The Annotated Little Women Read online

  “There, I’ve done my best! If this don’t suit I shall have to wait till I can do better.”

  A “tin kitchen.”

  Lying back on the sofa, she read the manuscript carefully through, making dashes here and there, and putting in many exclamation points, which looked like little balloons; then she tied it up with a smart red ribbon, and sat a minute looking at it with a sober, wistful expression, which plainly showed how earnest her work had been. Jo’s desk up here was an old tin kitchen,2 which hung against the wall. In it she kept her papers, and a few books, safely shut away from Scrabble, who, being likewise of a literary turn, was fond of making a circulating library of such books as were left in his way, by eating the leaves. From this tin receptacle Jo produced another manuscript; and, putting both in her pocket, crept quietly down stairs, leaving her friends to nibble her pens and taste her ink.

  In the 1930s, when Norman Rockwell was commissioned by the Woman’s Home Companion to create illustrations of scenes from Little Women, the artist traveled to Orchard House to “get the feel of the place.” This is the first of his three Little Women paintings. (Norman Rockwell [1894–1978], “The sun lay warmly in the high window, showing Jo seated on the old sofa, writing busily, with her papers spread out upon a trunk before her, while Scrabble, the pet rat, promenaded the beams overhead, accompanied by his oldest son.” 1937. Story illustration for Womans Home Companion, December 1937, p.11. Article, “The Most Beloved American Writer,” by Katherine Anthony. Norman Rockwell Museum Digital Collections. Printed by permission of the Norman Rockwell Family Agency. Copyright © 2015 the Norman Rockwell Family Entities.)

  She put on her hat and jacket as noiselessly as possible, and, going to the back entry window, got out upon the roof of a low porch, swung herself down to the grassy bank, and took a roundabout way to the road. Once there she composed herself, hailed a passing omnibus,3 and rolled away to town, looking very merry and mysterious.

  In the 2005 Broadway musical adaptation of Little Women, directed by Susan H. Schulman, Jo (Sutton Foster) vowed to become “astonishing.” (© Paul Kolnik)

  If any one had been watching her, he would have thought her movements decidedly peculiar; for, on alighting, she went off at a great pace till she reached a certain number in a certain busy street; having found the place with some difficulty, she went into the door-way, looked up the dirty stairs, and, after standing stock still a minute, suddenly dived into the street, and walked away as rapidly as she came. This manœuvre she repeated several times, to the great amusement of a black-eyed young gentleman lounging in the window of a building opposite. On returning for the third time, Jo gave herself a shake, pulled her hat over her eyes, and walked up the stairs, looking as if she was going to have all her teeth out.

  There was a dentist’s sign, among others, which adorned the entrance, and, after staring a moment at the pair of artificial jaws which slowly opened and shut to draw attention to a fine set of teeth, the young gentleman put on his coat, took his hat, and went down to post himself in the opposite door-way, saying, with a smile and a shiver,—

  “It’s like her to come alone, but if she has a bad time she’ll need some one to help her home.”

  In ten minutes Jo came running down stairs with a very red face, and the general appearance of a person who had just passed through a trying ordeal of some sort. When she saw the young gentleman she looked anything but pleased, and passed him with a nod; but he followed, asking with an air of sympathy,—

  “Did you have a bad time?”

  “Not very.”

  “You got through quick.”

  “Yes, thank goodness!”

  “Why did you go alone?”

  “Didn’t want any one to know.”

  “You’re the oddest fellow I ever saw. How many did you have out?”

  Jo looked at her friend as if she did not understand him; then began to laugh, as if mightily amused at something.

  “There are two which I want to have come out, but I must wait a week.”

  “What are you laughing at? You are up to some mischief, Jo,” said Laurie, looking mystified.

  “So are you. What were you doing, sir, up in that billiard saloon?”

  “Begging your pardon, ma’am, it wasn’t a billiard saloon, but a gymnasium, and I was taking a lesson in fencing.”

  “I’m glad of that!”

  “Why?”

  “You can teach me; and then, when we play Hamlet, you can be Laertes, and we’ll make a fine thing of the fencing scene.” 4

  Laurie burst out with a hearty boy’s laugh, which made several passers-by smile in spite of themselves.

  “I’ll teach you, whether we play Hamlet or not; it’s grand fun, and will straighten you up capitally. But I don’t believe that was your only reason for saying ‘I’m glad,’ in that decided way; was it, now?”

  “No, I was glad you were not in the saloon, because I hope you never go to such places. Do you?”

  “Not often.”

  “I wish you wouldn’t.”

  “It’s no harm, Jo, I have billiards at home, but it’s no fun unless you have good players; so, as I’m fond of it, I come sometimes and have a game with Ned Moffat or some of the other fellows.”

  “Oh dear, I’m so sorry, for you’ll get to liking it better and better, and will waste time and money, and grow like those dreadful boys. I did hope you’d stay respectable, and be a satisfaction to your friends,” said Jo, shaking her head.

  “Can’t a fellow take a little innocent amusement now and then without losing his respectability?” asked Laurie, looking nettled.

  “That depends upon how and where he takes it. I don’t like Ned and his set, and wish you’d keep out of it. Mother won’t let us have him at our house, though he wants to come, and if you grow like him she won’t be willing to have us frolic together as we do now.”

  “Won’t she?” asked Laurie, anxiously.

  “No, she can’t bear fashionable young men, and she’d shut us all up in bandboxes rather than have us associate with them.”

  “Well, she needn’t get out her bandboxes yet; I’m not a fashionable party, and don’t mean to be; but I do like harmless larks now and then, don’t you?”

  “Yes, nobody minds them, so lark away, but don’t get wild, will you? or there will be an end of all our good times.”

  “I’ll be a double distilled saint.”

  “I can’t bear saints; just be a simple, honest, respectable boy, and we’ll never desert you. I don’t know what I should do if you acted like Mr. King’s son; he had plenty of money, but didn’t know how to spend it, and got tipsy, and gambled, and ran away, and forged his father’s name, I believe, and was altogether horrid.”

  “You think I’m likely to do the same? Much obliged.”

  “No I don’t—oh, dear, no!—but I hear people talking about money being such a temptation, and I sometimes wish you were poor; I shouldn’t worry then.”

  “Do you worry about me, Jo?”

  “A little, when you look moody or discontented, as you sometimes do, for you’ve got such a strong will if you once get started wrong, I’m afraid it would be hard to stop you.”

  Laurie walked in silence a few minutes, and Jo watched him, wishing she had held her tongue, for his eyes looked angry, though his lips still smiled as if at her warnings.

  “Are you going to deliver lectures all the way home?” he asked, presently.

  “Of course not; why?”

  “Because if you are, I’ll take a ’bus; if you are not, I’d like to walk with you, and tell you something very interesting.”

  “I won’t preach any more, and I’d like to hear the news immensely.”

  “Very well, then; come on. It’s a secret, and if I tell you, you must tell me yours.”

  “I haven’t got any,” began Jo, but stopped suddenly, remembering that she had.

  “You know you have; you can’t hide anything, so up and ’fess, or I won’t tell,” cried Laurie
.

  “Is your secret a nice one?”

  “Oh, isn’t it! all about people you know, and such fun! You ought to hear it, and I’ve been aching to tell this long time. Come! you begin.”

  “You’ll not say anything about it at home, will you?”

  “Not a word.”

  “And you won’t tease me in private?”

  “I never tease.”

  “Yes, you do; you get everything you want out of people. I don’t know how you do it, but you are a born wheedler.”

  “Thank you; fire away!”

  “Well, I’ve left two stories with a newspaper man, and he’s to give his answer next week,” whispered Jo, in her confidant’s ear.

  “Hurrah for Miss March, the celebrated American authoress!” cried Laurie, throwing up his hat and catching it again, to the great delight of two ducks, four cats, five hens, and half a dozen Irish children; for they were out of the city now.

  “Hush! it won’t come to anything, I dare say; but I couldn’t rest till I had tried, and I said nothing about it, because I didn’t want any one else to be disappointed.”

  “It won’t fail! Why, Jo, your stories are works of Shakespeare compared to half the rubbish that’s published every day. Won’t it be fun to see them in print; and shan’t we feel proud of our authoress?”

  Jo’s eyes sparkled, for it’s always pleasant to be believed in; and a friend’s praise is always sweeter than a dozen newspaper puffs.

  “Where’s your secret? Play fair, Teddy, or I’ll never believe you again,” she said, trying to extinguish the brilliant hopes that blazed up at a word of encouragement.

  “I may get into a scrape for telling; but I didn’t promise not to, so I will, for I never feel easy in my mind till I’ve told you any plummy bit of news I get.5 I know where Meg’s glove is.”

  “Is that all?” said Jo, looking disappointed, as Laurie nodded and twinkled, with a face full of mysterious intelligence.

  “It’s quite enough for the present, as you’ll agree when I tell you where it is.”

  “Tell, then.”

  Laurie bent and whispered three words in Jo’s ear, which produced a comical change. She stood and stared at him for a minute, looking both surprised and displeased, then walked on, saying sharply, “How do you know?”

  “Saw it.”

  “Where?”

  “Pocket.”

  “All this time?”

  “Yes; isn’t that romantic?”

  “No, it’s horrid.”

  “Don’t you like it?”

  “Of course I don’t; it’s ridiculous; it won’t be allowed. My patience! what would Meg say?”

  “You are not to tell any one; mind that.”

  “I didn’t promise.”

  “That was understood, and I trusted you.”

  “Well, I won’t for the present, any way; but I’m disgusted, and wish you hadn’t told me.”

  “I thought you’d be pleased.”

  “At the idea of anybody coming to take Meg away? No, thank you.”

  “You’ll feel better about it when somebody comes to take you away.”

  “I’d like to see any one try it,” cried Jo, fiercely.

  “So should I!” and Laurie chuckled at the idea.

  “I don’t think secrets agree with me; I feel rumpled up in my mind since you told me that,” said Jo, rather ungratefully.

  “Race down this hill with me, and you’ll be all right,” suggested Laurie.

  No one was in sight; the smooth road sloped invitingly before her, and, finding the temptation irresistible, Jo darted away, soon leaving hat and comb behind her, and scattering hair-pins as she ran. Laurie reached the goal first, and was quite satisfied with the success of his treatment; for his Atlanta6 came panting up with flying hair, bright eyes, ruddy cheeks, and no signs of dissatisfaction in her face.

  “I wish I was a horse; then I could run for miles in this splendid air, and not lose my breath. It was capital; but see what a guy it’s made me. Go, pick up my things, like a cherub as you are,” said Jo, dropping down under a maple tree, which was carpeting the bank with crimson leaves.

  Laurie leisurely departed to recover the lost property, and Jo bundled up her braids, hoping no one would pass by till she was tidy again. But some one did pass, and who should it be but Meg, looking particularly lady-like in her state and festival suit,7 for she had been making calls.

  “What in the world are you doing here?” she asked, regarding her dishevelled sister with well-bred surprise.

  Noël Hallé’s The Race between Hippomenes and Atalanta, painted in the 1760s, hangs in the Louvre. (© RMN-Grand Palais / Art Resource, NY)

  “Getting leaves,” meekly answered Jo, sorting the rosy handful she had just swept up.

  “And hair-pins,” added Laurie, throwing half a dozen into Jo’s lap. “They grow on this road, Meg; so do combs and brown straw hats.”

  “You have been running, Jo; how could you? When will you stop such romping ways?” said Meg, reprovingly, as she settled her cuffs and smoothed her hair, with which the wind had taken liberties.

  “Never till I’m stiff and old, and have to use a crutch. Don’t try to make me grow up before my time, Meg; it’s hard enough to have you change all of a sudden; let me be a little girl as long as I can.”

  As she spoke, Jo bent over her work to hide the trembling of her lips; for lately she had felt that Margaret was fast getting to be a woman, and Laurie’s secret made her dread the separation which must surely come some time, and now seemed very near. He saw the trouble in her face, and drew Meg’s attention from it by asking, quickly, “Where have you been calling, all so fine?”

  “At the Gardiners; and Sallie has been telling me all about Belle Moffat’s wedding. It was very splendid, and they have gone to spend the winter in Paris; just think how delightful that must be!”

  “Do you envy her, Meg?” said Laurie.

  “I’m afraid I do.”

  “I’m glad of it!” muttered Jo, tying on her hat with a jerk.

  “Why?” asked Meg, looking surprised.

  “Because, if you care much about riches, you will never go and marry a poor man,” said Jo, frowning at Laurie, who was mutely warning her to mind what she said.

  “I shall never ‘go and marry’ any one,” observed Meg, walking on with great dignity, while the others followed, laughing, whispering, skipping stones, and “behaving like children,” as Meg said to herself, though she might have been tempted to join them if she had not had her best dress on.

  For a week or two Jo behaved so queerly, that her sisters got quite bewildered. She rushed to the door when the postman rang; was rude to Mr. Brooke whenever they met; would sit looking at Meg with a woe-begone face, occasionally jumping up to shake, and then to kiss her, in a very mysterious manner; Laurie and she were always making signs to one another, and talking about “Spread Eagles,” till the girls declared they had both lost their wits. On the second Saturday after Jo got out of the window, Meg, as she sat sewing at her window, was scandalized by the sight of Laurie chasing Jo all over the garden, and finally capturing her in Amy’s bower. What went on there, Meg could not see, but shrieks of laughter were heard, followed by the murmur of voices, and a great flapping of newspapers.

  “What shall we do with that girl? She never will behave like a young lady,” sighed Meg, as she watched the race with a disapproving face.

  “I hope she won’t; she is so funny and dear as she is,” said Beth, who had never betrayed that she was a little hurt at Jo’s having secrets with any one but her.

  “It’s very trying, but we never can make her comme la fo,”8 added Amy, who sat making some new frills for herself, with her curls tied up in a very becoming way,—two agreeable things, which made her feel unusually elegant and lady-like.

  In a few minutes Jo bounced in, laid herself on the sofa, and affected to read.

  “Have you anything interesting there?” asked Meg, with condescension.
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br />   “Nothing but a story; don’t amount to much, I guess,” returned Jo, carefully keeping the name of the paper out of sight.

  “You’d better read it loud; that will amuse us, and keep you out of mischief,” said Amy, in her most grown-up tone.

  “What’s the name?” asked Beth, wondering why Jo kept her face behind the sheet.

  “The Rival Painters.”9

  “That sounds well; read it,” said Meg.

  With a loud “hem!” and a long breath, Jo began to read very fast. The girls listened with interest, for the tale was romantic, and somewhat pathetic, as most of the characters died in the end.

  Jo’s sisters share her triumph in this Alice Barber Stephens illustration.

  “I like that about the splendid picture,” was Amy’s approving remark, as Jo paused.

  “I prefer the lovering part. Viola and Angelo are two of our favorite names; isn’t that queer?” said Meg, wiping her eyes, for the “lovering part” was tragical.

  “Who wrote it?” asked Beth, who had caught a glimpse of Jo’s face.

  The reader suddenly sat up, cast away the paper, displaying a flushed countenance, and, with a funny mixture of solemnity and excitement, replied in a loud voice, “Your sister!”

  “You?” cried Meg, dropping her work.

  “It’s very good,” said Amy, critically.

  “I knew it! I knew it! oh, my Jo, I am so proud!” and Beth ran to hug her sister and exult over this splendid success.

  Dear me, how delighted they all were, to be sure; how Meg wouldn’t believe it till she saw the words, “Miss Josephine March,” actually printed in the paper; how graciously Amy criticised the artistic parts of the story, and offered hints for a sequel, which unfortunately couldn’t be carried out, as the hero and heroine were dead; how Beth got excited, and skipped and sung with joy; how Hannah came in to exclaim, “Sakes alive, well I never!” in great astonishment at “that Jo’s doins;” how proud Mrs. March was when she knew it; how Jo laughed, with tears in her eyes, as she declared she might as well be a peacock and done with it; and how the “Spread Eagle”10 might be said to flap his wings triumphantly over the house of March, as the paper passed from hand to hand.