Other editions of book The Yellow Wallpaper: and Other Stories of Paranoia

Many famous maddening stories The Yellow Wallpaper, The Tell-Tale Heart, The Monkey's Paw, The Cask of Amontillado, B24, The Fall of the House of Usher, and An Occurrence at Owl Creek Bridge. This collection begins with two narrative stories. Taking us from our normal everyday life, into a gradual downfall to madness. First, The Yellow Wallpaper, an oppressed wife hides her journal filled with paranoia. She is recouping. From what her husband/physician calls, "a temporary nervous depression," with "hysterical tendencies." The diagnosis is common to women in that period. Next The Tell-Tale Heart, the erratic mad ramblings of a guilty conscience. Now to convince the reader of his sanity, he describes the murder he committed. Then concealed under the floorboards. In the end, the narrator's feelings of guilt result in his hearing the dead man's beating heart. Accompanied by The Monkey's Paw, with three wishes attached, to affect the owner. But the wishes come with an enormous price, for interfering with fate. The Cask of Amontillado is set in an unnamed Italian city at Carnival time. In an unspecified year, is about a man taking fatal revenge on a friend who, he believes insulted him. Then B24, one of Sir Arthur Conan Doyle’s great stories not related to Sherlock Holmes. Is he the accused or conspiracy, innocent or guilty. Consider the burglar caught in the act? Or has an unhappy wife used the opportunity to become a rich widow? You get to decide. With, The Fall of the House of Usher. The tale begins with a narrator arriving at the house of his friend, Roderick Usher. After receiving a disturbing message from him. Asking for help in a distant area of the country, complaining of an illness. As he arrives, the narrator notices a thin crack extending from the roof. Following it down the front of the building and into the neighboring lake. Winding up with one of my favorites, An Occurrence at Owl Creek Bridge. Farquhar a plantation owner in his mid-thirties is on an Alabama railroad bridge during the Civil War. He is being prepared for execution by hanging, with half a dozen military men and a company of infantrymen. They guard the bridge and carrying out the conviction. Farquhar thinks of his wife and children. Then sidetracked by a loud noise that, to him, sounds like a loud clanging; it is the conclusion of his vigil. He sees the possibility of leaping off the bridge and floating to safety. If he can free his tied hands, only the soldiers drop him from the bridge before he can act on the idea. And a popular outcome for TV episodes of the eerie kind. Charlotte Anna Perkins Stetson GilmanCharlotte Anna Perkins Gilman was born July 3rd in Hartford, Connecticut and died August 17th in Pasadena, California at age 75. A writer, commercial artist, magazine editor, lecturer and social reformer.Gilman was best known for three of her works, The Yellow Wallpaper, Herland, Women and Economics. The first was a story written after her own psychosis. In 1932 Gilman was diagnosed with breast cancer, she found herself terminally ill and took an overdose of chloroform dying quietly.

Full text.First published in 1892, The Yellow Wallpaper is written as the secret journal of a woman who, failing to relish the joys of marriage and motherhood, is sentenced to a country rest cure. Though she longs to write, her husband and doctor forbid it, prescribing instead complete passivity. In the involuntary confinement of her bedroom, the hero creates a reality of her own beyond the hypnotic pattern of the faded yellow wallpaper--a pattern that has come to symbolize her own imprisonment. Narrated with superb psychological and dramatic precision, The Yellow Wallpaper stands out not only for the imaginative authenticity with which it depicts one woman’s descent into insanity, but also for the power of its testimony to the importance of freedom and self-empowerment for women.

Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer and the couple moves into the upstairs nursery. As a form of treatment, she is forbidden from working, but encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a temporary nervous depression - a slight hysterical tendency, a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper, descending slowly into psychosis.

This edition of The Yellow Wallpaper, from Bennison Books, includes a new 700-word introduction and brief author biography, plus an additional story by the author: If I Were a Man. The archetypal ‘mad woman in the attic’ is surely Bertha who was confined and hidden away from the world by her husband Edward Rochester in Charlotte Brontë’s Jane Eyre (1847). But Bertha’s story did not end when she committed suicide; other women took her place. While Bertha is not allowed to speak for herself (until Jean Rhys gives her voice in Wide Sargasso Sea published in 1966), the narrator in The Yellow Wallpaper appears keen to have her ailments recognised. Although her husband is a physician, she asserts early on: ‘You see he does not believe I am sick!’ Is she sick? If so, in what way? Is sickness the only label available to characterise her nascent rebellion against society’s strictures regarding the place of women in nineteenth century society? Or does her self-diagnosis foreshadow her later descent into psychological disorder?

In a long-unoccupied mansion, a new mother is confined to what was once a nursery. She is assured by her physician husband that it is a necessary cure to ease her “nervous depression.” Isolated and powerless, she becomes obsessed with the peeling, sickly colored wallpaper. In it, she sees what no one else can: a prisoner desperate to escape its maddening design.A condemnation of the patriarchy, The Yellow Wallpaper explores with terrifying economy the oppression, grave misunderstanding, and willful dismissal of women in late nineteenth-century society.Revised edition: Previously published as The Yellow Wallpaper, this edition of The Yellow Wallpaper (AmazonClassics Edition) includes editorial revisions.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

First published in 1892, The Yellow WallPaper is written as the secret journal of a woman who, failing to relish the joys of marriage and motherhood, is sentenced to a country rest cure. Though she longs to write, her husband and doctor forbid it, prescribing instead complete passivity. Narrated with superb psychological and dramatic precision, this short but powerful masterpiece has the heroine create a reality of her own within the hypnotic pattern of the faded yellow wallpaper of her bedroom—a pattern that comes to symbolize her own imprisonment.

“It is the same woman, I know, for she is always creeping, and most women do not creep by daylight.” --- Charlotte Perkins Gilman, The Yellow Wallpaper "The Yellow Wallpaper" (original title: "The Yellow Wall-paper. A Story") is a 6,000-word short story by the American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental. Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of exercise and air, so she can recuperate from what he calls a "temporary nervous depression – a slight hysterical tendency", a diagnosis common to women in that period. She hides her journal from her husband and his sister the housekeeper, fearful of being reproached for overworking herself. The room's windows are barred to prevent children from climbing through them, and there is a gate across the top of the stairs, though she and her husband have access to the rest of the house and its adjoining estate. The story depicts the effect of understimulation on the narrator's mental health and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper. "It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw – not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper – the smell! ... The only thing I can think of that it is like is the color of the paper! A yellow smell." In the end, she imagines there are women creeping around behind the patterns of the wallpaper and comes to believe she is one of them. She locks herself in the room, now the only place she feels safe, refusing to leave when the summer rental is up. "For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way."