The Short Stories of Charlotte Perkins Gilman: Hugely progressive feminist writer who helped pave the way for many women after her.
Written by Charlotte Perkins Gilman
Narrated by Laurel Lefkow, Liza Ross and Christopher Ragland
4.5/5
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About this audiobook
Inevitably her schooling was limited and by 15 she had attended seven different schools but received only four years education. However Charlotte was resourceful and did spend time with her father’s aunts – the suffragist Isabella Beecher Hooker and the ‘Uncle Tom Cabin’s’ author, Harriet Beecher Stowe as well as many hours at the public library studying ancient civilisations.
In 1878, she enrolled in classes at the Rhode Island School of Design where she met Martha Luther and they developed a close relationship until Luther married in 1881. Charlotte was devastated and detested romance and love until she met and married the artist Charles Walter Stetson.
Their only child, Katharine Beecher Stetson, was born in 1885 but left Charlotte with post-natal depression, then often dismissed as a case of hysteria or nerves. Unsuited to domestic life she ruptured her life and moved to California with Katherine. She divorced in 1894 and then sent Katharine east to live with her father and his second wife confirming that his paternal rights be acknowledged and that Katherine establish a relationship with her father.
After her mother died in 1893, Charlotte moved back east and became involved with her first cousin, Wall Street attorney, Houghton Gilman who she married in 1900. After his death she moved back to California, where Katherine now lived.
Her most popular story is ‘The Yellow Wallpaper’ which touched on her own post-partum depression and underlined the need for women to be responsible for their mental and physical well-being, as the narrator is ordered by her husband/doctor to take compete rest in her room where she is isolated and becomes obsessed with the revolting yellow wallpaper.
She wrote other notable short stories the best of which we also include.
Charlotte lectured widely for social reform, wrote important non-fiction works that questioned our patriarchal system and left a legacy as a leading and positive spokesperson for feminism.
She was diagnosed with incurable breast cancer in 1932 and, as she wrote in her suicide note and autobiography, she ‘chose chloroform over cancer’
Charlotte Perkins Gilman took her own life on 17th August 1935, aged 75, in Pasadena, California.
01 - Charlotte Perkins Gilman - A Short Story Collection - An Introduction
02 - When I Was a Witch by Charlotte Perkins Gilman
03 - The Yellow Wallpaper by Charlotte Perkins Gilman
04 - The Giant Wisteria by Charlotte Perkins Gilman
05 - Making a Living by Charlotte Perkins Gilman
06 - If I Were A Man by Charlotte Perkins Gilman
Charlotte Perkins Gilman
Charlotte Perkins Gilman (1860-1935) was an American author, feminist, and social reformer. Born in Hartford, Connecticut, Gilman was raised by her mother after her father abandoned his family to poverty. A single mother, Mary Perkins struggled to provide for her son and daughter, frequently enlisting the help of her estranged husband’s aunts, including Harriet Beecher Stowe, the author of Uncle Tom’s Cabin. These early experiences shaped Charlotte’s outlook on gender and society, inspiring numerous written works and a lifetime of activism. Gilman excelled in school as a youth and went on to study at the Rhode Island School of Design where, in 1879, she met a woman named Martha Luther. The two were involved romantically for the next few years until Luther married in 1881. Distraught, Gilman eventually married Charles Walter Stetson, a painter, in 1884, with whom she had one daughter. After Katharine’s birth, Gilman suffered an intense case of post-partum depression, an experience which inspired her landmark story “The Yellow Wallpaper” (1890). Gilman and Stetson divorced in 1894, after which Charlotte moved to California and became active in social reform. Gilman was a pioneer of the American feminist movement and an early advocate for women’s suffrage, divorce, and euthanasia. Her radical beliefs and controversial views on race—Gilman was known to support white supremacist ideologies—nearly consigned her work to history; at the time of her death none of her works remained in print. In the 1970s, however, the rise of second-wave feminism and its influence on literary scholarship revived her reputation, bringing her work back into publication.
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