Charlotte Perkins Gilman · 70 pages
Rating: (68.9K votes)
“It is the same woman, I know, for she is always creeping, and most women do not creep by daylight.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“There are things in that paper that nobody knows but me, or ever will.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“I'm sure I never used to be so sensitive. I think it is due to this nervous condition.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide—plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“Its time we woke up,” pursued Gerald, still inwardly urged to unfamiliar speech. “Women are pretty much people, seems to me. I know they dress like fools - but who’s to blame for that? We invent all those idiotic hats of theirs, and design their crazy fashions, and what’s more, if a woman is courageous enough to wear common-sense clothes - and shoes - which of us wants to dance with her?”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“Most men’s eyes, when you look at them critically, are not like that. They may look at you very expressively, but when you look at them, just as features, they are not very nice.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“I often wonder if I could see her out of all the windows at once.
But, turn as fast as I can, I can only see out of one at one time.
And though I always see her, she may be able to creep faster than I can turn!
I have watched her sometimes away off in the open country, creeping as fast as a cloud shadow in a high wind.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls.
The paint and paper look as if a boys' school had used it. It is stripped off--the paper--in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life.
One of those sprawling flamboyant patterns committing every artistic sin.
It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard of contradictions.
The color is repellant, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight.
It is a dull yet lurid orange in some places, a sickly sulphur tint in others.
No wonder the children hated it! I should hate it myself if I had to live in this room long.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“And there was you - your fair self, always delicately dressed, with white firm fingers sure of touch in delicate true work. I loved you then.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“I want to marry you, Malda - because I love you - because you are young and strong and beautiful - because you are wild and sweet and - fragrant, and - elusive, like the wild flowers you love. Because you are so truly an artist in your special way, seeing beauty and giving it to others. I love you because of all of this, because you are rational and highminded and capable of friendship - and in spite of your cooking!”
“But - how do you want to live?”
“As we did here - at first,” he said. “There was peace, exquisite silence. There was beauty - nothing but beauty. There were the clean wood odors and flowers and fragrances and sweet wild wind. And there was you - your fair self, always delicately dressed, with white firm fingers sure of touch in delicate true work. I loved you then.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“I am, unfortunately, one of those much-berated New England women who have learned to think as well as feel; and to me, at least, marriage means more than a union of hearts and bodies--it must mean minds, too.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“Nobody would believe what an effort it is to do what little I am able,—to dress and entertain, and order things.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“I don't like to look out of the windows even--there are so many of those creeping women, and they creep so fast.
I wonder if they all come out of that wallpaper as I did?”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“It is the strangest yellow, that wallpaper! It makes me think of all the yellow things I ever saw-not beautiful ones like buttercups but old foul, bad yellow things.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“I suppose I shall have to get back behind the pattern when it comes night, and that is hard!
It is so pleasant to be out in this great room and creep around as I please!
I don't want to go outside. I won't even if Jennie asks me to.
For outside you have to creep on the ground, and everything is green instead of yellow.
But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot loose my way.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“John is away all day, and even some nights when his cases are serious. I am glad my case is not serious!”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“This was not life, this was a nightmare.”
― Charlotte Perkins Gilman, quote from The Yellow Wallpaper and Other Stories
“Pumpkin Bunny. Bridget's eyes drifted to the bookshelf where her favorite childhood toy sat propped up in the corner. It had been a gift from her dad from before she could remember, a soft, fluffy stuffed bunny popping out of a pumpkin like a stripper from a birthday cake.”
― Gretchen McNeil, quote from Possess
“We all know the elementary form of politeness, that of the empty symbolic gesture, a gesture-an offer-which is meant to be rejected. In John Irving's A Prayer for
Owen Meany, after the little boy Owen accidentally kills John's-his best friend's, the narrator's-mother, he is, of course, terribly upset, so, to show how sorry he is, he discreetly delivers to John a gift of the complete collection of color photos of baseball stars, his most precious possession; however, Dan, John's delicate stepfather, tells him that the proper thing to do is to return the gift. What we have here is symbolic exchange at its purest: a gesture made to be rejected; the point, the "magic" of symbolic exchange, is that, although at the end we are where we were at the beginning, the overall result of the operation is not zero but a distinct gain for both parties, the pact of solidarity. And is not something similar part of our everyday mores? When, after being engaged in a fierce competition for a job promotion with my closest friend, I win, the proper thing to do is to offer to withdraw, so that he will get the promotion, and the proper thing for him to do is to reject my offer-in this way, perhaps, our friendship can be saved....
Milly's offer is the very opposite of such an elementary gesture of politeness: although it also is an offer that is meant to be rejected, what makes hers different from the symbolic empty offer is the cruel alternative it imposes on its addressee: I offer you wealth as the supreme proof of my saintly kindness, but if you accept my offer, you will be marked by an indelible stain of guilt and moral corruption; if you do the right thing and reject it, however, you will also not be simply righteous-your very rejection will function as a retroactive admission of your guilt, so whatever Kate and Densher do, the very choice Milly's bequest confronts them with makes them guilty.”
― Slavoj Žižek, quote from The Parallax View
“his face. Fenton was never one to like a slow day. The look was enough to tell Barnaby that something big had just come down. “Hutch?” “Hmmm?” Fenton went on, breathlessly. “The Broadbent place was robbed. I got one of the sons on the phone now.” Hutch Barnaby didn’t move a muscle. “Robbed of what?” “Everything.” Fenton’s black eyes glittered with relish. Barnaby sipped his coffee, sipped again, and then lowered his chair to the floor with a small clunk. Damn. As Barnaby and Fenton drove out the Old Santa Fe Trail, Fenton talked about the robbery. The collection, he’d heard, was worth half a billion. If the truth were anything close to that, Fenton said, it would be front-page-New-York-Times. He, Fenton, on the front page of the Times. Can you imagine”
― Douglas Preston, quote from The Codex
“A solitary, unused to speaking of what he sees and feels, has mental experiences which are at once more intense and less articulate than those of a gregarious man. They are sluggish, yet more wayward, and never without a melancholy tinge. Sights and impressions which others brush aside with a glance, a light comment, a smile, occupy him more than their due; they sink silently in, they take on meaning, they become experience, emotion, adventure. Solitude gives birth to the original in us, to beauty unfamiliar and perilous - to poetry. But also, it gives birth to the opposite: to the perverse, the illicit, the absurd.”
― Thomas Mann, quote from Death in Venice and Seven Other Stories
“I’ll save a spot for you on the hood of my truck.”
― Laura Miller, quote from My Butterfly
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