Suffrage Songs and Verses
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“She Walketh Veiled and Sleeping” opens the collection with an image of latent power, a woman “[s]low advancing, halting, creeping...to the hour” of her liberation. In “Locked Inside,” Gilman echoes the trope of poetry as a voice imprisoned—explored by such poets as Ovid, Coleridge, and Dickinson—to envision a woman who “beats upon her bolted door, / With faint weak hands,” barred from the life of the world she not only desires, but desperately needs. In “Boys Will Be Boys”—a poem with a message for our contemporary awakening to the violence perpetrated by men against women—Gilman argues that women must turn to “love and truth” rather than “warfare” in order to have their way. Other poems in Suffrage Songs and Verses explore the nature of motherhood, the institution of marriage, and the need to elevate individual identity beyond the confines of gender. Gilman’s work as a poet proves a substantial contribution to both the suffragist cause and the vibrant tradition of political poetry in twentieth century literature.
With a beautifully designed cover and professionally typeset manuscript, this edition of Charlotte Perkins Gilman’s Suffrage Songs and Verses is a classic of American literature and poetry reimagined for modern readers.
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Charlotte Perkins Gilman (1860-1935) was an American author, feminist, and social reformer. Born in Hartford, Connecticut, Gilman was raised by her mother after her father abandoned his family to poverty. A single mother, Mary Perkins struggled to provide for her son and daughter, frequently enlisting the help of her estranged husband’s aunts, including Harriet Beecher Stowe, the author of Uncle Tom’s Cabin. These early experiences shaped Charlotte’s outlook on gender and society, inspiring numerous written works and a lifetime of activism. Gilman excelled in school as a youth and went on to study at the Rhode Island School of Design where, in 1879, she met a woman named Martha Luther. The two were involved romantically for the next few years until Luther married in 1881. Distraught, Gilman eventually married Charles Walter Stetson, a painter, in 1884, with whom she had one daughter. After Katharine’s birth, Gilman suffered an intense case of post-partum depression, an experience which inspired her landmark story “The Yellow Wallpaper” (1890). Gilman and Stetson divorced in 1894, after which Charlotte moved to California and became active in social reform. Gilman was a pioneer of the American feminist movement and an early advocate for women’s suffrage, divorce, and euthanasia. Her radical beliefs and controversial views on race—Gilman was known to support white supremacist ideologies—nearly consigned her work to history; at the time of her death none of her works remained in print. In the 1970s, however, the rise of second-wave feminism and its influence on literary scholarship revived her reputation, bringing her work back into publication.
