By Charlotte Perkins Gilman
Top identified for the 1892 identify tale of this assortment, a harrowing story of a woman's descent into insanity, Charlotte Perkins Gilman wrote greater than 2 hundred different brief tales. Seven of her most interesting are reprinted here.
Written from a feminist standpoint, frequently targeting the inferior prestige accorded to ladies through society, the stories comprise "turned," an ironic tale with a startling twist, during which a husband seduces and impregnates a naïve servant; "Cottagette," in regards to the romance of a tender artist and a guy who's it sounds as if too reliable to be real; "Mr. Peebles' Heart," a releasing story of a fiftyish shopkeeper whose sister-in-law, a physician, persuades him to take a solo journey to Europe, with revivifying effects; "The Yellow Wallpaper"; and 3 different impressive stories.
These fascinating stories aren't purely hugely readable and entire of humor and invention, but additionally provide abundant foodstuff for considered the social, monetary, and private courting of guys and ladies — and the way they may be superior.
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Extra resources for The Yellow Wallpaper and Other Stories
This decadent ‘‘hypercapitalist’’ future, for all its numerous cyborg enhancements, has essentially regressed to primitive forms of exploitation and control; yet at the same time, in a compensating move (already implicit in Marx’s dialectical image), it still contains utopian aspirations for an epochal revolutionizing and redemption of the historical project of consumption. This vision of libidinal-political liberation ﬁnds it most potent expression in Calder’s novel Cythera (1998), which envi- pg 24 # 24 Name /C2005/C2005_INT 01/14/02 06:45AM Plate # 0-Composite t h e c y b e r n e t i c va m p i r e pg 25 # 25 25 sions a futuristic realm in which the autonomous agency of youthful consumers is ﬁnally (if ambiguously) realized.
For all he was worth, paying him peanuts’’ (p. 96). This ‘‘little man, childlike and torn by uncontrollable desires’’ (p. 94), begs to be cured of his addiction to blood, and following a lengthy psychoanalysis, the roots of his vampirism are discovered. Apparently, during his weaning in a popular baby factory known as Storkways, he had teethed on a defective paciﬁer: ‘‘The plastiﬂesh had broken off, rotted away somehow, revealing the pointed steel of the milk-injector underneath, sharp and ugly’’ (p.
These texts, I argue, provocatively address the construction of youth as a privileged consumer identity and as a signiﬁcant ideological code within the domain of consumption generally. Moreover, as the postwar ‘‘afﬂuent society’’ petered out in the 1970s and 1980s and Fordism’s equation of youth with a hedonistic lifestyle of consumption ran up against the nascent structures (and strictures) of postFordism, the cultural contradiction embodied in youth only became more pointed. The vampire and cyborg texts discussed in this book serve powerfully to embody and work through this contradiction.
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