被視為是美國戲劇之母的蘇珊．葛列絲貝（Susan Glaspell 1876-1948）在二十世紀的美國文學占有重量級的地位。她的作品在她在世時受到學界與市場的雙重歡迎，但是卻在她過世之後乏人問津。直到第二波女性主義運動，葛列絲貝的作品再度受到重視。擅長描寫美國中西部的人文地方風景，葛列絲貝常被認為是地方色彩濃厚的的寫實主義者。然而，本文將從「地方」與「性別」的角度重新閱讀葛列絲貝的《瑣事》與《女性的名譽》，試圖探索劇作家如何處理地方與性別的交互關係，例如地方的認同如何與性別認同互動，而性別關係又如何在地方中被建立。這樣的閱讀方式說明葛列絲貝是位女性主義的地理學者。

Recognized today as the mother of American drama, Susan Glaspell (1876-1948) plays an important role in 20th-century American literature. Her plays were commercially and critically welcome by the people of her time, but faded from public interest after her death. It is not until feminists in the second wave of the Women’s Liberation Movement that Glaspell finally reclaims her reputation. Glaspell, portraying the Midwest in her works, is usually labeled as a local colorist. However, this paper re-reads Glaspell’s Trifles (1916) and Woman’s Honor (1918) from the perspectives of place and gender in order to explore the interrelationship between the two in Glaspell’s works, such as how place identity is associated with gender identity and how gender relations are constructed in a place. In light of such a new reading, Glaspell becomes a feminist geographer.