I often think on a very important question– that our life is quite predictable and boring, the set of neverending predictable events which are often similar. Each has his own reality and it is impossible to escape from it. Sometimes this reality is calm and comfortable, in other cases –harmful and painful. The protagonists of three short stories "The Yellow Wallpaper" by Charlotte Perkins Gilman, "Everyday use" by Alice Walker and "To Room 19" by Doris Lessing have similar problems – they can not make peace with their environment and simply hide from it in their shells. Indeed, they reality is very severe if they find it more comfortable to hide in the world of madness, strange culture or even in…the river of death.

A major theme in “The Yellow Wallpaper” by Charlotte Perkins Gilman is that solitary confinement and exclusion from the public causes madness. The use of images and scenery helps show this theme throughout the narrative and to depict protagonist’s reality. The main character of this story has a “nervous illness, which is intensified by her feeling of being locked within a room” (Gilman, 1994). The scenery of the “huge colonial mansion’ *Gilman, 1994) and the nursery room with barred windows in particular draws a picture of solitude and seclusion experienced by the central character. Jane’s world is limited by the room with yellow wallpapers – the motive of reality is clearly represented in careful depiction of the room with yellow wallpapers. As Jane becomes more distanced from the world and from any source of sensory stimulation, she begins to hallucinate and finally sinks in her madness. The most important technical and stylistic trait of “The Yellow Wallpaper” is Gilman’s combining of the first-person speaker and present-tense narration – this is one more aspect which amplifies ‘sense of reality’ the reader experiences. By letting readers to see only what Jane sees as she sees it, Gilman copies as closely as possible the feelings of entrapment, loneliness, and distorted fantasy that take place in Jane’s life. Jane’s decline into real insanity is so steady and her narrative voice seems so sensible, even when she depicts actions that one knows are impossible—such as the creeping women in the garden or the woman fighting to “liberate herself from behind her room’s wallpaper” (ibid)—that one may misinterpret this narrative as a ghost story rather than as an explanation of Jane’s mental disorder. By making the descriptions of the women, the space, and the malicious shapes and faces in the wallpaper so instant and realistic, Gilman tricks the reader into seeing Jane as simultaneously mad and in the grips of some haunting ghosts. This vagueness enlarges the surprise that readers experience when they understand that Jane has been talking in metaphors throughout her story, that she has been telling her own sense of intellectual and emotional deterioration, rather than seeing real women swarming about on the ground in the gardens or moving behind her room’s wallpaper.

   In ‘Everyday use’ Alice Walker illustrates the importance of understanding our present life in relation to the traditions of specific gender and culture. She describes women’s fates and shows the life of female gender within the society of the middle of 20th century.

Using careful descriptions and attitudes, Walker demonstrates which factors influence the values of one's outlook; in addition, Alice Walker represents the generation gap or even the conflict of generations. In "Everyday Use" Walker personifies the different aspects of culture and female role model within this culture in the personalities of Dee and the mother (the narrator). Dee can be viewed to stand for a materialistic, complex, and new way of life where aesthetic appeal and ‘trendy ness’ are most important features of any culture and outlook. Mother, conversely, represents a simple “satisfied way of life where her values are only means for survival, as the mother brought her daughter up alone” (Walker, 1996). Dee simple refuses from her mother’s values and chooses more appropriate way of life, since she is not going to repeat her mother’s fate. In African culture women had more rights than in ‘civilized’ cultures of those years (Walker, 1996), but Dee was aware of choosing life with less freedom, because she doesn’t want to work as hard as her mother.

Our life sometimes seems to be a huge theatre and people – actors. All of us have lots of everyday routine duties, which seem eternal. The main character of Doris Lessing’s ‘To room 19’ is a women who struggles against her internal emptiness and the roles she is obliged to play as a “mother, a wife, and a house keeper” (Lessing, 1994). This hurting fight causes an entirely ignorant attitude towards her “intelligent” (Lessing, 1994) marriage and family life. In order to demonstrate the influence of reality, Lessing progressively depicts the different views the character has of her environment – such as the loneliness of her white house, the large and “wild” garden, and finally “Room 19” to show how this scenery affects her difficult emotional status. At the beginning of the story, Susan Rawling lives in a big, white house with a garden. Even though one may perhaps suppose her husband and she has a wealthy life and that their house is likely to be comfortable, barely can the reader find any thorough depiction of both the house and the furniture this house is bound to have inside.

Susan tries to flee from the complicated real world when she sees she does not entirely belong to that place, as there she is not exactly herself, but the mother, the “house-manager” (ibid) and the wife, Mrs.Rawling. Within her large mansion she has to perform her domestic roles, not being able to see her own nature. Susan feels “exposed and vulnerable” (ibid) so she looks for a place where she will be able to relax and think carefully about everything. Then, she begins to isolate herself in a hotel room number 19 – so as to release herself from her responsibilities as Mrs. Rawling. There she doesn’t have to think about anything, but only “perceive the time passing by” (ibid), without any connection to past or future. She enjoys emptiness and loneliness so strongly that these days of isolation, which range from one to five times a week, last for a year, empower her to perform her role properly, because she is not Mrs. Rawling any longer, she is a pretender, entirely detached from her relatives.  After Susan’s husband discovers about the room 19, she looses her place of representation of her inner self –she tries to return to the room, but finds there no rest.  Afterwards she sees the only way to “escape from Mrs. Rawling” (ibid) – suicide.

As for me, all female characters act according to their social role models.  Their realities are quite different, but Jane and Susan have to be ‘real Mrs’, to be a background for their successful husbands; and the mother should be both father and mother for her daughter. The daughter, in turn, looses connection with her mother and tries to escape from the influence of this ‘masculine woman’. It is possible to say that Dee has to be ‘mother’s daughter’, a good obedient daughter of her strong mother. One the other hand, Jane’s problem was the absence of any duties, while Susan’s tragedy laid in the large number of mandatory things, such as managing ideal white house and grooming husband and children. As we can see, the values of society described in ‘The yellow wallpaper’ and ‘To room 19’ are following: woman must be man’s shadow, either ‘domestic animal’ like Jane or house-manager like Susan. Woman must not think too much, since she has specific duties – it was common in such society.  Now it is widespread to discuss self-realization and self-actualisation for women, but it was impossible then, because woman was entirely dependent on man.

All the characters try to struggle with reality; they consider it real antagonism, since reality, in their opinion, anyway doesn’t accept them. The plot of these stories is focused actually on the motive of escapism as the last means to find personal freedom. All the protagonists are imprisoned in their families: Jane is ‘the husband’s wife’, Dee is ‘mother’s daughter’, while Susan is ‘Mrs.Rowling’, an ideal wife and mother.  They are deprived of their ‘selfs’, as Jane and Susan had dissolved in their environment and lost themselves. In order to intensify the idea of reality, all authors describe their protagonists’ lives from this point: Jane’s huge house and husband who decided to detach her from all stressing factors; Susan’s role as Mrs.Rowling is carefully described with an emphasis on an ideal white house in which even time must go according to the strict order; Dee’s mother with ‘iron character’.  On the other hand, the characters have different circumstances, so they solve their problems in different ways, according to marital state and profession. Jane and Susan seem to be weaker, thus, it is more difficult for them to find a ‘cosy world’ as they have typically female roles in the society and are entirely dependent on their husbands. Dee’s situation is a little different, as she has some more freedom to decide which values to choose, she is not married so she hasn’t got any obligations concerning husband and children. The characters are constructed in different ways but there is one thing which makes them similar – the fact that they are ‘someone’s property’ – either ‘husband’s wife’ of ‘mother’s daughter’ and it seems unimportant to highlight their personalities and values. One more difference in the description of characters is that both Jane and Susan tried to liberate themselves (so for them ‘to escape’ meant ‘to become free’), while Dee wanted to get more dependent on strange American culture, which means to be dependent on men (so, in her opinion, ‘escapism’ was equal to ‘getting new dependence’). And the symbols of reality for all three characters are different: Jane’s core of reality is the room with yellow wallpaper; Susan’s symbol of severe reality is her white house; Dee considers her mother to be an embodiment of the whole reality which she tries to flee from.   Anyway, their tragedies are similar: Dee, Jane and Susan try to fight this everyday routine and lose.
Bibliography

1) Gilman, Ch. Yellow Wallpaper. London: Flamingo, 1994

2)      Lessing, D .To Room 19. London: Bantam Classic, 1994

3)      Walker, A. Everyday Use. London: Penguin, 1996

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