In his Enigmas of Identity, Peter Brooks describes the "transactional nature of the self", where an individual's identity is created through his or her relationship with others ( Brooks 23) . Identity is forged through “transpersonal networks”, going beyond the individual or the personal (23). Identity is not static, but a continuous "project", which asks how we remain the same, change and grow (15). In “A Scandal in Bohemia” by Arthur Conan Doyle, The Woman in White by Wilkie Collins, and “The Yellow Wallpaper” by Charlotte Perkins Gilman, identity and its transactional and malleable nature play a significant role. In each narrative, the identities of these protagonists have shape-shifting abilities, and mistaken or lost individual identities are the main themes. A common feature of Arthur Conan Doyle's Sherlock Holmes stories is mistaken identity. Holmes often assumes a different identity to achieve his goals as a detective while investigating his various mysteries. Holmes has the ability to transform and renegotiate his identity to serve a particular purpose. In “A Scandal in Bohemia”, Irene Adler, as an actress, is also capable of changing shape. In this story, Holmes is hired to recover some criminal letters and photos of Irene Adler and the King of Bohemia, who fears that her fiancé will learn of his impropriety. During his investigations Holmes follows Alder disguised as a drunk, and later disguises himself as a priest. Holmes' identity is often manipulated by him, but his position as a skilled detective is never lost. Unknown to Holmes, Alder also disguised himself as a young man. At the conclusion, Adler leaves a letter addressed to Holmes explaining how he got the better of Holmes. In her letter, she… middle of the paper… interpersonal interactions are with her husband, our perspective on her is distorted. The narrator is deliberately infantilized as John takes on a parental role that goes beyond that of husband or doctor. As the narrative progresses, the increasing loss of self becomes more evident. The narrator remains nameless until the end of the story. The ending is unclear, it is in conflict between a complete loss of self and a rebellious liberation. In the final lines of the story, the narrator is given a named identity: “'I've come out of it at last,' I said, 'in spite of you and Jane. And I took out most of the paper, so you can't put me back!'” (Gilman). The narrator becomes a manifestation of anguish and anxiety, rather than a real woman. The yellow wallpaper takes on a role of its own and this relationship between the narrator and his material environment becomes all-encompassing.