Research has a way of taking you places you never thought to go. I recently rereaded a 1937 biography of Louisa May Alcott by Katherine Anthony (of which I will write about in a future post) and started to wonder why so much came out about the Alcott family that year.
An era of the Alcotts
Odell Shepherd’s book on Bronson Alcott was also published in 1937. It then occurred to me that both books came out just before the fiftieth anniversary of the deaths of Louisa and Bronson, who died only a few days apart from each other after Bronson mysteriously invited Louisa to follow him “up” during their last visit together.
That led me to look again at the various artifacts I saw at The Wayside in Concord (specifically the North Bridge Center) where there were several newspaper accounts dating from the same period. The centenary of Louisa May Alcott’s birth was celebrated in Concord in 1932:
from the The Harriet M. Lothrop Family Papers (1831-1870) (Minuteman National Park, Concord, MA)
A very special guest
And in 1935 when the Louisa May Alcott Memorial Association gathered for its annual meeting, they announced the visit during that year of a particular VIP:
The Concord Journal, December 5, 1935, from The Harriet M. Lothrop Family Papers (1831-1870) (Minuteman National Park, Concord, MA)
Louisa as micro-journalist
And, in the midst of these newspaper clippings, I discover a small article which sheds light on the origins of the Pickwick Portfolio from Little Women (aka, The Olive Leaf in real life):
The Harriet M. Lothrop Family Papers (1831-1870) (Minuteman National Park, Concord, MA)
To my delight and surprise, the book referenced, Lilliputian Newspapers by James D. Henderson, was available for download from archive.org. Thus I was able to read firsthand about the origins of “The P.C. and the P.O.”
Creating a diversion
Those who have familiarized themselves with Louisa’s life recall the time in Boston when the sisters were in their teens and twenties when the family lived in acute poverty. To keep her family in good cheer, Louisa created a newspaper in 1849 (when she was seventeen) called The Olive Leaf, in honor of a favorite periodical, The Olive Branch. There were several issues, all available at the Houghton Library at Harvard University — the first issue is replicated in its entirety in Chapter 10 of Little Women. Each sister took the role of a Dickensian character from The Pickwick Papers:
Anna/Meg as Samuel Pickwick
Louisa/Jo as Augustus Snodgrass
Lizzie/Beth as Tracey Tubman
May/Amy as Nathaniel Winkle.
In Lilliputian Newspapers, James D. Henderson reveals that in fact, Louisa created the newspaper when she was twelve in 1844. Henderson writes, “The Pickwick was a manuscript newspaper, in size 10 and 8 inches, and comprised four pages, two columns to a page, entirely written by hand.” (pg. 60, Lilliputian Newspapers). Two issues were published between 1844 and 1845 when the family lived at Still River and Concord. Louisa wrote the early issues but when it changed to The Olive Leaf, all four sisters contributed.
Henderson noted the Weekly Report of their behavior (from “very good” to “good” to “middling” to “bad”) and this invitation:
“THE DUSTPAN SOCIETY will meet on Wednesday next, and parade in the upper story of the Club House. All members to appear in uniform, and shoulder their brooms at nine precisely.” (Ibid, pgs. 62-63)
Ode to Marmee
If you are lucky enough to see or obtain a copy of Lilliputian Newspapers, you will see a reproduction of the original copy of The Pickwick, found in the pocket of the inside of the back cover. The reproduction was made possible by Miss Beatrice Gunn, formerly of the Youth’s Companion, a magazine to which Louisa often contributed. The Concord Journal reprinted the poem featured in the “Poet’s Corner:”
The Harriet M. Lothrop Family Papers (1831-1870) (Minuteman National Park, Concord, MA)
James Henderson’s book was published in 1936. Lots of good stuff during the 1930’s. I look forward to sharing with you soon about Katherine Anthony’s biography which is surprisingly frank and objective.
“It’s amazing how lovely common things become, if one only knows how to look at them.” (from “Marjorie’s Three Gifts,” 1877)
Welcome to the second episode of Louisa May Alcott is My Passion:
During the next thirty six minutes I will give you an overview of the recent Summer Conversational Series, “‘Finding Beauty in the Humblest Things’ — Louisa May Alcott’s Literary Vision” which took place July 10-14 at Louisa May Alcott’s Orchard House. You’ll get to hear from many of the speakers and hear a summary of their presentations. Here on the show notes I have links to my notes so that you can get all the details
And now, on with the show!
Cathlin Davis, PhD
“Bringing Beauty to the World: Youthful Reformers in Louisa May Alcott’s Juvenile Fiction”
Dr. Cathlin Davis
Dr. Davis, Full Professor in the College of Education at California State University-Stanislaus, has been presenting for over ten years at the Summer Conversational Series. She likely has the largest collection of books by Louisa May Alcott (many first editions) and is the go-to person for information and analysis of Alcott’s juvenile works.
On Monday she demonstrated how Alcott brought beauty to the world through her children’s stories. She covered three commonly used themes through a series of stories:
Kindness to animals (“Nelly’s Hospital,” “Old Major,” “Baa! Baa!,”)
Kindness to each other, rich and poor (“May Flowers,” “Roses and Forget-Me-Nots,”)
Sharing Christmas joy (“How It All Happened,” “The Little Red Purse” and “Kate’s Choice.”)
Dr. Davis introduced her session by reading portions of a children’s picture book by another author, Barbara Cooney called Miss Rumphius which demonstrates the theme beautifully. You can watch it here on YouTube:
All stories are available through Google Books or Project Gutenberg.
“Extraordinary Beauty in an Ordinary World: May Alcott and Women’s Painting during the 19th Century”
Elise Hooper is a teacher of history and the author of The Other Alcott, a novel about May Alcott Nieriker, due for publication in the Fall of 2017.
Hooper traced the life of May Alcott Nieriker, citing the influence of her parents. Although May lacked a thorough formal education, her home encouraged creativity, enthusiasm and beauty, all of which drove her in her ambition to become a professional artist.
Hooper explained the need for May to seek her training in Europe as America was in its infancy with regards to art. With the exception of a few prominent teachers (among them Dr. William Rimmer and Stephen Salisbury Tuckerman, both of whom instructed May), there was no support for a professional career in art for women. Because of strong Victorian norms, it was impossible for women to receive the necessary anatomical training as that necessitated the use of nude models, male and female.
Still, Boston was more progressive in the arts than most cities and May was able to take full advantage. Once she reached Europe through the help of her famous sister Louisa, May threw herself into studies. Hooper discussed May’s success as a Turner copyist and two-time exhibitor at the Paris Salon.
Anne-Laure François “A Lesson in the True Necessities and Means of Life: Louisa’s Children as Wise Seers of the Sublime in Everyday Life”
Dr. François is an assistant professor at Paris West University Nanterre La Défense working in both the English and Law Departments. Her doctoral dissertation offered the first detailed study in French of Louisa May Alcott’s fiction, examining Alcott’s strategy of re-writing Transcendentalism and adapting its philosophical principles to the demands of the fast-growing American literary market in the second half of the 19th Century. As an educator, she helped create an alternative high school in the South of France — a project notably based on Alcott’s “Plumfield,” the school utopia that paid homage to her father’s groundbreaking educational ideas and work.
Dr. François chose to examine a little-known short story written by Alcott in 1857 called “The Cross on the Old Church Tower.” She believes that this story foretold the type of writing that would propel Alcott to great success. It is also important to note that “The Cross on the Old Church Tower” was written during Lizzie’s last illness.
Faustian themes, a favorite of Alcott, is featured in this story and found in later works such as A Modern Mephistopheles. One of the main characters, Walter, represents Faust while the other, Jamie, is his savior through his simple and virtuous life. Walter eventually becomes a writer of love stories through Jamie’s influence. There are many parallels between “The Cross on the Old Church Tower” and the story of Beth’s death and her influence on Jo in Little Women.
Dr. François described how this story shows the depth of Alcott’s reading. She believes the story is prophetic regarding Alcott’s future as a successful writer.
Kristi Lynn Martin
“The Sacred Domestic, Memorialization, and Literary Imagination in the Alcott Sisters’ Sphere”
Kristi Lynn Martin
Kristi Martin is a registered tour guide for all the historic homes in Concord including Louisa May Alcott’s Orchard House. She is currently doing her dissertation for her PhD on literary tourism in Concord (“Creating ‘Concord: How Preservation and Tourism Transformed a New England Village into a Tourist Mecca, 1824 – 1965”).
Kristi’s specialty is the Alcott sisters and in her presentation told true stories of each sister that line up with the fictional tales of the March sisters. The Alcott sisters were known as The Golden Band by their father Bronson and he wrote beautiful sonnets for each sister. In Little Women, he is the wise and quiet leader of a bustling household of women.
Beginning with the eldest, Anna, Kristi described Anna’s love of beauty (her favorite word was “beautiful”) and used her wedding as the perfect example of Anna’s virtuous beauty. Meg March’s wedding was very similar to Anna’s right down to the grey silk dress and Lily of the Valley flowers. The simplicity of that wedding underscored the beauty that be the marriage between Anna and her John (aka Meg and John Brooke).
She highlighted Louisa’s sacrifice of her nursing service which resulted in a near fatal illness and the loss of her “one true beauty” – her long chestnut tresses. In Little Women Mr. March serves in the war and Jo sacrifices “her one beauty” impetuously to help send Marmee to his side during his recovery.
Beth’s gentle goodness and gracious death proved to be perhaps the major moral force of the novel as shown by the change in Jo after Beth dies. Kristi shared quotes from Lizzie demonstrating that the shy shadow sister in fact very much enjoyed the company of others and could have a saucy sense of humor not unlike Louisa herself!
Finally she contrasted May with Amy demonstrating that although like Amy, May grew into a gracious woman, she also took her art far beyond where Amy was able to take it.
From left to right, Lis Adams, Education Director, and Jan Turnquist as Louisa May Alcott
We had a surprise visit from Louisa herself! (artfully portrayed by Orchard House Executive Director Jan Turnquist) She first talked about Father and Mother and their dear friends, Emerson and Thoreau. She spoke with affection about Emerson’s daughter Ellen and how she dogged Louisa for more fairy stories. That of course, ended up with the publication of Louisa’s first book, Flower Fables.
She was “surprised” that we all knew and loved Little Women and remarked how unexpected its success was to her as both she and her publisher, Thomas Niles, thought the book “dull.”
Louisa lovingly shared the familiar story of Bronson coming home after a trip out West, covered with snow and with only one dollar in his pocket.
She shared stories about her days as a Civil War nurse and even “reunited” with a soldier she had nursed in Washington! (Bravo John Matteson for your campy performance)
She then revealed her deep dark secret: she wrote pot boilers just like Jo! She then acted out one of her most notorious women characters, devious Jean Muir of Behind a Mask.
Continuing to enact favorite characters, she showed us Sairy Gamp from a Charles Dickens story, the character she used to cheer up her dear Lizzie as well as the soldiers in the Union hospital.
Calling us friends, she confided in us how she put off annoying fans by pretending to be the Irish maid.
It was a wonderful visit!
“Castles in the Air Versus Two Inches of Ivory: A Comparison of Louisa May Alcott’s Sisters with Jane Austen’s Bennets.”
Two classics: Little Women by Louisa May Alcott, and Pride and Prejudice by Jane Austen – Gabrielle Donnelly is a devotee of both authors.
Having written a modern day interpretation of Alcott’s book with The Little Women Letters, Donnelly is intimately familiar with the March sisters; as a member of the Jane Austen Society, she has similar affinity for the Bennet sisters.
Listening to any presentation by Donnelly is truly an unforgettable experience with her classic London accent and dry British wit; she is a perennial favorite at the Summer Conversational Series. She traced both stories and showed great differences between the March and the Bennet families. Of course, Pride and Prejudice was written in an earlier era and Alcott’s upbringing was unusual and progressive. Comparing and contrasting these two families revealed much about Austen and Alcott as women and writers.
The crowning moment was a piece of fan fiction crafted by Donnelly where she has Elizabeth Bennet meeting Jo March (Mrs. Frederick Bhaer)!
“Five at Fredericksburg: Revising What We Know about The Battle that Transformed American Culture.”
Dr. John Matteson
Dr. Matteson, the Pulitzer prize-winning author of Eden’s Outcasts (about Louisa and her father), also author of The Lives of Margaret Fuller, presented a double session highlighting his latest book about the Battle of Fredericksburg and its effect on American culture through five prominent people (including Louisa).
Dr. Matteson’s presentation was part book description and part writing process. As several of us are working on book projects, this part of his presentation (and the ensuing Q & A) was especially helpful.
Dr. Matteson began by sharing how his new book project (with the working title of A Worse Place than Hell, a quote taken from Abraham Lincoln) was born through a discussion with one of his editors who pushed him to think “big.” Dr. Matteson shared some of his techniques for staying on track and not becoming overwhelmed by the mountain of research he has acquired.
He then got into the meat of the book, describing first the Battle of Fredericksburg and why it was such a bloody disaster. He then introduced the five persons transformed by the war:
Walt Whitman – his brother’s injury in a battle caused Walt to become a volunteer nurse.
The Rev. Arthur Buckminster Fuller (Margaret’s brother)
Oliver Wendall Holmes, Jr. (future Supreme Court Justice — how his view of the law evolved)
John Pelham (“the blond idol of soldier-loving girls”) – John especially captivated by his photo (that’s how I felt about Lizzie when I first saw her). He was the youngest soldier to lie in state.
With heart and brain both filled to overflowing, our week together ended. The community that has developed as a result of the Summer Conversational Series is supportive, loving and generous.
Although not equal in achievements perhaps, we are equals in our love for the Alcotts and love nothing better than to share that love with each other and the world. Kristi Martin said it perfectly:
“My Alcott community is precious to me. It makes the Summer Conversation series a special occasion. I’m blessed to be a member of the extended Orchard House family; for the friendships, the countless ways that the individual and collective members carry on the spirit of the Alcotts, and bring kindness, joy, learning, inspiration, and beauty into my life.”
I invite you to visit Jeannine Atkins’ blog to meet members of this special community — she captured it to perfection.
My obsession with Louisa played out in a rather odd way. Never a big reader until a few years ago, I’d find myself reading a biographical account of Louisa’s life (rather than read her own words) every few years. This began after reading Martha Saxton’s biography. After the reading (usually done during the autumn months) I would make a pilgrimage to Orchard House. That would satisfy my urge for a year or two, and then I’d repeat the process.
No longer a casual interest
After my mother’s passing in 2010, that passion for Louisa was ramped up in a big way. My dear husband had given me copies of The Lost Summer of Louisa May Alcott by Kelly O’Connor McNees and Louisa May Alcott The Woman Behind Little Women by Harriet Reisen months before my mother died but it was impossible to read them while she was ill. A couple of weeks after she was gone, I was ready for something new and started reading. Coincidentally the PBS documentary of the same title by Reisen and Nancy Porter came out at the same time.
Getting to Louisa’s writing
From an 1897 edition of Alcott’s “Hospital Sketches” historicaldigression.com
Reisen’s love of Louisa’s canon finally got me to read Louisa’s books for the first time. In River of Grace I write,
It began not with Little Women, but with Hospital Sketches, a thinly veiled memoir of [Louisa’s] experience as a Civil War nurse. Her moving description of the death of a virtuous soldier named John Suhre and how she had nursed him acted as a soothing balm on my grief. She described death as noble, and her belief in the afterlife was unmistakable. Where once I had felt a kinship with Louisa because of our mutually shared mood swings, deep tempers, and passions for our art; now I identified with the woman who found sacredness and hope in death just as I had. While Louisa wrote mainly to support her family, it seemed that the act of creating helped her to work through her own grief after the tragic passing of her younger sister Elizabeth whom she called her “conscience” and “spiritual guide.” (from Chapter 4 of River of Grace, published by Ave Maria Press)
This time I determined that my little reading binge would end with reading books and visiting Louisa’s home. I had to find other people as obsessed as I was with Louisa. It was just too much fun discussing my passion (which I did for an hour on the phone with Harriet Reisen; God bless her for indulging a total stranger!).
The seed was planted and Louisa May Alcott is My Passion was born on this day, August 18, in 2010.
Little did I know as I plunged deeper in to my passion that Louisa was acting as my guide through my grief. I had not been able cry over my mother because I was numb inside. I could not even remember anything about her except as she had been during the last few months: sick, ravaged, terrified and demented. I had been in battle mode for the last two years and that feeling continued for another year after she died.
My mother at eighteen, just before entering Wellesley College in 1938
Louisa helped to draw me close to my mother again especially as I thumbed through her own copies of Little Women and Aunt Jo’s Scrapbag (Vol. 5) with her signed name plate. Slowly I recalled the vibrant, intelligent woman with “pizzaz” (as my brother-in-law called it). Mommy was curious and loved to learn. She poured over books and audited classes at her alma mater, Wellesley College. She was funny, animated (with a voice like a parrot), thoughtful and kind, and always interesting.
But more was happening as I read about and then wrote about Louisa: this passion was resurrecting my then-dormant creative life. Louisa’s own grief journey, beginning with the death of Lizzie, the marriage of Anna, and then continuing with the soldiers she had nursed (especially John Suhre), and how it had transformed her life and writing, helped me to understand what was happening:
I believe that the caring for and losing her sister acted as a catalyst to Louisa May Alcott’s transformation as an artist and a woman. The creative gifts of storytelling, play acting, and humor that she had used to minister to Lizzie were subsequently shared with countless soldiers, helping them to while away their lonely hours of pain. Letters sent home to family told the stories of the wounded. These stories, laced with humor and told with urgent realism and heart, compiled Hospital Sketches, a book which resonated with thousands of readers anxious for those first-hand accounts. Louisa’s creative gifts were honed and perfected through her painful journey. This nineteenth century author now was helping me to understand my own grief. She, like me, seemed to find an energy in grief and took action to work through it. We shared a common spirituality even though our religious backgrounds were quite different (I being Catholic, she influenced by her father’s Transcendentalism). To her, God was a loving Father and faithful Friend who revealed himself in nature and in everyday life. I too related to God in this fashion, seeing him in the natural world and in people around me, feeling him through the love of family and friends, tasting and being nourished by him in the sacred bread and the wine, and discerning him through prayer, the scriptures and reflection. (from Chapter 4 of River of Grace, published by Ave Maria Press)
One thing leads to another
Before I knew it, I was feeling the urge to learn more about writing. This led to dreams of crafting a book … and the rest, as they say, is history.
Has Louisa acted as a grief counselor for you? What do you think of her writing on death? Does it strike a chord with you?
To all of you
THANK YOU for your readership and especially for your friendship over these past 5 years. I have had to pleasure of meeting many of you in person and yes, we gabbed about Louisa and will continue to do so.🙂 This passion never grows old but only grows deeper, thanks to all of you!
Seems appropriate on this, the fifth anniversary of this blog, to share this video one more time with you where I express in music and images my love of the Alcott family and my gratitude to Louisa for being my grief counselor and writing guide:
I created this video in tribute to these two special ladies in our lives. In a previous post I had mentioned how Louisa and Lizzie had changed my life; thus I put together this song and video in tribute.
Our tour guide was an elderly woman with a deep knowledge of the family. For example, I learned that Lizzie’s melodeon in the dining room was the one given to her at age 20 by Dr. Henry Whitney Bellows when the family was living in Walpole, NH. Harriet Reisen had mentioned this story in Louisa May Alcott The Woman Behind Little Women and I always wondered if the instrument survived. Eve LaPlante’s book, Marmee & Louisa: The Untold Story of Louisa May Alcott and Her Mother had mentioned the acquisition of a seraphine which is similar in appearance to a melodeon (see previous post). It gave me a special thrill to know that I could see the melodeon that inspired the story of Mr. Laurence’s gift of a piano to Beth. It’s one of my favorite parts of Little Women.
Did you know that descendants of Lulu Nieriker are still in touch with Anna Alcott Pratt’s descendants? Reisen had mentioned some trouble between the families because May’s husband Ernst had wanted a larger piece of Louisa’s inheritance. Lulu mentioned in an interview with Madelon Bedell (see The Alcotts: Biography of a Family) that she felt closest to Anna so undoubtedly it was her efforts that maintained the connection.
Direct connection to May Alcott Nieriker
Jan Turnquist, Executive Director of Louisa May Alcott’s Orchard House met us at the end of the tour, eager to meet the French couple who had traveled so far to tour the house. Jan has established an International Circleof Little Women fans and was delighted to know that Charline and Pierre came from Meudon, a town just outside of Paris where May lived and studied art, eventually getting one of her paintings into the prestigious Paris Salon.
The New Castle at Meudon
An Orchard House tour guide, Karen Goodno, had a chance to visit Meudon in search of May’s residence and we got to see her photos. She believes she found the house where May and Ernst lived. Charline and Pierre knew the area well and were very excited.
Jan was thrilled at the offer from Charline and Pierre to begin forging a relationship between Orchard House and the town of Meudon not unlike the sister city relationship Orchard House already enjoys with Nanae Town in Japan. They will stay in contact and work on this.
The “wonk” tour
After a lively conversation Jan gave us the “wonk” tour. See if you knew these interesting facts (and no fair if you worked at Orchard House!):
We saw the attic with the secret finished room, the split chimney (done by Bronson) that had been tearing the house apart, the bug-ridden beams (now replaced), and the entrance to the attic over the tenant house addition. Jan noted that that attic still contains nails in the beams showing evidence of fur where dead animals had been hung.
I was unaware of the tenant house addition (which had been a separate house on the property that Bronson moved over with logs underneath and attached to the main house – rooms include the gift shop, kitchen, May’s art studio and May’s bedroom). Bronson certainly had a habit of doing that considering he had done the same at Hillside. A portion of a crucial support beam on the second floor by May’s room had been removed to make room for the addition. Jan opened a small door in the ceiling to reveal a steel reinforcement beam shaped in a curve to reconnect the two portions of the beam, running behind the wall.
I was also unaware that the foyer had been expanded though upon learning that, I was not surprised. I had always thought it unusual that the foyer was so generous in size. That expansion created the split chimney. The front door was originally much closer to the staircase, and the stairs were to the left of their current position. The chimney had been behind the stairs so Bronson split the chimney so he could move the staircase. He then expanded the foyer so that his wife could have a grand entrance for the family home.
We smiled at the thought. Bronson was no engineer but he knew how to aesthetically please.
The second floor hallway is sporting new wallpaper. The original print was found and samples still existed. It had a unique semi-gloss sheen that was no longer made, except at one wallpaper factory in France! They publicized their partnership with Orchard House in supplying the wallpaper.
The tour was dreamy and I was on air, never expecting so many delights. Charline taught me a very important lesson that day: it’s okay to ask! Most likely the answer will be “yes!”
We were then off to Fruitlands for a lovely lunch at the Café and a tour of the Fruitlands house. More on that in the next post.
Where is Anna Alcott Pratt’s grave?
Charline posed an interesting question over lunch: Is Anna buried in the Alcott family plot or is she buried in the Pratt plot? Both are at Sleepy Hollow. She couldn’t find the stone and I can’t remember. Comment if you know the answer.
I miss my dear French friend already! I hope we can see each other again soon.
When I requested Lizzie’s diary at Houghton Library, I received a thick, bound volume full of many treasures.
Some of those treasures included Anna’s childhood diaries.
Anna is an engaging writer
While Lizzie’s writings read more like lists, Anna’s read like little stories.
Anna was very faithful about keeping her journal and lamented if she missed a day. Sometimes she missed several, and she’d lament about that.
Scenes from her past
What particularly struck me were the scenes she described, opening little windows into the past. Here she describes a walk with Lizzie:
from Boston, Wednesday, October 23, 1839 – “I had a pleasant walk on the Common with Elizabeth and the Rufoellis this morning We played hide behind the trees. The leaves were fallen, and were brown and yellow.” (MS Am 1130.9 (24), Alcott Pratt collection, Houghton Library).
This description of a trip from Boston to Scituate on the stage was colorful:
from Scituate to Boston, Wednesday, Septmber 28, 1838 – “The stage came for us this morning and took us and all our baggage. There were a good many passengers inside and on the top. We saw some Indian women at Hingham near where the Steam Boat stops. They had long hair and loose gowns and rings in their ears. One of them was making a basket. It was pleasant sailing in the steam boat. I was glad when we got to our house in Boston, and saw the Russells and the Duttons. Everything seemed strange to me about the house. We played in the garret with Elizabeth and Mary Russell, as we used to before we went to Scituate.” (Ibid)
Visits with the relatives
Living in Boston, there were many visits with Grandfather May, Uncle Samuel May, cousin Louisa Greenwood and Aunt Lucretia. Here she describes a picnic the family attended:
from Scituate, Thursday, September 12, 1838 “We went to a Pic Nic on Afranipit this afternoon, Father, mother, Uncle Samuel, Aunt Lucretia and Louisa went with me, It was four or five miles. The tables were in a grove near the road, and spread with cakes, apples, peaches, melons, raisins and other good things, I liked the music. Uncle Samuel made a short speech to the people. They stood still to hear him. In the evening we played and told stories at Uncle Samuel’s. We came home in the dark. Father carried Elizabeth in his arms.”(Ibid)
Fodder for stories
It occurred to me as a writer that Anna’s stories and descriptions set up great scenes. I could definitely see a children’s writer especially making good use of these sources.
Handwriting tells its own story
Anna’s handwriting, like Lizzie’s, is very neat and consistent. Lizzie’s letters are upright while Anna’s slant; her handwriting flows more easily than Lizzie’s.
Anna’s journals are beckoning me back for further study.
A final note
My three days with Louisa May Alcott were a dream come true. The sense of fellowship created during those conversations at Orchard House was tremendously satisfying and the visit to Houghton was the perfect follow-up. I look forward to my vacation at Christmastime to visit the library again, and to see Orchard House adorned for the holidays.