Literary Analysis Of 'The White Paint'

“Sonny’s Blues” by James Baldwin and “The Yellow Wallpaper” by Charlotte Perkins Gilman are two stories that reveal the consequences of individual suffering. These consequences include estranging relationships, bitter behavior, and even illness, addiction, or death. Throughout each of these stories, Sonny and John’s wife, known as the narrator of “The Yellow Wallpaper”, continue to suffer due to John’s and Sonny’s brother’s, known as the narrator of “Sonny’s Blues”, failure to meet obligations and familial compassion. Neither the narrator in “Sonny’s Blues” nor the husband, John, in “The Yellow Wallpaper” serve as the villains of the stories, however, I believe we are able to see how both their inabilities to effectively

The narrator has a natural creativity that when left idol drives he insane. She is forced to hide he anxieties and fears which ultimately drives her to insanity. Even though she keeps a journal writing is in particularly off limits. Creativity was forbidden to her, John constantly reminds her to keep it contained. She even writes: “He says no one but myself can help me out of it, that I must use my will and self-control and not let any silly fancies run away with me.” She longs for an outlet for her repressed mind, going as far as to keep the journal, the one the audience is now privy to. She often refers to the journal as her only source of solace. As her sanity deteriorates, her mind starts to imagine things. The wallpaper becomes her outlet for this creativity. She begins describing the mansion as haunted and starts seeing a woman in the walls. She describes this saying: “The dim shapes get clearer every day. It is always the same shape, only very numerous. And it is like a woman stooping down and creeping about behind that pattern. I don't like it a bit. I wonder-I be­gin to think - I wish John would take we away from here!” Her natural eventually becomes so repressed it drives her

With good intentions, John controls his wife's life and makes all decisions for her, whether she agrees with them or not. His wife is full aware of the restrictions that her husband has imposed on her, but she is recessive to his control and often agrees with him. However, she fails to see “signs of her confinement: the bars at the window, the gate at the top of the stairs, steel rings on the walls, and the nailed-down bestead” (Korb). Because she is unable to escape from the isolation that her husband has kept her in, the woman seeks relief from the yellow wallpaper and she creates an imaginary relationship it. In fact, the worst thing her husband should not of done is give his unstable wife an object that is not appealing to focus on. In doing so, he has given her an opportunity to let her mind wonder and create objects that no one else sees. John, however, does not give any thought to this because after all, he thinks he knows what is best for his wife.

In ?The Yellow Wallpaper? it seems that the narrator wishes to drive her husband away, spending the entire time hoping for freedom. She explains, ?John is away all day, and even some nights when his cases are serious. I am glad my case is not serious? (Gilman). She is glad to see her husband away so that she may be left alone to do as she pleases without interference from her husband. She is frequently rebelling against her husband?s orders. She writes in her journal and tries to move her bed when there is no one around to see. However, she always keeps an eye out for someone coming.

Janie, the main character, marries three times throughout the novel. Her marriages do not contain unconditional love and because of this, do not last. Her first husband, Joe Starks, belittles Janie as a person including her intellect. "Somebody got to think for women and chillun and chickens and cows. I god, they sho don’t think none theirselves." (119). Joe shows his dominance over Janie by being the breadwinner in the relationship. Janie’s next marriage is with a man named Joe Starks. He tries to show his dominance over Janie by controlling her. “Janie! "Come help me move dis manure pile befo’ de sun gits hot. You don’t take a bit of interest in dis place. ‘Tain’t no use in foolin’ round in dat kitchen all day long…" (42). Joe belittles the

Wisdom and Knowledge are related to the painted door as Ann experiences loneliness and isolation from her husband John since he is occupied with work all day. "Pay no attention to me. Seven years a farmer 's wife - it 's time was used to staying alone." John leaves, trusting both Ann and Steven to have a friendly game of cards. When John returns he sees the unexpected, he finds both Anna and Steven in bed, at the sight of that John rushes out and freezes himself to death. Ann now will have to use her wisdom through her knowledge and experience to face her, even more, loneliness and isolated future without john. Sinclair believes that Isolation will test and perhaps divide relationships.

As the women walk through the house, they begin to get a feel for what Mrs. Wright’s life is like. They notice things like the limited kitchen space, the broken stove, and the broken jars of fruit and begin to realize the day-to-day struggles that Mrs. Wright endured. The entire house has a solemn, depressing atmosphere. Mrs. Hale regretfully comments that, for this reason and the fact that Mr. Wright is a difficult man to be around, she never came to visit her old friend, Mrs. Wright.

Due to their behavior, both men lead their wives to rebel. John’s controlling behavior causes the narrator to abandon him by going completely mad. First, she questions John’s pronouncements. The narrator believes that congenial work, with excitement and change would do her good (p.297). Next, she focuses on the wallpaper. She describes its negative features noting that patches are gone as if school boys wore it out (p.298). Upset by her husband’s actions, the narrator decides to begin writing in secret. . It reaches the point where the narrator has to hide her writings from him, because he gets upset if she even writes a word (p.298). -After time passes, we see her obsession grow. John seems to be oblivious to the narrator’s conditions, telling her “you know the place is doing you good” (p.299). She notices that the pattern is torturing (p.303). Finally, she begins to see a woman hiding behind the pattern (p.304). Looking for the woman in the pattern gives her something to look forward to (p.305). Ultimately she comes to believe that she is the woman in the wallpaper and wants to free herself. She begins peeling off the paper through the night, and by morning removes all the paper she could while standing (p.307). The narrator even begins to contemplate jumping out of the window, but does not

In literature, women are often depicted as weak, compliant, and inferior to men. The nineteenth century was a time period where women were repressed and controlled by their husband and other male figures. Charlotte Gilman, wrote "The Yellow Wallpaper," showing her disagreement with the limitations that society placed on women during the nineteenth century. According to Edsitement, the story is based on an event in Gilman’s life. Gilman suffered from depression, and she went to see a physician name, Silas Weir Mitchell. He prescribed the rest cure, which then drove her into insanity. She then rebelled against his advice, and moved to California to continue writing. She then wrote “The Yellow Wallpaper,” which is inflated version of her

Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Sinclair Ross’s “The Painted Door” are both stories about women protagonists who feel emotionally isolated from their husbands, who both go by the name John. Ann in “The Painted the Door” and the wife whose name may or may not be Jane in “The Yellow Wallpaper” are women who deal with emotional isolation. Emotional isolation is a state of isolation where one may be in a relationship but still feel emotional separation. In these two stories, both women feel emotionally isolated from their husbands due to lack of communication. In both stories, lack of communication results from one individual failing to disclose their true feelings and instead he or she are beating around the bush, hoping the other party will know what they want. If both parties directly disclose their desires and feelings to one another, there would be a better understanding of each other which as a result would help save marriages. This paper will look at how both women lack communication, how they both their approach their emotional isolation differently, and how their failure to communicate to their husbands and their approach, results in the failure to save their marriage. “The Painted Door” and “The Yellow Wallpaper” are stories that show how both women protagonists are emotionally isolated due to their failure to communicate their feelings and desires to their husbands. Instead of direct communication to their husbands, the women find other

Oftentimes, when burdening or stressful circumstances begin to generate strain on an individual, they find themselves turning to literary art as a form of mental relief. This deliverance applies, in particular, to the narrator in Charlotte Perkins Gilman’s “The Yellow Wallpaper,” and the father in “The Boat,” by Alistair MacLeod. In both short stories, readers can pinpoint several instances in which these specific characters seek solace through differing formats of written language. The function of the father’s books in “The Boat,” and the narrator’s diary in “The Yellow Wallpaper,” is to serve as an instrument of escapism, rebellion, and self-expression, within the controlled existence of

It is both because of John’s deep-seated loyalty to Ann and Ann’s sacrificing nature that kept them together, and brings them apart.

David R. Roediger displays the history of how the theory of “whiteness” has evolved throughout the years in America in his book, The Wages of Whiteness. According to Roediger, “whiteness” is much a constructed identity as “blackness” or any other. He argues that this idea of “whiteness” has absolutely nothing to do with the advantage of the economy, but that it is a psychological racial stereotype that was created by white men themselves. He claims that it is definitely true that racism should be set in class and economic contexts, also stating that “this book will argue that working class formation and the systematic development of a sense of whiteness, went hand in hand for the U.S white working class.” Roediger basically lays out the fact that “working class ‘whiteness’ and “white supremacy” are ideological and psychological creations of the white working class itself.

Because writing is inherently romantic in nature, throughout the history of literature, we see many authors' insights into the enigmatic and often ambiguous subject of love and relationships. Three short stories penned by three separate American writers deal with such matter: Charlotte Perkins Gillman in "The Yellow Wallpaper", Kate Chopin in "The Storm", and Nathaniel Hawthorne in "Young Goodman Brown." Though the relationships presented in each of these stories are unique in their own persuasion, the same underlying theme runs true in all. At first glance all of these relationships may appear healthy in their existence; however, further introspection uncovers specific maladies which I believe elicit much of the discord which arises

The narrator’s feelings of inferiority and powerlessness parallels the female figure she sees trapped behind the pattern in the wall-paper adorning her room. She gradually withdraws from both John and reality by locking herself in the room and ultimately merging with the figure. Through the changing image of the pattern from a “fait figure” (Gilman 46) to a “woman stooping” (Gilman 46) behind the paper and “shaking the bars” (Gilman 46) as if she wanted “to get out” (Gilman 46), we can see her becoming one with the figure: “I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.”(51) Her collapse into madness as reflected in her behavior with the “bedstead [that] is fairly gnawed” (Gilman 51) and her “creeping all around” (Gilman 50) is a direct result of her passive submissiveness to John’s control of her life.