I finally finished reading Moods a few weeks ago but just couldn’t comment on it. After reading both the 1864 and 1882 versions, I concluded that the book left me flat. The characters felt rather two-dimensional. Both versions ended differently and each ending seemed convoluted. It left me feeling the way I did after reading The Inheritance (see previous post), except that Moods was a lot better.
One of our readers, Nancy from the Silver Threads blog, recently wrote an insightful post on Moods that caused me to dig deeper. She had read the version which included thoughts by Sarah Elbert so that prompted me to dust off the essay I found of hers from BookRags and read it (note: you can’t read the essay unless you purchase it first). That essay threw open the doors regarding Moods, and Louisa’s thoughts regarding women.
Moods as seen by Alcott scholar Sarah Elbert
The essay was taken from A Hunger for Home: Louisa May Alcott and Little Women and here Elbert paints a compelling portrait of Louisa as a feminist, and how that feminism figured into her writing. What I especially appreciated about Elbert’s treatment of this topic is that she didn’t come at it with a strident or militant attitude. Rather, she objectively outlined what Louisa’s feminist inclinations were and how they seeped into every word she wrote.
Louisa’s understanding of feminism
Elbert maintains that Louisa’s combination of living out American Romanticism in her family, coupled with her immersion in her father’s Transcendentalism gave her a unique perspective on women’s issues. It wasn’t just about political rights. Rather, it was about being taken seriously as a whole person: equal to the man, an individual with dreams, aspirations, ambitions, thoughts and spirituality that were all her own:
” Bronson Alcott described Louisa as ‘Duty’s Faithful Child,’ but she was also a daughter of the Transcendentalist movement he helped found. As such, she and many of her female contemporaries struggled for a sense of individual identity within the context of traditional domesticity. Trying to combine both domesticity and individuality into a workable feminist perspective, they directly challenged established sex roles integral to nineteenth century social order.”
How this relates to Moods
Taken in this light, Moods began to make sense to me.
I now understand why Louisa took such great pains to paint Sylvia Yule the way she did: as a young girl, shut away at home because she was the “dangerous age of seventeen” (Elbert), totally unprepared for life as a mature married woman. She was greatly subject to moods (what seventeen year-old girl isn’t?) which caused her to make thoughtless, impulsive decisions that would cost her dearly later on.
As those of you know who have been following my posts, Sylvia is found desirable by two men who are best friends: Geoffrey Moor (based loosely on Ralph Waldo Emerson, with shades of Bronson Alcott) and Adam Warwick (based on Henry David Thoreau). Louisa in real life hero-worshipped both Emerson and Thoreau. Moor is regarded by Sylvia as one of her dearest friends while she feels passionate love for Warwick. Because of a misunderstanding with Warwick, Sylvia succumbs to Moor’s pressure and marries him. In the earlier version of the story, this impulsive act, guided by her inexperience with life and her moods ultimately leads to disaster while in the later version, things inevitably work out after much pain.
It is through this story that Louisa maps out the theories explained here by Elbert:
” . . . Moods in fact deals deeply with moral and social questions. Alcott attempted to analyze the effect of Transcendentalism on the lives of women. Years of living out the principles of American Romanticism with her family had made her an expert on the problems it posed for women. Moods pointedly includes a defense of experience for young, unmarried women; an attack on passion and romantic love; and an insistence on friendship and equality as the best basis for lasting relationships between the sexes.”
Moods was ahead of its time
Louisa revamped Moods in 1882 because she was so dissatisfied with the original version published by A.K. Loring. She complained bitterly of editing out half the book in order to get it published, causing much misunderstanding on the public’s part as to the book’s true purpose. But in my mind, because Moods was ahead of its time, it would not have been understood by the likes of men such as Henry James Jr. who savaged the book in his critique:
“In 1865 Henry James Jr. dismissed Moods as an unconvincing version of ‘the old story of the husband, the wife and the lover.’ Since a thirty-year-old spinster author could scarcely possess much insight into the eternal triangle, James assumed that the attempt to deal with any deeper problem was laughable. ‘Has Miss Alcott proposed to give her story a philosophical bearing? We can hardly suppose it,’ James wrote acidly. His review was only one of many discouraging notices that Louisa Alcott tried to answer in her preface to a revised edition of the novel in 1882. She maintained that the first work was so altered for the publisher that ‘marriage appeared to be the theme instead of an attempt to show the mistakes of a moody nature, guided by impulse, not principle.’ ” (from Elbert’s essay)
Click on the above link to read the whole review and you will immediately see how clueless James was with regards to Louisa’s intent. Naturally he wouldn’t get it because the women’s movement hadn’t begun to seep into the consciousness of men (nor a lot of women either). It was perhaps unrealistic for Louisa to expect the public to understand the true meaning of Moods as her thinking was far from the mainstream.
Is the intent of Moods any clearer today?
Yet as a 21st century woman who has lived through the women’s movement, I didn’t really get Moods either. It wasn’t until I read Elbert’s essay that I finally understood and that suggested two things to me: one, I am not schooled enough to read between the lines of Moods without some help, and two, perhaps Moods wasn’t written well enough to convey the message to the masses.
Artist versus Craftsman
This realization caused me to think that Louisa was a far better writer when she was a craftsman rather than as an artist. When assigned a certain genre, she could adapt and write compelling stories, whether it be blood and thunder tales, stories from the Civil War, or “moral pap for the young” as she liked to put it. I remember reading the chapter on Little Women in Madeleine Stern’s biography, Louisa May Alcott: A Biography (see previous post) where Stern laid out the case like a lawyer of how adaptable Louisa was when it came to writing because she approached writing as a business, like a pro. Her best book, a classic for the ages, was written under duress as an assignment!
Louisa’s true genius (which I’m not sure she appreciated) was her totally on-target reading of what the public wanted (which is surprising considering she herself was so apart from the mainstream ) plus her chameleon-like ability to be the writer she needed to be to please that audience and earn her keep.
All creative persons long to be artists and to be taken seriously as artists. It’s the nature of the beast. As a creative sort myself, I can fully understand Louisa’s desire to be an artist. So perhaps she never felt fulfilled as a writer. But as a craftsman, she produced a body of work which 150 years later is still read and appreciated, and now even studied. It didn’t hurt that she authentically lived the ideals she wrote about. Without knowing about that life, the writings can never fully come alive. I am very grateful that I spent a lifetime getting to know Louisa first before delving into her writing.
Worth the read
So perhaps Moods was not my favorite work of hers but it was hardly a wasted effort to read it. I learned a great deal about Louisa which causes me to be that much more passionate about her. I am tremendously grateful to women like Sarah Elbert who have taken the time to analyze and critique Louisa’s works so that folks like me who are learning can understand Louisa May Alcott better.
If you are interested in learning more about Sarah Elbert’s take on Louisa and Moods, be sure and download the essay I’ve referred to in this post (available for a small fee). Or, purchase the book it comes from, A Hunger for Home: Louisa May Alcott and Little Women, online. I’ve only been able to scratch the surface of this essay; it is well worth the read.
4 Replies to “Louisa May Alcott’s brand of feminism: final thoughts on “Moods,” thanks to Sarah Elbert”
So interesting. I’m especially curious to read Moods now — and see it as a feminist piece.
I think it’s important to remember, though, that an author’s intention while writing a story isn’t necessarily going to match what a person reads into it. It sounds like Sarah Elbert may be viewing Moods through a feminist lens? That doesn’t mean Alcott intended what Elbert sees in the piece. It’s just an (extremely interesting) way to view literature. Feminist theory and/or New Historicism theory? (I’m new at lit theory and am only guessing.)
I tend to agree, though. I think Alcott was a feminist, and I find the conversation about Alcott’s immersion in Transcendentalism verses her feelings about a woman’s place in that world – fascinating. Could make an interesting thesis in a couple years.
I’d have to read Elbert’s essay to have any real take on the topic, and unfortunately, I can’t spare any money for it…
Thanks for that reminder – helps to have a lit student in this group! 🙂 Elbert’s contentions do make a lot of sense and while Alcott denies, denies, denies that she was writing primarily about marriage in Moods, she certainly said plenty about it! I remember when I visited the Concord Library seeing a letter from Louisa replying to a man about Moods (the first version) and there too she denied writing about marriage and contended that she was writing about moodiness. Perhaps it was a subconscious move on her part? Who knows, but certainly she had plenty to say about the subject based upon her unusual experiences.