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Its "windows are barred for little children," showing again that she is being treated as a child, and also that she is like a prisoner.John dismisses anything that hints of emotion or irrationality—what he calls "fancy." For instance, when the narrator says that the wallpaper in her bedroom disturbs her, he informs her that she is letting the wallpaper "get the better of her" and thus refuses to remove it.
John doesn't simply dismiss things he finds fanciful; he also uses the charge of "fancy" to dismiss anything he doesn't like.
In other words, if he doesn't want to accept something, he declares that it is irrational.
In this interpretation, "The Yellow Wallpaper" becomes not just a story about one woman's madness, but a maddening system.
Her coming out of the wallpaper—her freedom—coincides with a descent into mad behavior, ripping off the paper, locking herself in her room, even biting the immovable bed.
That her shoulder "just fits" into the groove on the wall is sometimes interpreted to mean that she has been the one ripping the paper and creeping around the room all along.
But it could also be interpreted as an assertion that her situation is no different from that of many other women.
Like Kate Chopin's ' The Story of an Hour,' Charlotte Perkins Gilman's ' The Yellow Wallpaper' is a mainstay of feminist literary study.
First published in 1892, the story takes the form of secret journal entries written by a woman who is supposed to be recovering from what her husband, a physician, calls a nervous condition.
Now John is the one who is weak and sickly, and the narrator is the one who finally gets to determine the rules of her own existence.
by Charlotte Perkins Gilman (1892) highlights a long short story (or short novella) considered a feminist classic. Such imagery could indicate an image of her very self as a .