By Louisa May Alcott
This undying favourite follows the 4 March sisters—pretty Meg, tomboy Jo, shy Beth, and useless Amy—as they develop and mature into 4 particular little women.
Louisa may well Alcott was once born in Pennsylvania and grew up in Boston and harmony, Massachusetts, the atmosphere for Little girls. Jo relies on Louisa herself, and Meg, Beth, and Amy are encouraged by means of Louisa's personal 3 sisters.
Chronicles the fun and sorrows of the 4 March sisters as they develop into younger women in nineteenth-century New England.
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Additional resources for Little Women (Bantam Classic reissue)
19 When The Democratic Review came into circulation at the end of the decade as a comparatively conservative northern journal with an ardently nationalistic, successful combination of political commentary and literature, this view of women’s language as appropriate only in the domestic sphere was apparently well-established. 20 An article broadly titled “American Women” (1839) largely assesses the works of Sedgwick in an uncanny repetition of The North American Review’s review of Child’s writing a few years earlier.
The remainder of this chapter will explore how Sedgwick’s Hope Leslie initiates in literary form the 1830s petitioning campaigns against Indian removal and slavery and sheds light on the dynamics surrounding them. In Hope Leslie, Sedgwick self-consciously casts the petition as a figure for a religio-political discourse of dissent, proposing a form for women’s political speech that pushed the bounds of propriety in her day. Through the use of its Anglo-American and Indian heroines who repeatedly appeal for justice, the novel pre-figures white women’s petitions on behalf of Indians and slaves, and it informs the responses to them and the debates surrounding them.
Wept—but in vain [ . . ] again she appealed to her determined keeper, and again he denied her petition [ . . ]” (91, my emphasis). Only after she has gone through the “formality” of petitioning multiple times does Magawisca escape from her guard to rescue Everell on the sacrifice rock—a heroic and physical intervention appropriate to the moment only because her previous efforts have failed. When Mononotto is just about to kill Everell on the sacrifice-rock at the Housatonick River, Magawisca resorts to action; she springs from the high side of the rock and “interposes” her body between the chief and the victim, saving Everell, but losing her own arm (93).