Abstract
This essay presents the case for an unambiguous reading of Grant Wood’s iconic painting, American Gothic (1930), as a carefully crafted exercise in storytelling. Through a nexus of subtly conceived clues, Wood narrates the story of a relatively young spinster unhappily facing a bleak future of sexual repression administered by the mores of regional America in that era. Explicit remarks made by Wood and his sister, who posed for the painting, support this conclusion. This interpretation also opens new vistas on the work’s cultural resonance and personal significance. Culturally, the painting is Wood’s contribution to the struggle of American bohemians and their literary allies against prevailing “Puritan” standards, values, and assumptions during the 1920s. On a personal level, in light of scholars’ growing certainty of Wood’s homosexuality, the artist’s empathetic treatment of the repressed spinster suggests she may represent an alter ego, a fellow victim of patriarchal religious culture.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
