Chapter XXXIII. Jo’s Journal

By Suzanne Rahn

They need to get away from home and “find themselves.” Today they’d be in college—bright young women in their late teens and early twenties, majors in Art and Creative Writing, measuring their talents and discovering (by trial and error) their core values.

The difference between Amy’s “college” year in Europe and Jo’s in New York City is obvious. Even the chapter titles are comically contrasted—the dignified, impressive “Our Foreign Correspondent” versus the home-grown, unassuming “Jo’s Journal.” Amy has beauty and luxury for her share, and Jo only penny-pinching drudgery and low social status in uninspiring surroundings. Yet there are parallels. Both girls, yearning to escape poverty, will realize that money should not be their primary objective. And while Amy re-discovers Laurie, Jo discovers—Professor Bhaer.

The delay between the first volume of Little Women and the second allowed ample time for reader input, and Alcott knew that “everyone” wanted Jo to marry Laurie. Vowing, “I won’t marry Jo to Laurie to please anybody!” she created a mate for Jo who would be virtually Laurie’s opposite—neither young, handsome, nor rich, but middle-aged, homely, and poor, with a bushy beard and a funny German accent. “Jo’s Journal” takes on a daunting challenge—to introduce an entirely new character, late in the story, who will nonetheless be of crucial importance, and to lay bare his un-Laurieish characteristics while still making him attractive.

Her strategy is to present Professor Bhaer as a mystery for Jo to solve, a man who piques her curiosity from the first. Newly arrived at Mrs. Kirke’s boarding-house, Jo sees “a gentleman” carry a heavy load of coal up three flights of stairs for “a little servant girl.” She is impressed by this unusual act of kindness—in the nineteenth century, virtually no one (including, clearly, Mrs. Kirke) found this backbreaking daily chore too much to ask of little servant girls.

“That must have been Professor Bhaer; he’s always doing things of that sort,” Mrs. Kirke tells her later. So Jo learns what the Professor is even before she knows who he is, and he has already aroused her respect—and curiosity.

By a fortunate happenstance, there is only a curtained glass door between the nursery where Jo sews and teaches Mrs. Kirke’s daughters and the parlor where the Professor gives German lessons. She tells her correspondents (Marmee and Beth), “I mean to peep at him, and then I’ll tell you how he looks.” Admitting it was “dreadfully improper. . . but I couldn’t resist the temptation,” she notes (and passes on) every detail of his face and clothes, witnesses a visit from little Tina (wondering if she is his child), listens while he gives a lesson to two dense young ladies, and takes another sympathetic peep “to see if he survived it.” Later, at the communal dinner table, she is not at all put off by the ways he “shovels in” his food, reasoning that “the poor man must have needed a deal of food after teaching idiots all day.” She is already on his side.

Thus Alcott enables us, too, to spy on the Professor and learn intimate and endearing details of his appearance and behavior, a not-quite-forbidden pleasure that continues even after he and Jo have been introduced. Jo (“by accident,” she insists) knocks open his bedroom door and sees him in his dressing gown, darning his own sock.   Next day, with Mrs. Kirke, she takes a thorough look around Bhaer’s “den” while he is out, and decides to secretly darn his socks herself. It is not long after this that the Professor—no fool—notices the darned socks, catches Jo in the act of trying to pick up some German on her own, and insists on teaching her in payment. If Jo’s spying has made her (and us) feel slightly guilty, his kindly “you peep at me, I peep at you, and that is not bad” lets us all off the hook.

The seal on their growing friendship comes at Christmas, when the Professor—aware by now of Jo’s ambitions—gives her his treasured one-volume Shakespeare. The gift makes her feel “rich.”

Jo will continue pondering the Professor. But in the fifteen pages of this “total immersion” introduction, she (and we) have already gotten to know and like him quite well.

Whether Alcott succeeds in winning the reader’s assent to Jo’s marrying him is another question. The Laurie-versus-Bhaer controversy rages to this day. But the depth of Jo’s love for her Professor by the story’s end seems to me entirely convincing.

Suzanne Rahn is the author of Rediscoveries in Children’s Literature and co-editor of “St. Nicholas” and Mary Mapes Dodge. She founded the Children’s Literature Program at Pacific Lutheran University. 

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Image by Frances Brundage (1929).
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Chapter XXXII. Tender Troubles

By Susan Bailey

Marmee was worried about Beth and for good reason. Her daughter was quieter than usual, even withdrawing from her father. She would cry when visiting with Meg’s babies. Her music was tinged with sadness. Unable to draw Beth out, Marmee asked Jo to find out what was wrong.

Jo thought she had the answer: Beth was in love with Laurie. But in her lack of experience with matters of the heart, she misread the signs. Does a girl in love stare out of a window with a tear sliding down her cheek? Does she cry over her little niece and nephew because she is longing for Laurie? Why would she withdraw from her family?

Jo tried to look at the bright side when it came to her favorite sister even if the signs were pointing in the opposite direction. Hoping that Beth had moved beyond her lingering illness, Jo anticipated a future for her sister that was not to be. Beth would never realize womanhood; never know of marriage, motherhood and the building of her own home apart from her family.  Instead, she would die. In crying over Demi and Daisy, Beth knew she would not live to see them grow up. She would never have a child of her own.

Jo had noticed Beth’s face brighten when she saw Laurie but failed to grasp the true meaning of her sister’s remarks about his health and vitality. Instead, Jo deceived herself into believing that Beth loved Laurie. It was all a fantasy, like one of her stories.

Jo lived through her characters just as Beth lived through her dolls and imaginary friends. This is one of the many interesting parallels between these polar opposite sisters. Drawn to each other because they complemented each other, Jo longed for Beth’s moral strength and courage in the face of adversity while Beth yearned for Jo’s vitality and audacity. But they also shared a common wish: that their family would not change; that they would never have to grow up.

Jo dreaded the restrictions and obligations of womanhood. Her aversion to Laurie’s advances signaled her conflict regarding marriage and children (the very essence of womanhood) clashing with her dreams of independence and literary success (a male ambition). Her solution was to run away to New York.

Beth harbored no ambition. She never imagining herself as a grown woman, leaving home and creating her own family. Her unexplained sense of worthlessness coupled with her poor health made such a life impossible to realize.

To escape growing up, both lived in imaginary worlds. Beth had her dolls, kittens and make-believe friends while Jo lost herself in her fictional characters, first writing about them, and then often embodying them on the stage.

Life and death however, began to press in on all sides. Beth could not run away from her fate so she had to learn to accept it. Ever self-sufficient, she worked through this trial on her own, willing to share only after she had conquered her demon. Unable to perceive the truth, Jo could only hold her sister close, offering hugs and sympathy.

Beth could no longer draw upon Jo’s vitality. But Jo could always rely upon Beth’s example of courage, of meeting life head on even if it meant great sacrifice.

Jo would take off for New York, but her sojourn only delayed the inevitable: a confrontation with Laurie and an eventual coming to terms with her life. It would take all the courage she had to face what was to come.

Susan Bailey is the author of Louisa May Alcott: Illuminated by the Message. Her blog — Louisa May Alcott is My Passion — offers analysis and reflection on the life, works and legacy of Alcott and her family. Susan is an active member and supporter of the Louisa May Alcott Society, the Fruitlands Museum, and Louisa May Alcott’s Orchard House.

jo and beth
Jesse Wilcox Smith, “Jo and Beth” (1915)

 

Chapter XXX. Consequences

By Leslie Perrin Wilson

I appreciate Louisa May Alcott’s emphasis on family as a major focus of Little Women, but the struggle of each March girl to navigate between personal desires and ethical and social standards beyond themselves is at least as important to the story of their development toward maturity. The chapter “Consequences” explores what it takes to advance in the world.

Amy deals with hurt and anger over being demoted from the art table at the Chesters’ fund-raising fair to the less desirable flower table. Mrs. Chester, her daughter May, and May’s friends are swayed by jealousy (Amy attracts a lot of male attention and is talented, to boot), damaged pride (Jo has made fun of May while paying calls with Amy prior to the fair), and an underlying sense of class superiority.

Amy behaves well, conciliating the Chesters and making a success of her table with the help of Laurie and his friends. She learns that pushing back her inner feelings and impulses and conforming in some measure to expectations—which she genuinely acknowledges as necessary guides—will be rewarded by a trip to Europe with Aunt Carrol. She is aware of the connection between her actions and their outcome, and matter-of-factly embraces the consequences as her due, despite Jo’s disappointment at having been passed over for the trip.   From Amy’s perspective, virtue may be its own reward, but there’s nothing wrong with the personal benefits that may follow from it.

Working some years ago on an exhibition showcasing May Alcott as an artist, I explored Louisa May Alcott’s ambivalence about her youngest sister’s natural ability to get what she wanted from life. May’s inborn talent for fulfilling her aspirations by making others like her and securing their assistance by accommodating to accepted paradigms of womanly behavior ran counter to Louisa’s independence and drive for success entirely on her own terms. Louisa worked like a demon and often felt as if she were swimming upstream, while things seemed to come easier for May. That May was able to get what she wanted without the struggle and self-doubt that plagued her older sister did not escape Louisa’s notice, and seemed unfair. “Consequences” highlights Louisa May Alcott’s consciousness, learned first-hand, of the complicated relationship between self-fulfillment and the ability to push ourselves back and make compromises.

Meg, Jo, Beth, and Amy each balance the relative importance of external models of behavior and the voice within in their own way, as did Anna, Louisa, Elizabeth, and May Alcott. However differently Louisa may have seen herself from her sister May in negotiating this balance, the two sisters were actually more similar than not. Both held self-expression as the primary objective.

Leslie Perrin Wilson is Curator of the William Munroe Special Collections at the Concord Free Public Library and a writer on local literary and historical topics.  Louisa May Alcott and her family have formed a major emphasis in collection development and interpretation at the library since the start of Leslie’s tenure in 1996, and a focus of significant scholarly attention, as well.  Leslie plans to retire at the end of July 2019.

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1877 portrait of May Alcott by Rose Peckham.

                                                    

XXIX. Calls

By Anne Boyd Rioux

This overlooked chapter is, to me, one of the most important in the book. It clearly shows how the differences between Jo and Amy, the most interesting pairing in the book, manifest themselves in adulthood. When the sisters were younger, it was Jo who had the upper hand, by virtue of being older, but now the scales have tipped. Amy is prepared to win the prizes that charming, agreeable young women have open to them, while Jo represents a very different, less appreciated, idea of adult womanhood.

As the chapter begins, Amy cajoles Jo into going on a round of social calls, or visits, to their neighbors. In preparation, Amy dresses up Jo to “look aristocratic” and instructs her to be on her best “lady-like” behavior. Instead, Jo exaggeratedly plays “the part of a prim young lady” and “charming girl,” essentially mocking the roles that Amy admires. Their confrontation comes to a head when Amy admonishes Jo for refusing to be polite to the snobbish Mr. Tudor, who is distantly related to the English nobility, and instead bestowing her attention on the poor young Tommy, however good and clever he may be.

In the chapter’s final pages, Jo criticizes Amy’s “morality,” for which Amy makes no apologies. It’s simply “the way of the world,” and she can’t stand the idea of going against the world and getting laughed at. Jo, in contrast, proudly announces her allegiance with the “reformers,” the “new set,” while Amy belongs to the “old.” Jo doesn’t mind being laughed at, for she knows the world needs those who look ahead and can imagine a future where character trumps nobility and social manners. History, she seems to suggest, is on the side of the Jos and the Tommies.

Those looking for evidence of Jo’s rebelliousness tend to focus on her not wanting to be a girl, wishing she could go to war, becoming the breadwinner of the family and starting a writing career. Yet these are all things, one could argue, that she eventually grows out of. Here in the “Calls” chapter, however, Jo articulates a philosophy of progressive reform that Louisa herself shared and never grew out of. She was fond of signing her letters, “Yours for Reform of All Kinds.”

At this point we are likely to side with Jo, but the chapter doesn’t end there. Jo herself foreshadows that it will be Amy who “get[s] on the best” because she has the demeanor and charm that society appreciates in women. The day of the Jos had not yet come, Alcott seems to be saying. This had something to do with Louisa’s feelings about the real-life Amy, her youngest sister, May, who, she once said, “always had the cream of things.” This was ten years after the publication of Little Women, when, she also concluded, “My time is yet to come” (Joel Myerson, Daniel Shealy, and Madeleine Stern, eds., The Journals of Louisa May Alcott, p. 209).

Anne Boyd Rioux is the author of  Meg, Jo, Beth, Amy: The Story of Little Women and Why It Still Matters, published by W. W. Norton in 2018. She also edited a 150th anniversary of Little Women for Penguin Classics, and is a professor at the University of New Orleans. 

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Image by Frank Merrill (1880)

Chapter XXVI. Artistic Attempts

By Marian Lipschutz

Take One

Chapter 26 of Little Women directs our attention to art of the highest order: “It takes people a long time to learn the difference between talent and genius…” Alcott then lowers her tone, making Amy, youngest of the March sisters, the learner in question. Most of Amy’s varied artistic attempts are shown to be ludicrous trials, her plan to entertain friends from her painting class an unmitigated disaster, in which Amy is let down by her family and friends, Hannah, the weather, and a scarcity of local lobsters.

Why does Alcott belittle Amy in such hyperbolic terms? My immediate answer is sibling rivalry. Although Marmee seemed to succeed in persuading Jo to abandon her anger at Amy for throwing her precious book into the fire earlier in the novel, what we have here is Jo’s gleeful revenge, almost as though Jo, not Alcott, were writing the chapter. Although Jo rushes to break up the plaster which has hardened too quickly around Amy’s foot in a sculpture experiment, she is laughing so hard she cuts the poor foot in the process, leaving a lasting scar. Moreover, Jo’s preoccupation with the tragic ending of a work in progress of her own, and her instinctive disapproval of Amy’s luncheon altogether, make it impossible for her to help wholeheartedly; indeed, Jo’s clumsiness becomes an impediment. Jo and Amy may at bottom be loving sisters, but they are also rival artists.

A deeper answer suggests that the attempt of any American woman to be an artist is ridiculous. Jo often demeans her writing, calling it scribbling or rubbish, her overworked novel “a ruin.” Jo and Amy have “fits,” attacks of creativity to be endured, to be got over by the artists themselves and others within range. Amy’s models are European men. Her determined vision, itself a work of art in its scrupulous attention to detail, of a sophisticated afternoon of eating, exchanging ideas, and plein air painting becomes a family amusement for the ages: the time Amy spilled salad dressing on her best dress and got caught with a vulgar lobster by a young man of breeding. Alcott’s anger and fear that women can’t write or paint rumble below the surface.

While Amy goes underground, laughs with her sisters, and calls herself a fool, Chapter 26 looks forward to the novel’s end where she sketches in the midst of a family reunion, declaring her steadfast ambition to be an artist, whose best effort is a recent sculpture of her sickly baby daughter. Amy has every perk: a wealthy musician husband, who admires and supports her work, youth, patience, leisure, a willingness to make use of her own and her child’s body. She is the most modern of the four sisters, traveling further than the others, a networker who cultivates fellow artists, cadges painting supplies from wealthier girls without giving up her decorous identity. Amy is the shaper of her own world. Her drive to express herself comes from within, unrelated to helping her family or a paycheck. And yet I have never been able to forgive her for the calculated cruelty behind the burning of Jo’s book, for taking Jo’s dream of Europe as her due, nor Marmee for imagining her daughters as wives and mothers rather than developing artists, learners of humility and self- sacrifice on their way to the Celestial City.

The March sisters and their mother are so real they seem to us autonomous. We judge their behavior, unable perhaps to resolve conflicts among them, but passionately allowing one or another a permanent place in our hearts. It is Alcott’s genius that burns.

Marian Shaw Lipschutz, the author of the novel Land of Hunchbacks, served for decades as a teacher in and around Los Angeles. For more of her perspectives on Little Women and other topics, visit https://www.marianlipschutz.com/.

FM.Amy in Plaster

Illustration by Frank Merrill (1880).

Chapter XXIV. Gossip

By Elaine Showalter

Chapter 24, “Gossip,” is the first chapter of a sequel that Alcott didn’t intend to write. After the huge success of Little Women, Alcott’s publisher Thomas Niles asked her to go on with the story. She grumbled in her journal, “Girls write to ask who the little women will marry, as if that was the only end of a woman’s life. I won’t marry Jo to Laurie to please anyone” (167). But on November 1 she buckled down to write a chapter a day, and Part II came out in April 1869. In the U.S., the two parts were combined in 1881 into a single volume, but in Great Britain, Part II was published separately under titles Alcott would not have liked, including Little Women Wedded (Sampson Low, 1872), Little Women Married (Sampson Low, 1873), Nice Wives (Weldon & Co., 1875), and finally, Good Wives (Nisbet, 1895).

Part II begins in June 1865, after the end of the Civil War, and the day before Meg’s wedding to John Brooke. Alcott has to bring readers up to date “with a little gossip about the Marches,” implying that the anonymous omniscient narrator is a woman. But while Chapter 1 begins with Jo grumbling, Chapter 24 begins with five and half pages of sentimental, pious, and didactic narrative. Mr. March is back home, and the narrator devotes three paragraphs to praising him as the sage in the study, “the head of the family,” and the “household conscience, anchor, and comforter.”

Has patriarchy returned to tame and repress the spirited March women? Marmee is planning Meg’s wedding. John Brooke, “manfully” wounded in the war, has turned down generous offers of good jobs from rich Mr. Lawrence, and insists on taking up the humble office of “under book-keeper,” and earning an “honest well-earned salary.” Meg is preparing to be to become his humble, womanly wife, and their marital home, the Dovecote, is described in Dickensian diminutives: tiny, little, small, narrow, cosy; indeed a “baby-house,” not just a nursery to come, but a doll’s house. At this point, the narrator seems to be making the March women ominously small. But Alcott’s humor breaks through, thankfully, when she describes the would-be fountain Meg dreams of having represented in the present “by a weather-beaten urn, very like a dilapidated slop-bowl.”

It’s a relief when Laurie, nicknamed “Toodles” by Jo, for a character in a popular play who loves to shop at auction, gets back from college laden with ridiculous wedding gifts. His argument with Jo about his clothes and behavior breaks the preachy narrative tone and re-opens the question of whether Jo will marry, and if so, whether she will marry him. In the last sentence, Laurie whistles, and ominously predicts, “Mark my words, Jo, you’ll go next.” That’s a cliff-hanger, but Laurie is always the last one to figure Jo out.

Work Cited

The Journals of Louisa May Alcott, ed. Joel Myerson and Daniel Shealy, U of Georgia P, 1997.

Elaine Showalter is Professor Emerita of English at Princeton University. She is the editor of Alternative Alcott (1988), and the Library of America edition of Little Women, Little Men, and Jo’s Boys.

WeddedGood Wives.Purple

 

XXII. Pleasant Meadows

By Wendy Matlock

Growing up a bookworm and a reprobate, I loved Little Women despite its morality. I wanted to be Jo with her shorn hair, literary ambitions, and adventurous spirit, and I skipped over all allusions to the girls’ Christmas gifts from Marmee, personalized, color-coded copies of “that beautiful old story of the best life ever lived” (ch. 2). My dislike for didacticism may have led me to become a medievalist, because I relish Geoffrey Chaucer’s play with sentence (moral seriousness) and solaas (entertainment) in the Canterbury Tales. The Nun’s Priest, for example, tells a beast fable starring the handsome rooster Chauntecleer. The tale concludes with four different morals: one for the cock, one for the fox antagonist, one for readers, and one for the organizer of the storytelling competition. Imagine my surprise rereading Little Women as an adult and recognizing Alcott’s equally complex handling of sentence and solaas. Indeed, in volume 1, chapters 6-9, Alcott derives four different lessons for four vividly realized characters from a single allegorical narrative, the story of Christian from John Bunyan’s Pilgrim’s Progress.

Allegorical narratives, it turns out despite my youthful disdain, can be quite sophisticated. Margaret Atwood highlights their complexity when she connects Pilgrim’s Progress to speculative fiction as stories that “can speak of what is past and passing, but especially of what’s to come” (“The Handmaid’s Tale and Oryx and Crake in Context,” PMLA 119.3, 515). Little Women does more than just allude to Bunyan’s work. Alcott uses it to structure the first volume. Marmee’s night-before-Christmas plan in Chapter 1 invites her daughters to recreate their childish playacting of Pilgrim’s Progress, “not in play, but in earnest, and see how far on you can get before father comes home.” That arc culminates in Chapter 22, “Pleasant Meadows.” Jo even reminds us of its perfect symmetry, asking, “Just a year ago we were groaning over the dismal Christmas we expected to have. Do you remember?” The chapter welcomes home Mr. March and recounts his assessment of the girls’ journeys so far: he praises Meg’s industriousness, Jo’s gentleness, Beth’s increasing outgoingness, and Amy’s generosity, the very qualities they strove for during their earnest peregrinations.

We see in “Pleasant Meadows” how thoroughly Alcott incorporates the art of allegory, which, Augustine of Hippo explains, “causes us to think of something beyond the impression the thing itself makes upon the senses” (On Christian Doctrine, trans. D.W. Robertson, Jr., 43). In other words, allegory requires a deep grounding in the literal to invite readers into symbolic interpretations. Chapter 22 begins in sensory detail—the snowman and Beth’s gifts, the pratfalls that greet Mr. March—and ends with symbolism and song, Beth’s performance of her original piano accompaniment to a hymn from Pilgrim’s Progress:

Fulness to them a burden is,

     That go on Pilgrimage;

Here little, and hereafter bliss,

     Is best from age to age.

“Here” in this song, this moment, this chapter, the reunited family enjoys a little bliss, but too much pleasure becomes a burden. Anne Phillips explicates Beth’s “most serious sin” as “her failure to love God more than she loves her family” (“The Prophets and the Martyrs: Pilgrims and Missionaries in Little Women and Jack and Jill,” Little Women and the Feminist Imagination, edited by Janice M. Alberghene and Beverly Lyon Clark, 224). Her music at the end of “Pleasant Meadows” acknowledges Beth’s struggle and embeds us in it. We appreciate the solaas of the domestic story but risk ignoring the sentence it contains. “Pleasant Meadows” enfolds us in the family’s warm embrace even as it acknowledges the moment’s transience (whether caused by an excess of love for the world or not). The final chapter in the volume, “Aunt March Settles the Question,” sets in motion the household’s dissolution. This penultimate chapter pauses that inevitability, gazing instead into a speculative future, “hereafter bliss.”

Associate Professor of English at Kansas State University, Wendy Matlock teaches medieval literature and specializes in using old pop culture to sell even older pop culture.

beth_march_playing_the_piano_by_lalaadanwenb-dbufdob

Illustration by LalaAdanwenB, who writes, “Beth is my favourite March sister and one of my most important heroines, I identify so much with her… I tried drawing her lost in her own world here” (https://www.deviantart.com/lalaadanwenb/art/Beth-March-playing-the-piano-716233979).