Little Women
Little
Women is a novel by American author Louisa
May Alcott (1832–1888) which was originally
published in two volumes in 1868 and 1869. Alcott wrote the book over several
months at the request of her publisher.[1][2] The story follows the lives of the four March sisters—Meg,
Jo, Beth, and Amy—and details their passage from childhood to womanhood. It is
loosely based on the lives of the author and her three sisters.[3][4]:202 Scholars
classify it as an autobiographical or semi-autobiographical novel.[5][6]:12
Little
Women was an immediate commercial and
critical success, with readers demanding to know more about the characters.
Alcott quickly completed a second volume (titled Good Wives in
the United Kingdom, although this name originated from the publisher and not
from Alcott), and it was also successful. The two volumes were issued in 1880 as
a single novel titled Little Women.
Alcott
wrote two sequels to her popular work, both of which also featured the March
sisters: Little Men
(1871) and Jo's Boys
(1886). The novel addresses three major themes: "domesticity, work, and
true love, all of them interdependent and each necessary to the achievement of
its heroine's individual identity."[7]:200 According
to Sarah Elbert,
Alcott created a new form of literature, one that took elements from Romantic
children's fiction and combined it with others from sentimental novels,
resulting in a totally new format. Elbert argues that within Little Women
can be found the first vision of the "All-American
girl" and that her various aspects
are embodied in the differing March sisters.[7]:199
The
book has frequently been adapted for stage and screen.
Development history
In
1868, Thomas Niles, the publisher of Louisa May Alcott, recommended that she
write a book about girls that would have widespread appeal.[4]:2 At first
she resisted, preferring to publish a collection of her short stories. Niles
pressed her to write the girls' book first, and he was aided by her father Amos Bronson Alcott,
who also urged her to do so.[4]:207 Louisa
confided to a friend, “I could not write a girl’s story knowing little about
any but my own sisters and always preferring boys”, as quoted in Anne Boyd
Rioux's Meg Jo Beth Amy, a condensed biographical account of Alcott's
life and writing.
In
May 1868, Alcott wrote in her journal: "Niles, partner of Roberts, asked
me to write a girl's book. I said I'd try."[8]:36 Alcott
set her novel in an imaginary Orchard House modeled on her own residence of the
same name, where she wrote the novel.[4]:xiii She later
recalled that she did not think she could write a successful book for girls and
did not enjoy writing it.[9]:335- "I
plod away," she wrote in her diary, "although I don't enjoy this sort
of things."[8]:37
By
June, Alcott had sent the first dozen chapters to Niles, and both agreed these
were dull. But Niles' niece Lillie Almy read them and said she enjoyed them.[9]:335–336
The completed manuscript was shown to several girls, who agreed it was
"splendid.” Alcott wrote, "they are the best critics, so I should
definitely be satisfied."[8]:37 She wrote
Little Women "in record time for money,"[7]:196x2 but the
book's immediate success surprised both her and her publisher.[10]
Explanation of the novel's title
According
to literary critic Sarah Elbert, when using the term "little women",
Alcott was drawing on its Dickensian meaning; it represented the period in a young woman's life
where childhood and elder childhood were "overlapping" with young
womanhood. Each of the March sister heroines had a harrowing experience that
alerted her and the reader that "childhood innocence" was of the past,
and that "the inescapable woman problem" was all that remained.[7][page needed]
Other
views suggest that the title was meant to highlight the unfair social
inferiority, especially at that time, of women as compared to men, or,
alternatively, describe the lives of simple people, "unimportant" in
the social sense.[11]
Part One
Four
sisters and their mother, whom they call Marmee, live in a new neighborhood
(loosely based on Concord)
in Massachusetts
in genteel poverty. Having lost all his money, their father is acting as a pastor in the American Civil War,
far from home. The women face their first Christmas without him.
Meg
and Jo March, the elder two, have to work in order to support the family: Meg
teaches a nearby family of four children; Jo assists her aged great-aunt March, a wealthy widow living in a mansion, Plumfield. Beth, too timid for school, is content to stay
at home and help with housework; Amy is still at school. Meg is beautiful and
traditional, Jo is a tomboy who writes; Beth is a peacemaker and a pianist; Amy
is an artist who longs for elegance and fine society.
Jo
is impulsive and quick to anger. One of her challenges is trying to control her
anger, a challenge that her mother experiences. She advises Jo to speak with
forethought before leaving to travel to Washington, where her husband has pneumonia.
Their
neighbor, Mr. Laurence, who is charmed by Beth, gives her a piano. Beth
contracts scarlet fever
after spending time with a poor family where three children die. Jo tends Beth
in her illness. Beth recovers, but never fully. As a precaution, Amy is sent to
live with Aunt March, replacing Jo, while Beth is ill and still infectious.
Jo
has success in earning money with her writing. Meg spends two weeks with
friends, where there are parties for the girls to dance with boys and improve
their social skills. Theodore "Laurie" Laurence, Mr. Laurence's
grandson, is invited to one of the dances, as Meg's friends incorrectly think
she is in love with him. Meg is more interested in John Brooke, Laurie's young
tutor. Brooke goes to Washington to help Mr. March. While with the March
parents, Brooke confesses his love for Meg. They are pleased but consider Meg
too young to be married. Brooke agrees to wait. He enlists and serves a year or so in the war. After he is wounded, he
returns to find work so he can buy a house ready for when he marries Meg.
Laurie goes off to college. On Christmas Day, a year after the book's opening,
the girls' father returns from the war.
Part Two
(Published
separately in the United Kingdom as Good Wives)
Three
years later, Meg and John marry and learn how to live together. When they have
twins, Meg is a devoted mother but John begins to feel left out. Laurie
graduates from college, having put in the effort to do well in his last year
with Jo's prompting. Amy goes on a European tour with her aunt. Beth's health
is weak and her spirits are down. When trying to uncover the reason for Beth's
sadness, Jo realizes that Laurie has fallen in love. At first she believes it's
with Beth but soon senses it's with herself. Jo confides in Marmee, telling her
that she loves Laurie but she loves him like a brother and that she could not
love him in a romantic way.
Jo
decides she wants a bit of adventure and to put distance between herself and
Laurie, hoping he will forget his feelings. She spends six months with a friend
of her mother in New York City, serving as governess for her two children. The family runs a boarding house. She
takes German lessons with Professor Bhaer, who lives in the house. He has come
to America from Berlin to care for the orphaned sons of his sister. For extra
money, Jo writes stories without a moral, which disappoints Bhaer. He persuades
her to give up poorly written sensational stories as her time in New York comes
to an end. When she returns, Laurie proposes marriage and she declines.
Laurie
travels to Europe with his grandfather to escape his heartbreak. At home,
Beth's health has seriously deteriorated. Jo devotes her time to the care of
her dying sister. Laurie encounters Amy in Europe, and he slowly falls in love
with her as he begins to see her in a new light. She is unimpressed by the
aimless, idle and forlorn attitude he has adopted since being rejected by Jo,
and inspires him to find his purpose and do something worthwhile with his life.
With the news of Beth's death, they meet for consolation and their romance
grows. Amy's aunt will not allow Amy to return with just Laurie and his
grandfather, so they marry before returning home from Europe.
Professor
Bhaer goes to the Marches' and stays for two weeks. On his last day, he
proposes to Jo. Jo accepts. When Aunt March dies, she leaves Plumfield to Jo.
Jo and Bhaer turn the house into a school for boys. They have two sons of their
own, and Amy and Laurie have a daughter. At apple-picking time, Marmee
celebrates her 60th birthday at Plumfield, with her husband, her three
surviving daughters, their husbands, and her five grandchildren.
Characters
Margaret "Meg" March
Meg,
the eldest sister, is 16 when the story starts. She is referred to as a beauty
and manages the household when her mother is absent. She is long brown-haired
and blue-eyed and has particularly beautiful hands. Meg fulfills expectations
for women of the time; from the start, she is already a nearly perfect
"little woman" in the eyes of the world.[12] Before her marriage to John Brooke, while still living at
home, she often lectures her younger sisters to ensure they grow to embody the
title of "little women".[13]
Meg
is employed as a governess for the Kings, a wealthy local family. Because of
their father's family's social standing, Meg makes her debut into high society, but is lectured by her friend and
neighbor, Theodore "Laurie" Laurence, for behaving like a snob. Meg
marries John Brooke, Laurie's tutor. They have twins, Margaret
"Daisy" Brooke and John Lauerence "Demi" Brooke. The
sequel, Little Men, mentions a baby daughter, Josephine
"Josie" Brooke,[14] who is 14 at the beginning of the final book.[15]
Critics
have portrayed Meg as lacking in independence, reliant entirely on her husband,
and "isolated in her little cottage with two small children".[7]:204 From this
perspective, Meg is seen as the compliant daughter. According to Sarah Elbert,
"democratic domesticity requires maturity, strength, and above all a
secure identity that Meg lacks".[7]:204 Others
believe that Alcott does not intend to belittle Meg for her ordinary life, and
portrays her in loving detail, suffused in a sentimental light.[16]
Josephine "Jo" March
The
principal character, Jo, 15 years old at the beginning of the book, is a strong
and willful young woman, struggling to subdue her fiery temper and stubborn
personality.[17][18]
The
second oldest of four sisters, Josephine March is the boyish one; her father
has referred to her as his "son Jo," and her best friend and
neighbor, Theodore "Laurie" Laurence, sometimes calls her "my
dear fellow," while she alone calls him Teddy. Jo has a "hot"
temper that often leads her into trouble. With the help of her own misguided
sense of humor, her sister Beth, and her mother, she works on controlling it.
It has been said that much of Louisa May Alcott shows through in these
characteristics of Jo.[19]
Jo
loves literature, both reading and writing. She composes plays for her sisters
to perform and writes short stories. She initially rejects the idea of marriage
and romance, feeling that it would break up her family and separate her from
the sisters whom she adores. While pursuing a literary career in New York City,
she meets Friedrich Bhaer, a German professor. On her return home, Jo rejects
Laurie's marriage proposal, confirming her independence.
After
Beth dies, Professor Bhaer woos Jo at her home, when "They decide to share
life's burdens just as they shared the load of bundles on their shopping
expedition." [7]:210 She is 25
years old when she accepts his proposal. The marriage is deferred until her
unexpected inheritance of her Aunt March's home a year later. According to
critic Barbara Sicherman, "The crucial first point is that the choice is
hers, its quirkiness another sign of her much-prized individuality."[20]:21 They have
two sons, Robert "Rob" Bhaer and Theodore "Ted" Bhaer. Jo
also writes the first part of Little Women during the second portion of
the novel. According to Elbert, "her narration signals a successfully
completed adolescence".[7]:199
Elizabeth "Beth" March
Beth,
13 when the story starts, is described as kind, gentle, sweet, shy, quiet and
musical. She is the shyest March sister.[21]:53 Infused
with quiet wisdom, she is the peacemaker of the family and gently scolds her
sisters when they argue.[22] As her sisters grow up, they begin to leave home, but Beth
has no desire to leave her house or family. She is especially close to Jo: when
Beth develops scarlet fever
after visiting the Hummels, Jo does most of the nursing and rarely leaves her
side. Beth recovers from the acute disease but her health is permanently
weakened.
As
she grows, Beth begins to realize that her time with her loved ones is coming
to an end. Finally, the family accepts that Beth will not live much longer.
They make a special room for her, filled with all the things she loves best:
her kittens, her piano, Father's books, Amy's sketches, and her beloved dolls.
She is never idle; she knits and sews things for the children who pass by on
their way to and from school. But eventually she puts down her sewing needle,
saying it grew "heavy." Beth's final sickness has a strong effect on
her sisters, especially Jo, who resolves to live her life with more consideration
and care for everyone. The main loss during Little Women is the death of
beloved Beth. Her "self-sacrifice" is ultimately the greatest in the
novel. She gives up her life knowing that it has had only private, domestic
meaning."[7]:206–207
Amy Curtis March
Amy
is the youngest sister and baby of the family, aged 12 when the story begins.
Interested in art, she is described as a "regular snow-maiden" with
curly golden hair and blue eyes, "pale and slender" and "always
carrying herself" like a proper young lady. She is the artist of the
family.[23] Often coddled because she is the youngest, Amy can behave
in a vain and self-centered way.[24]:5 She has
the middle name Curtis, and is the only March sister to use her full name
rather than a diminutive.[25]
She
is chosen by her aunt to travel in Europe with her, where she grows and makes a
decision about the level of her artistic talent and how to direct her adult
life. She encounters "Laurie" Laurence and his grandfather during the
extended visit. Amy is the least inclined of the sisters to sacrifice and
self-denial. She behaves well in good society, at ease with herself. Critic
Martha Saxton observes the author was never fully at ease with Amy's moral
development and her success in life seemed relatively accidental.[24] However, Amy's morality does appear to develop throughout
her adolescence and early adulthood, and she is able to confidently and justly
put Laurie in his place when she believes he is wasting his life on pleasurable
activities. Ultimately, Amy is shown to work very hard to gain what she wants
in life, and to make the most of her success while she has it.
Due
to her early selfishness (when her friends knew she would not share any pickled
lime) and attachment to material things, Amy has been described as the least
likable of the four sisters, but she is also the only one who strives to excel
at art purely for self-expression, in contrast to Jo, who sometimes writes for
financial gain.[26]
Additional characters
- Margaret "Marmee" March – The girls' mother and head of household while her husband is away. She engages in charitable works and lovingly guides her girls' morals and their characters. She once confesses to Jo that her temper is as volatile as Jo's, but that she has learned to control it.[27]:130 Somewhat modeled after the author's own mother, she is the focus around which the girls' lives unfold as they grow.[27]:2
- Robert March – Formerly wealthy, the father is portrayed as having helped a friend who could not repay a debt, resulting in his family's genteel poverty. A scholar and a minister, he serves as a chaplain in the Union Army during the Civil War and is wounded in December 1862. After the war he becomes minister to a small congregation.
- Professor Friedrich Bhaer – A middle-aged, "philosophically inclined", and penniless German immigrant in New York City who had been a noted professor in Berlin. Also known as Fritz, he initially lives in Mrs. Kirke's boarding house and works as a language master.[21]:61 He and Jo become friends, and he critiques her writing. He encourages her to become a serious writer instead of writing sensational stories for weekly tabloids. "Bhaer has all the qualities Bronson Alcott lacked: warmth, intimacy, and a tender capacity for expressing his affection—the feminine attributes Alcott admired and hoped men could acquire in a rational, feminist world."[7]:210 They eventually marry and raise his two orphaned nephews, Franz and Emil, and their own sons, Rob and Teddy.[28]
- Robert and Theodore Bhaer ("Rob" and "Ted") – Jo's and Fritz's sons, introduced in the final pages of the novel, named after the March girls' father and Laurie.
- John Brooke – During his employment as a tutor to Laurie, he falls in love with Meg. He accompanies Mrs. March to Washington D.C. when her husband is ill with pneumonia. When Laurie leaves for college, Brooke continues his employment with Mr. Laurence as a bookkeeper. When Aunt March overhears Meg accepting John's declaration of love, she threatens Meg with disinheritance because she suspects that Brooke is only interested in Meg's future prospects. Eventually, Meg admits her feelings to Brooke, they defy Aunt March (who ends up accepting the marriage), and they are engaged. Brooke serves in the Union Army for a year and is sent home as an invalid when he is wounded. Brooke marries Meg a few years later when the war has ended and she has turned twenty. Brooke was modeled after John Bridge Pratt, her sister Anna's husband.[29]
- Margaret and John Laurence Brooke ("Daisy" and "Demijohn/Demi") – Meg's twin son and daughter. Daisy is named after both Meg and Marmee, while Demi is named for John and the Laurence family.
- Josephine Brooke ("Josy" or "Josie") – Meg's youngest child, named after Jo. She develops a passion for acting as she grows up.
- Uncle and Aunt Carrol – Sister and brother-in-law of Mr. March. They take Amy to Europe with them, where Uncle Carrol frequently tries to be like an English gentleman.
- Florence "Flo" Carrol – Amy's cousin, daughter of Aunt and Uncle Carrol, and companion in Europe.
- May and Mrs. Chester – A well-to-do family with whom the Marches are acquainted. May Chester is a girl about Amy's age, who is rich and jealous of Amy's popularity and talent.
- Miss Crocker – An old and poor spinster who likes to gossip and who has few friends.
- Mr. Dashwood – Publisher and editor of the Weekly Volcano.
- Mr. Davis – The schoolteacher at Amy's school. He punishes Amy for bringing pickled limes to school by striking her palm and making her stand on a platform in front of the class. She is withdrawn from the school by her mother.
- Estelle "Esther" Valnor – A French woman employed as a servant for Aunt March who befriends Amy.
- The Gardiners – Wealthy friends of Meg's. Daughter Sallie Gardiner later marries Ned Moffat.
- The Hummels – A poor German family consisting of a widowed mother and six children. Marmee and the girls help them by bringing food, firewood, blankets, and other comforts. They help with minor repairs to their small dwelling. Three of the children die of scarlet fever and Beth contracts the disease while caring for them. The eldest daughter, Lottchen "Lotty" Hummel, later works as a matron at Jo's school at Plumfield
- The Kings – A wealthy family with four children for whom Meg works as a governess.
- The Kirkes – Mrs. Kirke is a friend of Mrs. March's who runs a boarding house in New York. She employs Jo as governess to her two daughters, Kitty and Minnie.
- The Lambs – A well-off family with whom the Marches are acquainted.
- James Laurence – Laurie's grandfather and a wealthy neighbor of the Marches. Lonely in his mansion, and often at odds with his high-spirited grandson, he finds comfort in becoming a benefactor to the Marches. He protects the March sisters while their parents are away. He was a friend to Mrs. March's father, and admires their charitable works. He develops a special, tender friendship with Beth, who reminds him of his late granddaughter. He gives Beth the girl's piano.
- Theodore "Laurie" Laurence – A rich young man who lives opposite the Marches, older than Jo but younger than Meg. Laurie is the "boy next door" to the March family and has an overprotective paternal grandfather, Mr. Laurence. After eloping with an Italian pianist, Laurie's father was disowned by his parents. Both Laurie's mother and father died young, so as a boy Laurie was taken in by his grandfather. Preparing to enter Harvard, Laurie is being tutored by John Brooke. He is described as attractive and charming, with black eyes, brown skin, and curly black hair. He later falls in love with Amy and they marry; they have one child, a little girl named after Beth: Elizabeth "Bess" Laurence. Sometimes Jo calls Laurie "Teddy". Though Alcott did not make Laurie as multidimensional as the female characters, she partly based him on Ladislas Wisniewski, a young Polish émigré she had befriended, and Alf Whitman, a friend from Lawrence, Kansas.[4]:202[6]:241[24]:287 According to author and professor Jan Susina, the portrayal of Laurie is as "the fortunate outsider", observing Mrs. March and the March sisters. He agrees with Alcott that Laurie is not strongly developed as a character.[30]
- Elizabeth Laurence ("Bess") – The only daughter of Laurie and Amy, named for Beth. Like her mother, she develops a love for art as she grows up.
- Aunt Josephine March – Mr. March's aunt, a rich widow. Somewhat temperamental and prone to being judgmental, she disapproves of the family's poverty, their charitable work, and their general disregard for the more superficial aspects of society's ways. Her vociferous disapproval of Meg's impending engagement to the impoverished Mr. Brooke becomes the proverbial "last straw" that actually causes Meg to accept his proposal. She appears to be strict and cold, but deep down, she's really quite soft-hearted. She dies near the end of the first book, and Jo and Friedrich turn her estate into a school for boys.
- Annie Moffat – A fashionable and wealthy friend of Meg and Sallie Gardiner.
- Ned Moffat – Annie Moffat's brother, who marries Sallie Gardiner.
- Hannah Mullet – The March family maid and cook, their only servant. She is of Irish descent and very dear to the family. She is treated more like a member of the family than a servant.
- Miss Norton – A friendly, well-to-do tenant living in Mrs. Kirke's boarding house. She occasionally invites Jo to accompany her to lectures and concerts.
- Susie Perkins – A girl at Amy's school.
- The Scotts – Friends of Meg and John Brooke. John knows Mr. Scott from work.
- Tina – The young daughter of an employee of Mrs. Kirke. Tina loves Mr. Bhaer and treats him like a father.
- The Vaughans – English friends of Laurie's who come to visit him. Kate is the oldest of the Vaughan siblings, and prim and proper Grace is the youngest. The middle siblings, Fred and Frank, are twins; Frank is the younger twin.
- Fred Vaughan – A Harvard friend of Laurie's who, in Europe, courts Amy. Rivalry with the much richer Fred for Amy's love inspires the dissipated Laurie to pull himself together and become more worthy of her. Amy will eventually reject Fred, knowing she does not love him and deciding not to marry out of ambition.[31]
- Frank Vaughan – Fred's twin brother, mentioned a few times in the novel. When Fred and Amy are both traveling in Europe, Fred leaves because he hears his twin is ill.
Inspiration
For
her books, Alcott was often inspired by familiar elements. The characters in Little
Women are recognizably drawn from family members and friends.[3][4]:202 Her
married sister Anna was Meg, the family beauty. Lizzie, Alcott's beloved sister
who died at the age of twenty-three, was the model for Beth, and May, Alcott's
strong-willed sister, was portrayed as Amy, whose pretentious affectations
cause her occasional downfalls.[4]:202 Alcott
portrayed herself as Jo. Alcott readily corresponded with readers who addressed
her as "Miss March" or "Jo", and she did not correct them.[32][33]:31
However,
Alcott's portrayal, even if inspired by her family, is an idealized one. For
instance, Mr. March is portrayed as a hero of the American Civil War,
a gainfully employed chaplain,
and, presumably, a source of inspiration to the women of the family. He is
absent for most of the novel.[33]:51 In
contrast, Bronson Alcott was very present in his family's household, due in
part to his inability to find steady work. While he espoused many of the
educational principles touted by the March family, he was loud and dictatorial.
His lack of financial independence was a source of humiliation to his wife and
daughters.[33]:51 The March
family is portrayed living in genteel penury, but the Alcott family, dependent
on an improvident, impractical father, suffered real poverty and occasional hunger.[34] In addition to her own childhood and that of her sisters,
scholars who have examined the diaries of Louisa Alcott's mother, Abigail
Alcott, have surmised that Little Women was also heavily inspired by
Abigail Alcott's own early life.[27]:6
Publication history
The
first printing of 2,000 copies sold out quickly, and the company had trouble
keeping up with demand for additional printings. They announced: "The
great literary hit of the season is undoubtedly Miss Alcott's Little Women,
the orders for which continue to flow in upon us to such an extent as to make
it impossible to answer them with promptness."[8]:37 The last
line of Chapter 23 in the first volume is "So the curtain falls upon Meg,
Jo, Beth, and Amy. Whether it ever rises again, depends upon the reception
given the first act of the domestic drama called Little Women."[36] Alcott delivered the manuscript for the second volume on
New Year's Day 1869, just three months after publication of part one.[9]:345
Versions
in the late 20th and 21st centuries combine both portions into one book, under
the title Little Women, with the later-written portion marked as Part 2,
as this Bantam Classic paperback edition, initially published in 1983 typifies.[37] There are 23 chapters in Part 1 and 47 chapters in the
complete book. Each chapter is numbered and has a title as well. Part 2,
Chapter 24 opens with "In order that we may start afresh and go to Meg's
wedding with free minds, it will be well to begin with a little gossip about
the Marches."[36] Editions published in the 21st century may be the original
text unaltered, the original text with illustrations, the original text
annotated for the reader (explaining terms of 1868–69 that are less common
now), the original text modernized and abridged, or the original text abridged.[38]
The
British influence, giving Part 2 its own title, Good Wives, has the book
still published in two volumes, with Good Wives beginning three years
after Little Women ends, especially in the UK and Canada, but also with
some US editions. Some editions listed under Little Women appear to
include both parts, especially in the audio book versions.[38] Editions are shown in continuous print from many
publishers, as hardback, paperback, audio, and e-book versions, from the 1980s
to 2015.[38][39] This split of the two volumes also shows at Goodreads,
which refers to the books as the Little Women series, including Little
Women, Good Wives, Little
Men and Jo's
Boys.[40]
Reception
G.
K. Chesterton notes that in Little Women,
Alcott "anticipated realism by twenty or thirty years", and that Fritz's proposal
to Jo, and her acceptance, "is one of the really human things in human
literature."[41] Gregory S. Jackson said that Alcott's use of realism
belongs to the American Protestant pedagogical tradition, which includes a
range of religious literary traditions with which Alcott was familiar. He has
copies in his book of nineteenth-century images of devotional children's guides
which provide background for the game of "pilgrims progress" that
Alcott uses in her plot of Book One.[42]
Little
Women was well received upon first
publication. According to 21st-century critic Barbara Sicherman there was,
during the 19th century, a "scarcity of models for nontraditional
womanhood", which led more women to look toward "literature for
self-authorization. This is especially true during adolescence."[20]:2 Little
Women became "the paradigmatic text for young women of the era and one
in which family literary culture is prominently featured."[20]:3 Adult
elements of women's fiction in Little Women included "a change of
heart necessary" for the female protagonist to evolve in the story.[7]:199
In
the late 20th century some scholars criticized the novel. Sarah Elbert, for
instance, wrote that Little Women was the beginning of "a decline
in the radical power of women's fiction", partly because women's fiction
was being idealized with a "hearth and home" children's story.[7]:197 Women's
literature historians and juvenile fiction historians have agreed that Little
Women was the beginning of this "downward spiral". But Elbert
says that Little Women did not "belittle women's fiction" and
that Alcott stayed true to her "Romantic birthright".[7]:198–199
Little
Women's popular audience was responsive to
ideas of social change as they were shown "within the familiar construct
of domesticity".[7]:220 While
Alcott had been commissioned to "write a story for girls", her
primary heroine, Jo March, became a favorite of many different women, including
educated women writers through the 20th century. The girl story became a
"new publishing category with a domestic focus that paralleled boys'
adventure stories".[20]:3–4
One
reason the novel was so popular was that it appealed to different classes of
women along with those of different national backgrounds, at a time of high
immigration to the United States. Through the March sisters, women could relate
and dream where they may not have before.[20]:3–4
"Both the passion Little Women has engendered in diverse readers
and its ability to survive its era and transcend its genre point to a text of
unusual permeability."[20]:35
At
the time, young girls perceived that marriage was their end goal. After the
publication of the first volume, many girls wrote to Alcott asking her
"who the little women marry".[20]:21 The
unresolved ending added to the popularity of Little Women. Sicherman
said that the unsatisfying ending worked to "keep the story alive" as
if the reader might find it ended differently upon different readings.[20]:21
"Alcott particularly battled the conventional marriage plot in writing Little
Women."[43] Alcott did not have Jo accept Laurie's hand in marriage;
rather, when she arranged for Jo to marry, she portrayed an unconventional man
as her husband. Alcott used Friedrich to "subvert adolescent romantic
ideals" because he was much older and seemingly unsuited for Jo.[20]:21
In
2003 Little Women was ranked number 18 in The
Big Read, a survey of the British public by
the BBC to determine the "Nation's Best-loved Novel" (not
children's novel); it is fourth-highest among novels published in the U.S. on
that list.[44] Based on a 2007 online poll, the U.S. National Education
Association named it one of "Teachers' Top
100 Books for Children".[45] In 2012 it was ranked number 48 among all-time children's
novels in a survey published by School Library Journal, a monthly with primarily US audience.[46]
Influence
Little
Women has been one of the most widely
read novels, noted by Stern from a 1927 report in the New York Times and
cited in Little Women and the Feminist Imagination: Criticism, Controversy,
Personal Essays.[47] Ruth MacDonald argued that "Louisa May Alcott stands
as one of the great American practitioners of the girls' novel and the family
story."[48]
In
the 1860s, gendered separation of children's fiction was a newer division in
literature. This division signaled a beginning of polarization of gender roles
as social constructs "as class stratification increased".[20]:18 Joy
Kasson wrote, "Alcott chronicled the coming of age of young girls, their
struggles with issues such as selfishness and generosity, the nature of
individual integrity, and, above all, the question of their place in the world
around them."[49] Girls related to the March sisters in Little Women,
along with following the lead of their heroines, by assimilating aspects of the
story into their own lives.[20]:22
After
reading Little Women, some women felt the need to "acquire new and
more public identities", however dependent on other factors such as
financial resources.[20]:55 While Little
Women showed regular lives of American middle-class girls, it also
"legitimized" their dreams to do something different and allowed them
to consider the possibilities.[20]:36 More
young women started writing stories that had adventurous plots and
"stories of individual achievement—traditionally coded male—challenged
women's socialization into domesticity."[20]:55 Little
Women also influenced contemporary European immigrants to the United States
who wanted to assimilate into middle-class culture.
In
the pages of Little Women, young and adolescent girls read the
normalization of ambitious women. This provided an alternative to the
previously normalized gender roles.[20]:35 Little
Women repeatedly reinforced the importance of "individuality" and
"female vocation".[20]:26 Little
Women had "continued relevance of its subject" and "its
longevity points as well to surprising continuities in gender norms from the
1860s at least through the 1960s."[20]:35 Those
interested in domestic reform could look to the pages of Little Women to
see how a "democratic household" would operate.[7]:276
While
"Alcott never questioned the value of domesticity", she challenged
the social constructs that made spinsters obscure and fringe members of society
solely because they were not married.[7]:193 "Little
Women indisputably enlarges the myth of American womanhood by insisting
that the home and the women's sphere cherish individuality and thus produce
young adults who can make their way in the world while preserving a critical
distance from its social arrangements." As with all youth, the March girls
had to grow up. These sisters, and in particular Jo, were apprehensive about
adulthood because they were afraid that, by conforming to w
Alcott's
Jo also made professional writing imaginable for generations of women. Writers
as diverse as Maxine Hong Kingston, Margaret
Atwood, and J.K.
Rowling have noted the influence of Jo
March on their artistic development. Even other fictional portraits of young
women aspiring to authorship often reference Jo March.[50]
Alcott
"made women's rights integral to her stories, and above all to Little
Women."[7]:193 Alcott's
fiction became her "most important feminist contribution"—even
considering all the effort Alcott made to help facilitate women's rights."[7]:193 She
thought that "a democratic household could evolve into a feminist
society". In Little Women, she imagined that just such an evolution
might begin with Plumfield, a nineteenth century feminist utopia.[7]:194
Little
Women has a timeless resonance which
reflects Alcott's grasp of her historical framework in the 1860s. The novel's
ideas do not intrude themselves upon the reader because the author is wholly in
control of the implications of her imaginative structure. Sexual equality is
the salvation of marriage and the family; democratic relationships make happy
endings. This is the unifying imaginative frame of Little Women.[7]:276
No comments:
Post a Comment