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The yellow wallpaper. The plot of “The Yellow Wallpaper” comes from a
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A Woman Indefinitely Plagued: The Truth Behind The Yellow Wallpaper. ... Later, Michell
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Submitted by nsrchick on May 2, 2007
Category: English
Words: 3408 | Pages: 14
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Among the literary works recovered a generation ago, in the widespread cultural feminist movement that fostered the reemergence of women\'s voices in society, Charlotte Perkins Gilman\'s “The Yellow Wall-Paper” is undoubtedly prominent. In republishing the story, the agents of the Feminist Press, most notably the late Elaine R. Hedges in her famous afterword, foregrounded the aspect that concerned them most: its sexual politics. Gilman\'s story quickly evolved from a relatively obscure and subversive magazine piece of the late nineteenth century to a formative feminist classic, as college anthologies further disseminated both the text and the definitive interpretation attached to the work by the Feminist Press. In this way, a particular “Yellow Wall-Paper” has for some thirty years been on public display.
Yet even as “The Yellow Wall-Paper” has been reproduced over and over, the text itself has not always been the same. Two dozen printings already existed before the Feminist Press edition of 1973,[ 1] available for publishers to reproduce free of any copyright restraints. The dynamics of publishing, both past and present, have produced under the name of “The Yellow Wall-Paper” several different linguistic versions of the work: both from human error (as in the classic Melville example of a compositor\'s misreading of an author\'s manuscript, “soiled” for “coiled”); and from purposeful human intervention, as an editor\'s regularizing of an author\'s apparent inconsistencies. It is thus worth asking just what texts—what linguistic artifacts—constitute the frame on which the work known as “The Yellow Wall-Paper” has been hanging for nearly three decades.
Such questions did not seem particularly urgent to feminist critics in the early 1970s. At a time when mostly male scholars were toiling away on “authoritative” editions of mostly male authors with funding from organizations such as the National Endowment for the Humanities, that...
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