What happens when a group turns on itself; does not support its members and allows the identities imposed on them to separate them? Disunity within a group aids its suppression and is a missed opportunity for that group to combat whatever is keeping them down. Feminist criticism investigates literature and notes the inequality between men and women. They use literature as a springboard to address suppression of one group – women, by another- men. In fiction, good women are often portrayed as nothing more than dutiful mothers, and obedient wives. The expectation to play this role results in racialized femininity, by which women engage in certain behaviors – none of which promote individuality or unity within the group. The ideas of normative behavior expected of good women are inescapable. They are spread through schools, families, social networks and literature. The consequence for not following a prescribed set of behaviors is isolation from the group. In her short story “The Yellow Wallpaper”, published in an issue of New England Magazine in 1892, Charlotte Perkins Gilman describes the struggle of a woman dealing with depression, isolated and misunderstood by her husband, and unable to express her feelings that suggest the unfavorable circumstance of many women during the 19th century. Gilman illustrates her story through the intimate journal entries of a woman diagnosed by men as having a temporary nervous depression following a pregnancy. Encouraged not to think about her circumstance, the protagonist is left alone and becomes obsessed with the wallpaper in the room she is confined to. Feminist criticism has taken time to analyze “The Yellow Wallpaper” and its worth as a piece of literature. The interpretation of this story has varied. But mostly there seems to be an argument that is steeped in gender differences and the oppression of women. As the story was written in the 19th century contrast is most easily made between men and women. Women are clearly not considered equals to men in society. To oppress some group- in this case women, the oppressor must have some influence. Influence is authority, and in the 19th century the gender with authority was most definitely men. But, perhaps this comparison between men and women has been made too easily without considering others. In an effort to make a plea for recognizing women, some feminist criticism has missed opportunities to be critical of women by focusing on the differences between men and women in literature (Lanser 434-35). Criticism that is strictly focused on the oppression of women by men overlooks how the lack of support amongst women may contribute to oppression. This disunity is a result of the sociological concept of gender and perpetuates the problem. The lack of unity between female characters in literature is as damaging as the effect of men on women in story. In “The Yellow Wallpaper” the protagonist is confined in a former nursery (fitting because she is treated like a helpless child) at the top of the house with barred windows that seem most like a prison, or an attic. Her husband, who carries her downstairs when she is allowed, controls her access to the rest of the house. She quickly becomes obsessed with the wallpaper on the walls of the room. As she struggles with her anxiety, she is made to believe it is only nervousness, and she feels guilt for her “condition” as it “does weigh on me so not to do my duty in any way” (Gilman 44). On top of this, she finds it is difficult to talk to her husband, “ It is so hard to talk to John about my case, because he is so wise and because he loves me so” (Gilman 50). When she does express herself to him, he easily talks her out of her thinking. Unable to comfortably relate she finds console in the wallpaper. But this can only be a one-sided relationship stoked and reinforced by her thoughts. At some point the protagonist’s sister-in-law, Jennie, comes to help take care of the duties around the house while the protagonist rests. The interaction between these two women is interesting. The protagonist is cautious around Jennie. She assumes Jennie will think that writing caused her to become ill (Gilman 47), so doesn’t tell Jennie that writing is comforting or that she does it at all. She does not share with Jennie her observations of the wallpaper even after she catches Jennie bizarrely running her hand across the yellow wallpaper. When she surprises Jennie staring at the wallpaper, Jennie snaps back and suggests the protagonist be more aware of the mess the wallpaper is making. This was a miss