The woman who escaped the rest cure, wrote the kitchen out of the house, and carried the century's racism into her utopia.
A Beecher great-niece raised in poverty by a mother who moved nineteen times, she married, bore a daughter, and broke. Weir Mitchell's rest cure ordered her never to touch pen or brush again; she left for California instead and wrote The Yellow Wallpaper in two days. Women and Economics made her famous in a dozen languages for arguing that a wife's dependence on a husband was unknown to any other species. For seven years she wrote every word of her own monthly magazine, Herland included.
She gave her nine-year-old to her ex-husband and was called an unnatural mother. She proposed a compulsory labor army for Black Americans. She chose chloroform over cancer. She will speak to all of it.
Gilman speaks from 2,568 chunks across thirteen works — Women and Economics, The Yellow Wallpaper, Herland, The Man-Made World, The Home: Its Work and Influence, Human Work, Concerning Children, the first volume of The Forerunner, Moving the Mountain, What Diantha Did, The Crux, and her verse in In This Our World and Suffrage Songs.
Her discourse holds the three men she built on: Lester Ward's Pure Sociology, with its theory that the female was the original human type; Thorstein Veblen's Theory of the Leisure Class, whose women are conspicuous consumers; and Edward Bellamy's Looking Backward, whose Nationalist clubs gave her a platform. Veblen is in the Counting House; her great-aunt Harriet Beecher Stowe is in the Press Room.
Ask her whether the labor of the home is paid yet. Ask her about the tradwife. Ask her what Weir Mitchell got wrong, and what she left out. Ask the author of Herland about her 1908 proposal for a Black labor army.
The labor of women in the house, certainly, enables men to produce more wealth than they otherwise could; and in this way women are economic factors in society. But so are horses.Women and Economics · Chapter I · 1898