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(MP3 on CD - Unabridged, 2 MP3-CDs, 18 hrs.)
One of American Literature's most loved novels, this is a story of family, of hope, of dreams, and of growing up as four devoted sisters search fro romance and find maturity in Civil-War era 19th century New England.
Note to Adobe Customers: The Adobe Acrobat eBook Reader version is printable, but there is a known problem printing to printers that do not use the PostScript page description language. This problem occurs with some HP LaserJet, Epson Stylus inkjet, and Epson impact printers. Consult your printer’s documentation to find out if it is PostScript compatible. This does not affect your ability to read the book on screen.
Like the semi-autobiographical heroine of Little Women , Alcott supported herself and her family by writing potboilers. This volume is the fifth of a series to reprint the romantic thrillers she wrote anonymously; the nine tales collected here originally appeared in Frank Leslie's Lady's Magazine between 1868 and 1870, before the success of Little Women made such efforts unnecessary. They demonstrate a rich imagination that could be harnessed to popular fiction. Designed to fit the magazine's format and to please the tastes of women readers, these romantic stories foreshadowed what was to come in the literary marketplace. Alcott's darkly handsome men and ravishingly beautiful women move through plots involving sex, illicit drugs, the betrayal of trust and the lavish life of the wealthy. Virtue always wins at least a moral victory, but not before rousing melodramas have revealed the sizzling passions surging under the laces and jewels worn by Alcott's characters. While the collection is of particular interest to scholars, who will appreciate the informative introduction and bibliography, it will also appeal to anyone entranced by Alcott's novels. Illustrations not seen by PW . (Nov.)
More Reviews and RecommendationsLouisa May Alcott (1832-1888) won international renown with the publishing of Little Women and its sequel, Good Wives. Her works include An Old Fashioned Girl, Eight Cousins and Jack and Jill. Alcott grew up in Concord, Massachusetts, where her family befriended such literary greats as Henry David Thoreau and Ralph Waldo Emerson.
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June 27, 2008: I was quite young when i first read this book, and till today no other book fascinates me like this one. When ever i'm frustrated or feeling low, this book helps me to regain my lost spirit..because it is the story of a family which faces the challenges of life, without letting go of faith in God, and their love for each other to come out triumphant.
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June 16, 2007: I LOVE this book!!!!!!!If I hadn't been in school when Beth died I would have cried my eyes out(not joking)!!! I wish it would go on forever!
Meet the March sisters: the talented and tomboyish Jo, the beautiful Meg, the frail Beth, and the spoiled Amy, as they pass through the years between girlhood and womanhood. A lively portrait of growing up in the 19th century with lasting vitality and enduring charm.
The latest addition ot the Charming Classic series includes a paperback edition of Little Women, the first American children's novel to become a classic, and a beautiful gold-tone cameo. This timeless favorite follows the four March sisterspretty Meg, tomboy Jo, shy Beth, and vain Amyas they grow and mature into four distinctive little women.
Louisa May Alcott was born in Pennsylvania and grew up in Boston and Concord, Massachusetts, the setting for Little Women. Jo is based on Louisa herself, and Meg, Beth, and Amy are inspired by Louisa's own three sisters.
Like the semi-autobiographical heroine of Little Women , Alcott supported herself and her family by writing potboilers. This volume is the fifth of a series to reprint the romantic thrillers she wrote anonymously; the nine tales collected here originally appeared in Frank Leslie's Lady's Magazine between 1868 and 1870, before the success of Little Women made such efforts unnecessary. They demonstrate a rich imagination that could be harnessed to popular fiction. Designed to fit the magazine's format and to please the tastes of women readers, these romantic stories foreshadowed what was to come in the literary marketplace. Alcott's darkly handsome men and ravishingly beautiful women move through plots involving sex, illicit drugs, the betrayal of trust and the lavish life of the wealthy. Virtue always wins at least a moral victory, but not before rousing melodramas have revealed the sizzling passions surging under the laces and jewels worn by Alcott's characters. While the collection is of particular interest to scholars, who will appreciate the informative introduction and bibliography, it will also appeal to anyone entranced by Alcott's novels. Illustrations not seen by PW . (Nov.)
If you haven't read this book aloud to your kids yet, get the seventy-fifth anniversary edition and introduce them to Toad, Mole, Ratty and Badger. Share the pictures with them, which include black-and-white sketches as well as full color plates. These are the only illustrations that were directly influenced by Grahame who entertained Shepard at his country home. They resonate with the stories. There are lessons to be learned and lots of laughs. It's a book that can be read and reread with messages that will be understood at different ages and stages of life. 1983 (orig.
Cheerful, resourceful Ben Brown, a 12 year old circus performer and his friendly, clever dog, Sancho, have run away from an abusive environment in search of his father who had mysteriously disappeared months before. The two travelers are befriended by two lively sisters, Bab and Betty Moss, as well as their mother and two wealthy neighbors. Throughout the rest of the novel we follow Ben's adjustments to work, school and life outside the circus. The book should appeal to Louisa May Alcott fans and readers who enjoy nostalgic, old-fashioned stories. 1877,
Alcott's standard gets bumped up to a Penguin Deluxe, complete with illustrated front and back covers, French flaps, and ragged paper. Very nice. Next time you're ordering new copies of LW, get this one.
How would one describe this latest recording of the classic story from Alcott (Little Men, Audio Reviews, LJ 11/15/96)? The answer must be, clear, competent, and unexciting. Laura Grafton is a precise reader, but her voice lacks expressiveness, and she makes little attempt to vocally differentiate (and/or animate) the characters. The result is an inoffensive and slightly dull rendering. There's nothing wrong; the tapes just won't grab the attention of the casual listener. The producer has made a praiseworthy attempt to reduce costs by having each cassette side carry double text. At $22.95, this tape set is an excellent value. Unfortunately, this double-track format requires a stereo cassette player with a fully functioning balance control. Most portable cassette players and some car stereo systems do not have this feature. Since, at least anecdotally, a large percentage of recreational audiocassette library borrowers are commuters or exercisers, one should consider whether this format would be used by patrons. Libraries purchasing this format might also consider purchasing (and lending) the associated headphone adaptor plugs. Recommended for libraries with limited audiobook budgets and/or appropriate user populations.--I. Pour-El, Iowa State Univ., Ames
Gathering four of Alcott's early sensation stories ("Pauline's Passion and Punishment," "V.V.," "Behind a Mask," and "Taming a Tatar") from a previous Alcott collection (Louisa May Alcott Unmasked: Collected Thrillers, LJ 4/15/95), rare book collector and Alcott scholar Stern illustrates the ways in which women's struggle for sexual power form the thread that knits together Alcott's fiction. Each of the stories records the degree to which Alcott's female protagonists succeed or fail to break away from male domination to fashion their own self-identities. In "Pauline's Passion and Punishment," for example, Pauline succeeds in defeating her male opponent only to become trapped in a terrifying new relationship with him. Since the stories in this volume are readily available in other collections, only libraries wanting to own every edition of Alcott's stories will want to purchase it.Henry L. Carrigan Jr., Westerville P.L., Ohio
Gr 5-8-This audio version of Louisa May Alcott's classic is both satisfying and disappointing. The narrator, Liza Ross, a voice artist with theater and television credits, does a remarkable job of bringing to life the voices of more than ten male and female characters, allowing the personalities of each character to emerge. Meg's longing, Jo's determination, Beth's gentleness, Amy's dreaminess, Marmee's loving morality and Laurie's charm and wit all shine through. The narration is nicely punctuated by classical piano music. Listeners will be disappointed that this abridgement ends with the first part of the novel (John Brooke's proposal). This is only mentioned briefly in the story description in the inside cover of the cassette, with no indication if the second half of the novel is or is not available. Listeners in elementary and middle school will enjoy this version, but older students will want to hear more of the March family's adventures.-Jo-Ann Carhart, East Islip Public Library, NY Copyright 2000 Cahners Business Information.
Editor Stern searched doggedly throughout Alcott's papers to uncover the pseudonyms and publishers linked to her tales of passion, written "for monetary reward as well as psychological release." Although there have been previous publications of Alcott's short thrillers, including "Behind the Mask" and its sequel "Plots and Counterplots", this is the first time, according to Stern, that all the stories have been brought together in one volume and in the order of their original appearance--a boon for scholars as well as fans. Now readers can judge whether Alcott's gothics, filled with heroic women, romantic themes, and stormy plots, are "rubbishy tales," as Alcott called them.
Alcott was a devoted scribbler, driven to write both as a way to support her impoverished family and to express her belief in the strength and resourcefulness of women. Just like Edith Wharton and Joyce Carol Oates, Alcott could work on a number of different types of fiction simultaneously. While composing the beloved classic "Little Women", she was also producing dozens of stories for various magazines and publishing them pseudonymously. Literary detectives have tracked down many of these breezy creations and released them in four earlier collections. This, then, is the fifth, and its distinction is that each of its nine sensation stories was written specifically for the female audience of "Frank Leslie's Lady's Magazine", which was edited by the colorful Miriam Squier. The volume's fine introduction provides some biographical information about both Alcott and Squier and places the thrillers within a historical context. The stories themselves are somewhat quaint and certainly melodramatic. Unhappy marriages are the key theme here, and coquettishness and blatant manipulation are the female protagonists' major skills and accomplishments. These thrillers are of interest because they illuminate the darker aspects of Alcott's psyche and typify reading preferences of women some 130 years ago.
In spirit, in style, and in technique, Benson's illustrations for "The Wind in the Willows" are first cousins to the book's original ink drawings by Ernest H. Shepard, which many consider so nearly perfect any new artwork is superfluous. However, from the endpaper maps to the quiet scenes of woods and riverbanks to the comical pictures of Toad's adventures, Benson's sensitive cross-hatched drawings offer excellent interpretations of characters and events. The best choice for any library would be to add this to the collection and let children choose the version that suits them. If they come across the other editions later, it will be like looking through a cousin's photos of a long-ago family reunion: so familiar and so full of beloved characters, yet seen from a slightly different perspective. Any way you look at it, this new edition will be treasured.
"A long fatal love chase is not the best of Alcott's sensation stories: that is probably behind the mask." -- The New York Times Book Review
Loading...| Introduction | ||
| Pauline's Passion and Punishment | 1 | |
| V. V.: or, Plots and Counterplots | 45 | |
| Behind a Mask: or, A Woman's Power | 141 | |
| Taming a Tartar | 245 |
1. In the first two chapters, the girls use John Bunyan's The Pilgrim's Progress as a model for their own journey to becoming "little women." What was Alcott trying to say by using such a strongly philosophical piece of literature as the girls' model?
2. What purpose does Beth's death serve? Was Alcott simply making a sentimental novel even more so, or was this a play on morality and philosophy? Do you think Beth was intended to be a Christ figure?
3. Consider the fact that Beth will never reach sexual maturity or marry. What do you think this says about the institution of marriage and, more important, about womanhood?
4. Consider Jo's writing: While we are treated to citations from "The Pickwick Portfolio" and the family's letters to one another, we are never presented with an excerpt from Jo's many literary works, though the text tells us they are quite successful. Why is this?
5. Do you find it surprising that once Laurie is rejected by Jo, he falls in love with Amy? Do you feel his characterization is complete and he is acting within the "norm" of the personality Alcott has created for him, or does Alcott simply dispose of him once our heroine rejects him?
6. Some critics argue that the characters are masochistic. Meg is the perfect little wife, Amy is the social gold digger, and Beth is the eternally loving and patient woman. Do you believe these characterizations are masochistic? If so, do you think Alcott could have characterized them any other way while maintaining the realism of the society she lived in? And if this is true, what of Jo's character?
7. The last two chapters find Jo setting aside her buddingliterary career to run a school with her husband. Why do you think Alcott made her strongest feminine figure sacrifice her own life plans for her husband's?
8. Alcott was a student of transcendentalism. How and where does this philosophy affect Alcott's writing, plot, and characterization?
9. Do you believe this is a feminine or a feminist piece of work?
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