Critical Reception
The Yellow Wallpaper was initially met with a mixed reception. One anonymous letter submitted to the Boston Transcript read, "The story could hardly, it would seem, give pleasure to any reader, and to many whose lives have been touched through the dearest ties by this dread disease, it must bring the keenest pain. To others, whose lives have become a struggle against heredity of mental derangement, such literature contains deadly peril. Should such stories be allowed to pass without severest censure?"
Positive reviewers describe it as impressive because it is the most suggestive and graphic account of why women who live monotonous lives go crazy.
Although Gilman had gained international fame with the publication of Women and Economics in 1898, by the end of World War I, she seemed out of tune with her times. In her autobiography she admitted that "unfortunately my views on the sex question do not appeal to the Freudian complex of today, nor are people satisfied with a presentation of religion as a help in our tremendous work of improving this world."
Ann J. Lane writes in Herland and Beyond that "Gilman offered perspectives on major issues of gender with which we still grapple; the origins of women's subjugation, the struggle to achieve both autonomy and intimacy in human relationships; the central role of work as a definition of self; new strategies for rearing and educating future generations to create a humane and nurturing environment."
Recently, she has been criticized for her idea in A Suggestion on the Negro Problem to enlist a civic army of blacks like an AmeriCorps to provide jobs and discipline.
Read more about this topic: Charlotte Perkins Gilman
Famous quotes containing the words critical and/or reception:
“Most critical writing is drivel and half of it is dishonest.... It is a short cut to oblivion, anyway. Thinking in terms of ideas destroys the power to think in terms of emotions and sensations.”
—Raymond Chandler (1888–1959)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)