“Diana and Persis” – compelling, revealing, biographical, and thus, tragically incomplete

By the 1870s, Louisa May Alcott and her baby sister May had become close companions. Although quite different in temperament, both shared that burning ambition to become the artists they were meant to be – Louisa as a best-selling author, and May as an acclaimed painter, exhibiting at the Paris Salon. Unearthing a treasure In the …

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A feminist manifesto: wrapping up Work A Story of Experience (part two)

“…Work is an expression of Alcott’s feminist principles and a major effort toward synthesizing in popular, readable form the broad set of beliefs encompassing family, education, suffrage, labor and the moral reform of social life that defined feminist ideology in the nineteenth century.” (pg. 191 from Critical Essays on Louisa May Alcott edited by Madeleine …

The core of Louisa May Alcott’s feminism explains her timelessness

After writing yesterday's post on Polly's modern sensibilities, I thought about what Louisa May Alcott's core belief was which motivated her feminism, and why she was so effective in imparting it. Autonomy My conclusion? Louisa's feminism was based on autonomy - the right of every woman to be autonomous,  the freedom for each woman to …

Louisa May Alcott’s brand of feminism: final thoughts on “Moods,” thanks to Sarah Elbert

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 …