In the novel The Scarlet Letter, by
            Nathaniel Hawthorne, we first find Hester Prynne being hissed at by her fellow settlers
            while she stands at the scaffold being accused of
            adultery.
Much later after that we see her again in Chapter
            5, when she finally walks from confinement. Hester chooses not to flee to England, nor
            anywhere else. She simply returns to the settlement and lives alone with Pearl miles
            away from the center of it. However, Hester is far from living in total isolation. The
            story tells us how her talent for art, namely needlework, makes her a center of
            attention amongst the ladies who loved a good handmade piece. Although Hester is not
            always rewarded socially for what she does (people, even children, continue to jeer at
            her in the streets), she develops an underground following of people who admire her
            services.
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Lonely as was Hester's situation, and without a
            friend on earth who dared to show himself, she, however, incurred no risk of want. She
            possessed an art that sufficed, even in a land that afforded comparatively little scope
            for its exercise, to supply food for her thriving infant and herself. It was the art,
            then, as now, almost the only one within a woman's grasp--of needle-work. She bore on
            her breast, in the curiously embroidered letter, a specimen of her delicate and
            imaginative skill, of which the dames of a court might gladly have availed themselves,
            to add the richer and more spiritual adornment of human ingenuity to their fabrics of
            silk and gold.
It must have
            been quite interesting for Hester to see how such a Puritanical settlement who avows by
            the canons of poverty, simplicity, and resourcefulness has developed a sudden taste for
            the good life. Hester must have wondered about the origin of this delight for material
            things. Moreover, she must have wondered how these same individuals, coming to her for
            vanities, have the nerve to still make her remember her own unique mistake by wearing
            the scarlet letter.
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Here, indeed, in the sable simplicity that
            generally characterised the Puritanical modes of dress, there might be an infrequent
            call for the finer productions of her handiwork. Yet the taste of the age, demanding
            whatever was elaborate in compositions of this kind, did not fail to extend its
            influence over our stern progenitors, who had cast behind them so many fashions which it
            might seem harder to dispense
            with.
In addition to the
            sudden changes in her immediate society, one can perceive a sense of want for morbidity
            when we realize that Hester becomes a sort of dark celebrity in a circle of vain people
            who find her to be "the fashion."
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By degrees, not very slowly, her handiwork
            became what would now be termed the fashion. Whether from commiseration for a woman of
            so miserable a destiny; or from the morbid curiosity that gives a fictitious value even
            to common or worthless things; or by whatever other intangible circumstance was then, as
            now, sufficient to bestow, on some persons, what others might seek in vain; or because
            Hester really filled a gap which must otherwise have remained
            vacant;
All this makes us
            conclude that Hester was necessary in the town. Could her "sin" have moved the stagnant
            mentalities of many of the settlers in favor of a life with less rules? Could her
            resilience be the cause for the settler's sudden rebellious need for vanity? One thing
            is clear: Hester is a need in her community. Both her and her art seem to give life to
            an otherwise dead place.