The gothic story, with its unsettling and ambiguous ending, has become a classic of feminist literature. As the days pass, she eventually descends into madness. The protagonist, a new mother suffering from what would now likely be considered postpartum depression, is taken on a country vacation to recover from her “nervous troubles.” Ordered not to overexert herself by her physician husband, prohibited from writing or socializing with company, and deprived of any sort of mental stimulation, she becomes increasingly obsessed with the patterns in the lurid yellow wallpaper of her bedroom. If you were an undergraduate English major, or if you were ever required to read an anthology of American literature, there’s a good chance that you came across “The Yellow Wall-Paper” at some point. “The story was meant to be dreadful, and succeeded.” She was not a woman who was easily discouraged, perhaps because she had experienced worse things in her relatively short life.
When Charlotte Perkins Stetson, a thirty-year-old single mother living in Pasadena, received Scudder’s response, however, she shrugged it off.
Myself if I made others as miserable as I have made myself!Įven by the standards of rejection letters, it was a brutal note. He had written a curt reply to its author: The letter writer was not the only one disturbed by “The Yellow Wall-Paper.” More than a year earlier, the editor of the Atlantic Monthly refused to run the story in his own publication.
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