Showing posts with label Louisa May Alcott. Show all posts
Showing posts with label Louisa May Alcott. Show all posts

Saturday, August 7, 2021

This Day in Education History (Elizabeth Peabody, Bronson Alcott Part Ways in Experimental School Debacle)

Aug. 7, 1836— Elizabeth Peabody, a schoolteacher, editor and bookseller who boosted talented male intellectuals, withdrew from a school founded by another such figure—the genial but erratic father of Little Women author Louisa May Alcott—once she sensed disaster arising over his unorthodox pedagogy.

Miss Peabody and Amos Bronson Alcott breathed books, and they figured in them as well, not just as biographical subjects but as characters in fiction (Alcott, as the absent Father March in Little Women; Elizabeth, as the elderly feminist reformer “Miss Birdseye” in Henry James’ The Bostonians). They shared a passion for enkindling young minds, and for a while it seemed that their educational venture would be one of the brightest points in the intellectual movement centered around Boston.

But their idealistic vision of an experimental institution headed by Alcott, Boston’s Temple School (pictured), ended in acute embarrassment and failure.

The lives of Alcott and Peabody had amply demonstrated that they were unafraid to strike out in bold new directions. Those experiences, however, also underlined the differences in temperament that would corrode their collaboration.

The son of a Connecticut farmer, Alcott had, through a rigorous program of self-improvement, advanced in learning enough that his friend Ralph Waldo Emerson thought he could converse with Plato.

By 1828, he was speculating in his journal how to take children on a similar journey of learning, observing that the “province of the instructor is awakening, invigorating, directing, rather than forcing a child’s faculties upon prescribed and exclusive courses of thought. He should look to the child to see what is to be done, rather than to his book or his system. The Child is the Book. The operations of his mind are the try system.”

Peabody was one of a trio of sisters who were a key part of intellectual circles in antebellum America—“The Flowering of New England,” as critic Van Wyck Brooks later termed it. (Mary Peabody, a reformer with literary inclinations, married politician and educator Horace Mann. Sophia Peabody, a talented painter, wed novelist and short-story writer Nathaniel Hawthorne.)

Elizabeth assisted and advocated for a series of what literary scholar and philanthropist Millicent Bell called “husbands of the mind”—the minister William Ellery Channing, Emerson, and Mann. Along with Margaret Fuller, she was one of only two female members of the Transcendental Club who instigated a kind of intellectual American Revolution of the 19th century.

The daughter of a schoolteacher, Elizabeth had been educating students herself since the age of 16. A biographer of her family, Megan Marshall, has observed that schools operated by women were freer than their male counterparts to experiment.

In Alcott, this selfless, even devoted, collaborator with innovators thought she glimpsed a kindred male soul working towards an enlightened alternative to the educational practices of their time.

It would take close personal and work encounters for her to discover the infinite frustrations that others discovered about this original, radical but eccentric thinker. Emerson captured both what drew people to Alcott and what annoyed them about him: he was “a good and guileless man,” but also “a man of genius with few talents.”

Impractical and improvident, Alcott continually drove his family to the brink of poverty with his schemes—and drove his followers to distraction. Among his dominant characteristics was a propensity towards being out of sync with his age. Depending on the strength and timing of this impulse, he could be a dreamer, an idealist, a visionary…or just a plain fool. He disregarded the counsels of caution—including entreaties from women with his best interests in mind, such as his wife Abby and Elizabeth—bringing his projects to repeated ruin.

The property he settled on in 1834 for his new ideas, a grand, converted Masonic Temple overlooking the Boston Common, was christened Temple School. His classrooms featured comfortable desks, slates and objects for handling and counting—all innovations of the time.

Remarkably for male teachers of the period, for instance, he preferred Socratic dialogue—or, as he called them, “conversations”—with young students to rote learning. Moreover, rather than resort to corporal punishment, he rapped his own knuckles rather than the youthful offender’s.

In their stress on this more open communication between student and teacher, Alcott and Peabody anticipated the theories of progressive education advanced by John Dewey.

With the same zeal she had devoted to Channing in transcribing the Unitarian minister’s diffuse sermon notes into a collection of coherent addresses, Elizabeth threw herself into the Temple School. She steered her own students to the school, and recorded the conversations of Alcott.

Alcott would address the students in general terms in the morning, while Peabody—possessing the qualifications to teach Latin, geography and arithmetic that he lacked—concentrated on particular subjects in the afternoon.

As time went on, though, Peabody couldn’t help noticing that Alcott, though an advocate for open communication between teacher and student, didn’t practice this with her.

After she accepted his invitation to stay at the family’s boarding house, she found herself disagreeing with him, more often, more vigorously and more uncomfortably—and he did little to hide his journal rant that she was exhibiting “too much of the man and too little of the woman in her freedom.”

In particular, while Alcott was delighted by Peabody’s popular account of his pedagogy, Record of a School (1835), he overrode her qualms about a projected sequel, Conversations With Children on the Gospels. Her initial concerns about how these recorded conversations revealed his self-aggrandizement and manipulation of children’s thoughts and behavior soon gave way to outright alarm frank classroom discussions of sexuality.

One child’s answer to Alcott’s question on how the body is made—“by the naughtiness of people”—was bound to provoke controversy, both because of its precocity and its source: six-year-old Josiah Quincy, the grandson of the president of Harvard.

Tired of Alcott’s increasing disregard of her concerns, anxious about Abby’s occasional tempestuousness, and unable to continue her volunteer teaching, Elizabeth withdrew from Temple School at the start of August. The storm that erupted later that year with the publication of Conversations With Children on the Gospels confirmed the worst of her fears.

The outcry was widespread, with perhaps the sharpest reaction registered by Andrews Norton, a professor of sacred literature at Harvard, who called it “one third absurd, one third blasphemous, and one third obscene.”

In its fervor, the uproar over Alcott’s unusual teaching resembles a modern culture war. It provoked the same outrage over touching on sexuality (no matter how gauzily Alcott expressed it), and the same tensions between religious conservatism (in this case, traditional Calvinism) and less sect-based spirituality (Transcendental philosophy).

Then as now, there were limits to what the enlightened elite was prepared to tolerate. That boundary was breached the following year, when Alcott admitted a single black student to the school. This attempt at racial integration led the parents who had previously stood by Alcott to withdraw the remaining students.

Once Temple School finally closed in 1837, an entry in Alcott’s recently transcribed journal notes that he suffered a nervous collapse that lasted a week. Alcott operated another school for one more year until it, too, shut its doors. Thereafter, though he served briefly as superintendent of Concord Public Schools in Connecticut two decades later, he never taught again.

Peabody, tougher and more resilient than her former employer, survived the failure of their experiment in much better shape. Staying at the Concord home of the Emerson family revived her spirits. 

The Boston bookshop she ran in the 1840s did much to spread Transcendentalism to the reading public, and later she made her most lasting contribution to American education by helping to import the kindergarten movement from Germany to this country.

Over a decade ago, while visiting Concord, I stopped by Sleepy Hollow Cemetery. On that crisp autumn morning, I marveled that so many of the nation’s most prominent 19th-century literary lights—including Emerson, Thoreau, and Louisa May Alcott—were in as close proximity on this still hillside as they had been in life.

Now, however, thinking of two of those buried there—Bronson Alcott and Elizabeth Peabody—what strikes me is not the quiet of their surroundings but the loud reverberations of their dialogues about Temple School—of the continuing debates over how to mold young minds and how to introduce innovation into a skeptical world.


Wednesday, January 1, 2020

Quote of the Day (Louisa May Alcott, Warning Against Conceit)


''Conceit spoils the finest genius. There is not much danger that real talent or goodness will be overlooked long; even if it is, the consciousness of possessing and using it well should satisfy one, and the great charm of all power is modesty.'' — Marmee March to her artist daughter Amy, in American novelist Louisa May Alcott (1832-1888), Little Women (1868)

(The image accompanying this post shows Laura Dern as Marmee in the marvelous new film version of Little Women, written and directed by Greta Gerwig.)

Thursday, March 8, 2018

Photo of the Day: Grave of Louisa May Alcott, Concord, MA



This week in 1888, Little Women author Louisa May Alcott—weakened from years of unceasing labor on behalf of others, then utterly exhausted from her bedside vigil next to her father, who had died only two days before—passed away herself, at age 55, in Boston. 

But she was buried outside the city, in the town where she came to maturity and fulfilled her literary ambitions: Concord, Mass. Like fellow Concord residents Henry David Thoreau and Nathaniel Hawthorne, she lies in a larger family plot, with her individuality marked by this stone with fading initials and dates, along with a more emphatic stone with her name—“Louisa M. Alcott”—expressed more fully close by.

The photo accompanying this post, which I took on a visit to the area 10 years ago, shows her gravesite in the largest of Concord’s three cemeteries, Sleepy Hollow Cemetery. While the entire property extends nearly 100 acres, only one-third of it is listed in the National Register of Historic Places. 

Not coincidentally, this portion includes as concentrated a group of major American literary figures as you can expect to find across the country. For the loads of tourists who pass through, these authors are conveniently clustered together on Author’s Ridge. You can bet that, in this 150th year after the publication of Little Women, more than a few visitors will be paying tribute to the creator of the March sisters.

The need to avoid highway traffic beckoned me, but can you blame me for wanting to make a trip to this cemetery the last stop on my week-long visit to the Concord-Lexington-Boston area? Where else could I achieve, all at once, some sense of the kindred nonconformist spirits that abided in town with Alcott:

* Ralph Waldo Emerson, 

*Henry David Thoreau, 

*Nathaniel Hawthorne, and 

*William Ellery Channing. 

It seemed so quiet on that mid-autumn Saturday morning, with the sunlight filtering through the trees of this early example of the “rural cemetery” trend that took hold in antebellum America. But only now has it struck me that, perhaps for the first time in her life, Alcott could only come to rest at her death.

She and her sisters (immortalized, in fictionalized form, in Little Women) lived a childhood of genteel poverty occasioned by their father Bronson Alcott, an educator of invincible optimism and utopianism who could never provide enough for his own family. In adulthood, Louisa felt compelled to assist her beleaguered mother in meeting the family’s needs, so she cranked out one novel after another. 

(Though her heart might have been in Little Women, much of her early output consisted of thrillers—the kind of “sensation” fiction popularized around that time by Willkie Collins in England.) 

Louisa’s life may be the best example possible of her own observation in The Abbot's Ghost: A Christmas Story:

“Human minds are more full of mysteries than any written book and more changeable than the cloud shapes in the air.”

Saturday, May 23, 2015

Monday, April 4, 2011

TV Exchange of the Day (“Friends,” Comparing “Little Women” and “The Shining”)


Joey (played by Matt LeBlanc): “Is that true? If I keep reading is Beth gonna die?”


Chandler (played by Matthew Perry): “No, Beth doesn't die. She doesn't die. Does she, Rachel?”


Rachel (played by Jennifer Aniston): “What?”


Ross (played by David Schwimmer): “Joey's asking if you've just ruined the first book he's ever loved that didn't star Jack Nicholson?”—Friends, “The One Where Monica and Richard Are Just Friends,” Season 3, Episode 13, teleplay by Michael Borkow, directed by Robby Benson, original air date Jan. 30, 1997

Sunday, December 14, 2008

This Day in Theater History (Louisa May Alcott Adapts “Scenes From Dickens”)

December 14, 1863—Sidelined Civil War nurse and aspiring author Louisa May Alcott found a way to serve a good cause and indulge an enthusiasm dating back to childhood when she journeyed from the family home in Concord, Mass., to Boston for her dramatization of six “Scenes From Dickens.”

In her journal at the end of December, Alcott noted that the charity event was the “principal event of this otherwise quiet month.” Only someone of Alcott’s energetic, restless spirit might have regarded the month as “quiet,” for December also saw the release of a book of her short fiction, On Picket Duty, and Other Tales.

I came across Alcott’s diary entry while in the bookstore at Orchard House (see the photo I took that accompanies this post), the Concord museum that has preserved the home of Alcott and her family, a dwelling where they lived for 20 years, the longest in the lifespan of this furiously active but often impecunious family. It’s a wonderful site that opens a window not only into one of the most beloved children’s authors of all time, but of siblings and parents who combined philanthropic activity with artistic aspiration.

Most of all, the house springs Alcott out of the cubbyhole to which her greatest artistic success confined her: that of children’s book author (Little Women).

The story of Alcott’s amateur theatrical fascinates me for several reasons:

* The source she adapted, Dickens, was himself obsessed with theater, as the Canadian man of letters (and theater aficionado) Robertson Davies pointed out in his essay collection on music and drama, Happy Alchemy.

* Anyone who’s seen the various screen adaptations of Little Women knows how the March girls (stand-ins for the Alcotts) mounted their own amateur theatricals in their own home. At Orchard House, I saw how the Alcott girls used the dining room as a stage while guests-spectators watched from the adjoining parlor.

* Drama provided Louisa with an entry point into Concord society while shaping her literary technique. In 1856, just as the family was preparing for its move into Orchard House, Louisa helped to found the Concord Dramatic Union. Now, to my mind, any town with the likes of Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, and William Ellery Channing (all buried on Author’s Hill with Alcott in Concord’s Sleepy Hill Cemetery) can’t be all bad. But Louisa felt it was a pretty dull burg that her little theater troupe did much to make bearable.

* At the same time—and this might come as a surprise to those of my readers who only know of Alcott as a children’s book writer—the instinct for the dramatic that she was sharpening in these productions aided her as she wrote sensational thrillers (published under a pseudonym) that would keep her family out of penury. (One of these potboilers later found in her papers, A Long Fatal Love Chase, an eerie precursor of the stalking phenomenon, was praised by horror honcho Stephen King when it finally saw the light of day in 1995.)

* The year 1863 marked a turning point in Alcott’s life, one in which one pursuit—nursing—ended up so disastrously that it endangered her health, while another—professional writing—turned out to be unexpectedly promising. During the winter, a month’s service as a nurse at the Union Hotel Hospital in Georgetown, Va., terminated when she contracted typhoid pneumonia. (The cure commonly prescribed in those days—calomel, a dangerously toxic mercury compound—only depleted her energy further. Though she lived another quarter century, she never regained her old vigor.)

* While Louisa recuperated, she turned her attention more seriously to fiction. From summer to the end of the year, she maintained a pace that would have staggered your humble daily blogger—Hospital Sketches, based on her recent nursing stint; thrillers (“A Pair of Eyes”), fairy tales and fantasy stories (The Rose Family).

“Sketches of Dickens” – Origins and Reception
The play began as a fundraising event for the United States Sanitary Commission (USSC), an agency that Abraham Lincoln reluctantly signed into existence at the start of the Civil War. When you consider its sponsors—a bunch of well-to-do, earnest New Yorkers whose do-gooder instincts far exceeded their experience with military health administration—you can see why the President dreaded that it was a “fifth wheel” of the war effort. In time, as he saw its results—raising $5 million in money and $15 million in donated supplies, providing a much-needed coterie of nurses, and, most important, cutting the disease rate of the Union Army in half—he came to think better of it.

Alcott was prevailed upon to write for a charity event, the Sanitary Fair, for the USSC. As a former nurse and abolitionist, she certainly felt compelled to help any way she could. Nevertheless, as a reading of her diary entry confirms, she did not leave her critical instincts at the door.

In the following passage, you can see how Alcott is already shedding the notion of writing as hobby in favor of a more professional orientation: “Things did not go well for want of a good manager and more time. Our night was not at all satisfactory to us, owing to the falling through of several scenes for want of actors.”

You can just imagine the future author of Little Women shrugging to herself as she sat at the desk (built for her by her father) in Orchard House, noting that “people liked what there was of it” and that the show made $2,500. More indicative of where her mind was heading, however, was the figure she scribbled down at the head of this entry: “Earnings 1863, $380.”

Making Lemonade From a LemonThough Alcott eyed her involvement in this show with rather severe critical detachment, I believe that this theatrical endeavor, like virtually all writing activities, was not a total loss. Nobody likes to write in a vacuum; even the most daring writers crave readers. Gauging audience reaction honed Alcott’s crowd-pleasing instincts.

Like Dickens, Alcott never became a major playwright (in the United States in those days, particularly for women, the prospects were particularly daunting). But I can’t help but think that she learned a great deal about characterization, dialogue and pacing from her plays.

If you don’t believe me, then consider what a cinematic and theatrical warhorse that Little Women has become over the years. I’m fond of the 1933 and 1994 adaptations, starring, respectively, Katharine Hepburn and Winona Ryder as Alcott’s alter ego, family tomboy Jo. (I haven’t gotten around to the 1949 MGM version—I don’t think I can stomach June Allyson as Jo!) And Broadway theater aficionados, if they got there quickly enough, might have caught the 2005 musical with Sutton Foster as Jo and Maureen McGovern as Marmee.

But get this—that doesn’t even exhaust the possibilities for this show. How about Little Women as TV movie (1978, starring Susan Dey as Jo, Meredith Baxter Birney, Eve Plumb, and—hold onto your lasers!—William Shatner as the German professor). Ten years ago, Mark Adamo turned it into an opera. And, believe it or not, it was even adapted into Japanese anime (Ai no Wakakusa Monogatari , or “The Story of Love's Young Grass”).

So, as you channel-surf this holiday season and come across the several versions of Alcott’s most durable work, just remember their inspiration—not just her own family, who furnished her with models for the main characters, but also the love of the theater she indulged this holiday season back in 1863—then, like now, a dark time in our nation’s history.