In the following essay, McGowan observes that recent historicist readings of “The Yellow Wallpaper” provide key insights into the relationship between female subjectivity and the ownership of private property.

In the following essay, Dock discusses the publication and critical history of “The Yellow Wallpaper.”

In the following essay, Fetterley discusses the elements of gendered narrative self-reflexivity in Gilman's “The Yellow Wallpaper,” as well as in “A Jury of Her Peers” by Susan Glaspell and “The Murders in the Rue Morgue” by Edgar Allan Poe.

In the following essay, Thomas discusses the motif of the wallpaper in “The Yellow Wallpaper” as a feminist critique of popular ideas regarding gender in relation to the textile arts and domestic space.

In the following essay, Karpinski discusses the role of William Dean Howells in the development of Gilman's literary career and in the publication of “The Yellow Wallpaper.”

In the following essay, Treichler asserts that the underlying narrative of “The Yellow Wallpaper” involves the narrator's confrontation with language, by which she defies patriarchal control and male judgment.

In the following essay, Golden discusses the writings of novelist and doctor S. Weir Mitchell, on whom the doctor in “The Yellow Wallpaper” is based. Golden demonstrates the ways in which “The Yellow Wallpaper” provides a feminist counter-discourse to nineteenth-century patriarchal medical discourse.

In the following essay, Gilbert and Gubar discuss “The Yellow Wallpaper” in terms of feminist discourse on issues of maternity and childrearing.

In the following essay, Beer discusses the 1992 motion picture adaptation of “The Yellow Wallpaper,” produced by the British Broadcasting Corporation.

In the following essay, Heilmann asserts that Gilman challenged the dominant nineteenth-century patriarchal discourse on high art by transforming her own ideas about art and politics into the narrative of “The Yellow Wallpaper,” thereby mapping “the transition from male aestheticism to a new female aesthetic.”

In the following essay originally published in 1986, Haney-Peritz asserts that the 1973 Feminist Press edition of “The Yellow Wallpaper” functioned to disrupt and displace the line of male critical response to the story.

In the following essay, Wagner-Martin discusses the themes of motherhood and self-identity in “The Yellow Wallpaper,” asserting that the story is “a splendid example of gender-based narrative.”

In the following essay, Wagner-Martin examines the relevance of “The Yellow Wallpaper” to the experience of contemporary motherhood.

In the following essay, originally published in 1979, Gilbert and Gubar discuss the relationship between madness and female authorship in “The Yellow Wallpaper.”

In the following review of a critical edition of “The Yellow Wallpaper,” edited by Thomas L. Erskine and Connie L. Richards, Felton asserts that the volume fails to address the needs of either an introductory reader or a literary scholar. Felton, however, observes that the introduction, chronology, and bibliography included in the volume are useful.

In the following essay, originally published in 1913 in The Forerunner, a magazine founded and edited by Gilman, the author offers an explanation of her original intention in writing “The Yellow Wallpaper.”