the Present (2020) — Contributor — 117 copies
Weird Women: Classic Supernatural Fiction by Groundbreaking Female Writers: 1852-1923 (2020) — Contributor — 108 copies, 2 reviews
In the Shadow of Edgar Allan Poe: Classic Tales of Horror, 1816-1914 (2015) — Contributor — 107 copies, 3 reviews
H.P. Lovecraft's Book of the Supernatural: 19 Classics of the Macabre, Chosen by the Master of Horror Himself (2006) — Contributor — 98 copies, 2 reviews
Women's Weird: Strange Stories by Women, 1890-1940 (Handheld Classics) (2019) — Contributor — 87 copies, 2 reviews
The Heath Anthology of American Literature, Concise Edition (2003) — Contributor — 73 copies, 1 review
There Is a Graveyard That Dwells in Man: More Strange Fiction and Hallucinatory Tales (2020) — Contributor — 65 copies
The Signet Classic Book of Contemporary American Short Stories (1985) — Contributor — 47 copies, 1 review
The Lifted Veil: The Book of Fantastic Literature by Women 1800-World War II (1806) — Contributor — 45 copies
Spores of Doom: Dank Tales of the Fungal Weird: 59 (British Library Tales of the Weird) (2025) — Contributor — 37 copies, 2 reviews
The Haves and Have Nots: 30 Stories About Money and Class in America (1999) — Contributor — 36 copies
Roads of Destiny: And Other Tales of Alternative Histories and Parallel Realms: 43 (British Library Tales of the Weird) (2023) — Contributor — 33 copies
Ladies of Horror: Two Centuries of Supernatural Stories by the Gentle Sex (1971) — Contributor — 29 copies
The Red Velvet Seat: Women's Writings on the Cinema: The First Fifty Years (2006) — Contributor — 20 copies
A Quaint and Curious Volume: Tales and Poems of the Gothic (2019) — Contributor — 19 copies, 1 review
Creatures of Another Age: Classic Visions of Prehistoric Monsters (2021) — Contributor — 15 copies, 1 review
The Wimbourne Book of Victorian Ghost Stories (Annotated): Volume 11 (2022) — Contributor — 3 copies
The Midnight Inkwell: Sinister Short Stories by Classic Women Writers (2023) — Contributor — 3 copies
LibriVox Short Ghost and Horror Collection 028 — Contributor — 2 copies
Great Classic Horror Stories: Frankenstein, the Signalman Carmilla, Dr. Jekyll and Mr. Hyde the Yellow Wallpaper, Dracula (2018) — Contributor — 1 copy, 1 review
10 Classic Feminist Works You Should Read: Little Women, The Yellow Wallpaper, A Vindication Of The Rights Of Woman, Sultana's Dream... — Contributor — 1 copy
Tales of Terror: The Monkey's Paw, The Pit and the Pendulum, The Cone, The Yellow Wallpaper (2014) — Contributor — 1 copy
Short Ghost and Horror Collection 026 — Contributor — 1 copy
La nueva mujer: Relatos de escritoras estadounidenses del siglo XIX — Contributor — 1 copy
Tagged
Common Knowledge
- Canonical name
- Gilman, Charlotte Perkins
- Legal name
- Gilman, Charlotte Anna Perkins
- Other names
- Stetson, Charlotte Perkins
- Birthdate
- 1860-07-03
- Date of death
- 1935-08-17
- Gender
- female
- Education
- Rhode Island School of Design
- Occupations
- novelist
short story writer
social reformer
magazine editor
public speaker
economist (show all 8)
women's rights activist
suffragist - Organizations
- Pacific Coast Women's Press Association
Ebell Society - Awards and honors
- National Women's Hall of Fame (1994)
- Relationships
- Stowe, Harriet Beecher (great-aunt)
Beecher, Catharine (great-aunt)
Hooker, Isabella Beecher (great-aunt)
Stetson, Charles Walter (1st husband)
Gilman, Houghton (2nd husband) - Short biography
- 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. - Cause of death
- suicide
- Nationality
- USA
- Birthplace
- Hartford, Connecticut, USA
- Places of residence
- Providence, Rhode Island, USA
Pasadena, California, USA
New York, New York, USA
Norwich, Connecticut, USA - Place of death
- Pasadena, California, USA
- Burial location
- cremated
- Associated Place (for map)
- USA
Members
Discussions
Reading Group #10 ('The Yellow Wallpaper') in Gothic Literature (October 2018)
Reviews
"The Yellow Wallpaper" by Charlotte Perkins Gilman is a haunting masterpiece of psychological horror that masquerades as a simple diary of a woman's "rest cure." What begins as a well-meaning but misguided treatment for postpartum depression descends into a chilling portrait of a mind unraveling under enforced idleness and medical gaslighting.
Gilman's prose is deceptively simple, but the mounting dread is palpable as the narrator becomes increasingly obsessed with the hideous yellow show more wallpaper in her prison-like room. Her husband John, a physician who dismisses her concerns with patronizing affection, embodies the medical establishment's dangerous ignorance about women's mental health in the 19th century. The narrator's gradual identification with the woman she sees trapped behind the wallpaper's patterns is both tragic and terrifying.
What struck me most powerfully was the story's opening description of the house as potentially "haunted"—a detail that gains devastating significance by the end. While many readers interpret the conclusion as the narrator's complete mental breakdown, I find myself inclined to agree with those who read the ending more literally and darkly: that the woman kills herself and becomes the ghost haunting that room with the yellow wallpaper. This reading transforms the story from psychological horror into something even more chilling—a tale of a woman so thoroughly erased and dismissed in life that she can only achieve agency and visibility in death, forever trapped in that suffocating room, fulfilling the house's haunted reputation that was mentioned at the very beginning.
This interpretation makes the story's feminist critique even more pointed: the patriarchal medical system doesn't just break the narrator's mind—it quite literally kills her, and even in death, she remains confined to the domestic prison where she was silenced. The circular structure, from "haunted" house to actual haunting, creates a devastating inevitability. A brilliant, unsettling work that remains urgently relevant. show less
Gilman's prose is deceptively simple, but the mounting dread is palpable as the narrator becomes increasingly obsessed with the hideous yellow show more wallpaper in her prison-like room. Her husband John, a physician who dismisses her concerns with patronizing affection, embodies the medical establishment's dangerous ignorance about women's mental health in the 19th century. The narrator's gradual identification with the woman she sees trapped behind the wallpaper's patterns is both tragic and terrifying.
What struck me most powerfully was the story's opening description of the house as potentially "haunted"—a detail that gains devastating significance by the end. While many readers interpret the conclusion as the narrator's complete mental breakdown, I find myself inclined to agree with those who read the ending more literally and darkly: that the woman kills herself and becomes the ghost haunting that room with the yellow wallpaper. This reading transforms the story from psychological horror into something even more chilling—a tale of a woman so thoroughly erased and dismissed in life that she can only achieve agency and visibility in death, forever trapped in that suffocating room, fulfilling the house's haunted reputation that was mentioned at the very beginning.
This interpretation makes the story's feminist critique even more pointed: the patriarchal medical system doesn't just break the narrator's mind—it quite literally kills her, and even in death, she remains confined to the domestic prison where she was silenced. The circular structure, from "haunted" house to actual haunting, creates a devastating inevitability. A brilliant, unsettling work that remains urgently relevant. show less
The Yellow Wallpaper is a brilliant late nineteenth century novella/short story by Charlotte Perkins Gilman. The story is told in the first person by a woman who is apparently suffering from post-partum depression; her husband, a doctor, has rented an estate for the season and prescribed a rest cure for her "nervous illness." He dictates every detail of her existence, from choosing the room where they will sleep to forbidding her to exert herself by writing. She describes the hideous yellow show more wallpaper in the room, developing a fixation with it. She comes to see a woman behind the wallpaper, struggling to escape it.
The story is a perceptive portrayal of the gender roles of the time, the husband's dominance and certainty of his correctness, the wrongness of the treatment, and the narrator's gradual descent into madness. Coming several years earlier than The Awakening, Gilman's story treats similar themes of the limits that societal expectations place on women. The story is formally an easy read but emotionally challenging. 4.5 stars. show less
The story is a perceptive portrayal of the gender roles of the time, the husband's dominance and certainty of his correctness, the wrongness of the treatment, and the narrator's gradual descent into madness. Coming several years earlier than The Awakening, Gilman's story treats similar themes of the limits that societal expectations place on women. The story is formally an easy read but emotionally challenging. 4.5 stars. show less
any real analysis of this would take longer than the short text itself. there is so much in here and it's all done so well. how she includes so much with so few words is a wonder.
this was written in the 1890s, so clearly women not being believed about their bodies, their selves, their minds, is an ongoing problem that we've been facing for a long, long time. the medical system still doesn't believe (or really even study) women when we say that things aren't right in our bodies. we aren't show more believed and we aren't trusted, and the main character in this short but powerful story faces that as well. at the same time, anyone who tries to live outside the proscribed "norms" will face a pushback that labels them sick or crazy or unwell, as we see so often today, too.
it's really fascinating to see her progression, as more and more of her autonomy is taken from her, into further madness. (or is it madness? it is release from shackles that were binding her?) i guess that's the really exciting question for me - do we see her, at the end, having gone raving mad, being driven that way because her doctor husband and her doctor brother weren't listening to her, weren't getting her what she needed, or do we see her having freed herself from the prison that society has created, and starting anew, having broken out? and, maybe, can it be both? show less
this was written in the 1890s, so clearly women not being believed about their bodies, their selves, their minds, is an ongoing problem that we've been facing for a long, long time. the medical system still doesn't believe (or really even study) women when we say that things aren't right in our bodies. we aren't show more believed and we aren't trusted, and the main character in this short but powerful story faces that as well. at the same time, anyone who tries to live outside the proscribed "norms" will face a pushback that labels them sick or crazy or unwell, as we see so often today, too.
it's really fascinating to see her progression, as more and more of her autonomy is taken from her, into further madness. (or is it madness? it is release from shackles that were binding her?) i guess that's the really exciting question for me - do we see her, at the end, having gone raving mad, being driven that way because her doctor husband and her doctor brother weren't listening to her, weren't getting her what she needed, or do we see her having freed herself from the prison that society has created, and starting anew, having broken out? and, maybe, can it be both? show less
Hard on the heels of finishing the course on utopias and dystopias, I decided to tackle Herland, a book I'd been intending to read for decades. To my delight it wasn't nearly as earnest and didactic as I would have expected a feminist utopia of the early 20th to be. Rather it was gently humorous and even-handed, suggesting that it is not so much a utopian vision, but a suggestion that in the relations between the sexes we can do a whole lot better without going to extremes.
The story has a show more classic utopian structure of outsiders "discovering" a previously unknown country where everyone lives in peace and prosperity. Three men, who represent specific types, hear about this land of women and resolve to find it. There's the narrator, Van, who is a social scientist, and who approaches women as equals, Southern gentleman, Jeff, who puts women on pedestals, and the "man's man" (read jerk) Terry, whose increasing anger and frustration at not being able to "master" these women leads to an intolerable act of violence.
Gilman's utopian vision is classic also in the sense that the country is far from perfect, and that much of the second half of the book is taken up with the romance between Van, and Ellador, one of the women of Herland, suggests that in the end, utopia is finding someone who completes you, challenges you, supports you, and who is as interested in you and your world as you are in theirs. show less
The story has a show more classic utopian structure of outsiders "discovering" a previously unknown country where everyone lives in peace and prosperity. Three men, who represent specific types, hear about this land of women and resolve to find it. There's the narrator, Van, who is a social scientist, and who approaches women as equals, Southern gentleman, Jeff, who puts women on pedestals, and the "man's man" (read jerk) Terry, whose increasing anger and frustration at not being able to "master" these women leads to an intolerable act of violence.
Gilman's utopian vision is classic also in the sense that the country is far from perfect, and that much of the second half of the book is taken up with the romance between Van, and Ellador, one of the women of Herland, suggests that in the end, utopia is finding someone who completes you, challenges you, supports you, and who is as interested in you and your world as you are in theirs. show less
Lists
Literary Witches (4)
1910s (1)
Latin America (1)
Reading LIst (1)
1890s (1)
19th Century (1)
2017 Goal (1)
el (1)
Five star books (1)
Utopia (1)
DELETE (1)
Out of Copyright (2)
Female Author (2)
100 Hemskaste (1)
SFFCat 2015 (1)
Favourite Books (1)
Unread books (1)
Overdue Podcast (1)
Victorian Period (1)
Awards
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Associated Authors
Statistics
- Works
- 142
- Also by
- 103
- Members
- 14,774
- Popularity
- #1,559
- Rating
- 3.9
- Reviews
- 389
- ISBNs
- 803
- Languages
- 18
- Favorited
- 23




























