Gender and Sexuality Theme Analysis

As young female artists in early twentieth-century New York, Sue and Johnsy are in an unusual position. Their behavior challenges accepted notions of women’s roles and responsibilities in the period: rather than marrying and devoting their energies to the domestic sphere, they have chosen to move to New York and lead independent but financially precarious lives in pursuit of their art. After meeting at a restaurant and discovering their many shared interests, Sue and Johnsy decide to move in together. Confronted with the disapproval of the wider society, the two women find solace in their friendship.

The story’s few men dismiss and belittle Sue and Johnsy. For example, the doctor who diagnoses Johnsy’s pneumonia asserts that art is not “anything…worth thinking about” for a woman. When he asks if anything is bothering Johnsy, Sue replies that “she wanted to paint the Bay of Naples one day.” The doctor doesn’t believe that this unfulfilled aspiration could be the cause of Johnsy’s depression—“Paint—bosh!” he replies, and asks if she is upset over a man. Sue, by contrast, contradicts the doctor’s view that romantic troubles could be the only thing “worth thinking about” for Johnsy. “Is a man worth—” she begins, but cuts herself off, seeming to imply that a man wouldn’t warrant such a depression. Even other artists who know Sue and Johnsy and seem to respect their work can be dismissive of them based on gender. Their neighbor, Mr. Behrman expresses some of the prevailing views of the time when he shouts “You are just like a woman!” at Sue, accusing her of irrationality and jumping to conclusions.

Some critics have advanced the view that Sue and Johnsy are romantically involved. At the very least, they clearly share a close intimacy that exists outside the more conventional roles for women in the period: they are unmarried, live together, and share a home life that does not involve men or caring for children. Sue seems very sure that Johnsy is not involved in a heterosexual relationship: “There is nothing of that kind,” she tells the doctor. The two women call each other by various endearments including “dear,” “Sudie,” and “dear Johnsy.” Sue is highly loyal to Johnsy, cooking and caring for her and telling her “I’d rather be here by you” when Johnsy asks her to leave. Sue is in despair at the prospect of Johnsy’s death: “Think of me, if you won’t think of yourself,” she says. “What would I do?” O. Henry never conclusively confirms or denies the nature of their relationship, but it’s clear that the two women are very close, and that they are able to support each other’s ambitions and passions when others dismiss them.

“The Last Leaf” thus depicts two women who lead unconventional lives. Whether or not Johnsy and Sue are romantically involved, their decision to build a life together challenges prevailing gender norms, particularly the expectation that early twentieth-century women should devote all their time and efforts to their husband and children. By devoting themselves to each other and to art instead, Johnsy and Sue form a new, alternative model of a family and suggest that women’s interests and abilities are far more varied than most men of the era could understand.