Mary E. Wilkins Freeman's story, "The Revolt of 'Mother,'" is the epitome of local color and regionalism. Regionalism being stories that focus on the characters, dialect, customs, topography, and other features particular to a specific region. Such stories had come about after the Civil War, ensuring that the American people still had a sense of identity, a culture that they could identify with. Freeman's work is a great example because one can clearly see traits central to the region and its limits. In local color and regionalism stories, the area that which the story takes place in acts as a character itself. It is essential to the story as a whole.
In accordance with "The Revolt of 'Mother,'" one is easily able to see the character of the West being played into the story. "The spring air, full of the smell of growing grass and unseen blossoms, came in their faces. The deep yard in front was littered with farm wagons and piles of wood; on the edges, close to the fence and the house, the grass was a vivid green, and there were some dandelions" (635). Through this characterization, one is able to see that the tale is set in a heavily farmed area, that farming is a daily affair for this family. That in itself is an imperative attribute of the West.
While regionalism and local color were easily spotted characteristics in Freeman's writing, the changing characteristics of the Western women were just as central. This can be seen in Freeman's story "A New England Nun." In a time when marriage, and the status and power gained through marriage was on every woman's mind, the character of Louisa was just a whole new kettle of fish. When reading it is easy to label Louisa with being OCD. "The little square table stood exactly in the centre of the kitchen, and was covered with a starched linen cloth whose border pattern of flowers glistened [...] Louisa took off her green gingham apron, disclosing a shorter one of pink and white print" (627). Not only does Louisa ensure that her home be in pristine order, she even goes as far as to include herself in the equation, layering her aprons for different occasions, while still in the setting of her own home! At the end of the story and the ordeal, Louisa decides to end her engagement to Joe Dagget. Some may blame her precise ways for her behavior, claiming that she was too high maintenance, that Joe was the one who was saved. However, what one must remember is that she had been separated from Joe for the last 14 years. Before that she had lost her mother and her brother. One must realize then that Louisa is merely holding onto the power and safety she has in being alone, a rarity in Freeman's time.
