53 pages • 1 hour read
Charlotte Perkins GilmanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section contains mentions of sexual assault and suicide.
First-wave feminism was an intercontinental social movement that took place in the mid-19th century into the 20th century. The main goals of first-wave feminism were to help white women secure the rights to vote and gain equal opportunities for education and work. Many men and women opposed first-wave feminism, and their platform relied heavily on the idea that women were fundamentally inferior to men. This idea was widely supported by biased and incorrect science, which used details such as brain size as proof of women’s inferiority. Opponents of the feminist movement claimed that women’s intellectual inferiority would prevent them from making appropriate political decisions and succeeding in higher education and the workforce. They also claimed that women were physically inferior and therefore unfit to hold certain jobs.
Herland offers a fictional counterargument against the opponents of first-wave feminism. The male characters each represent a different anti-feminist perspective—Van uses science to justify his prejudice, Jeff idolizes women and feels they should be protected from the dangerous world and physical labor, and Terry sexualizes women, judging them only on their perceived sexual value. The Herlanders represent women free from oppressive patriarchy. Where anti-feminists like Terry argue that women are too competitive and catty to function well together, the Herlanders—both white women and previously enslaved women—work together to form an organized society. The male characters initially assume a woman-led country would be inefficient, but Herland is more logical and efficient than the men’s home country, the US. Gilman portrays women as equally physically and mentally capable, if not more capable, than men, and thus deserving of equal rights.
Charlotte Perkins Gilman was born in Hartford, Connecticut, on July 3, 1860, to Frederick Beecher Perkins and Mary A. Fitch. Through her father, Gilman was related to feminist activists Isabella Beecher Hooker, Catherine Beecher, and Harriet Beecher Stowe—the author of Uncle Tom’s Cabin. While her father’s family was highly progressive, her mother’s family was conservative, which led to conflicting, and perhaps hypocritical, views regarding women and feminism. For instance, she includes the notion that Alima is partially to blame for her husband’s sexually aggressive behavior—a comment which seems misplaced given the feminist content of the novel. Perkins left his family, which forced Fitch to break from her traditional views and obtain work to support Gilman. Fitch used an emotionally distanced and authoritarian parenting style. After an inconsistent early education, Gilman worked to support herself and attended the Rhode Island School of Design.
In 1884, Gilman married Walter Stetson, and the next year, she gave birth to their daughter, Katharine Beecher Stetson. She lived a traditional lifestyle but grew depressed, at which point she was treated with the “rest cure”—the ineffective mental health treatment that inspired her famous short story, “The Yellow Wallpaper.” She divorced her husband, moved to California, and began her career in writing and activism, while her daughter stayed with her father and stepmother. In 1900, Gilman married George Houghton Gilman, who supported Gilman’s career goals. Although Herland is not an autobiography, the relationship between Gilman and her husband is reflected in the relationship between Ellador and Van, who supports Ellador’s goal of exploring the world outside Herland. Gilman, who was diagnosed with breast cancer, died by suicide in 1935 (Beekman, Mary. “Charlotte Perkins Gilman (1860-1935).” Webster University).
By Charlotte Perkins Gilman