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The Pulitzer Prize-winning biographer illuminates the world of Little Women and its author. Since its publication in 1868-69, Little Women, perhaps America's most beloved children's classic, has been handed down from mother to daughter for generations. It has been translated into more than fifty languages and inspired six films, four television shows, a Broadway musical, an opera, and a web series. This lavish four-color edition features over 220 curated illustrations, including stills from the films, art by Norman Rockwell, and iconic children's-book illustrations. Renowned Alcott scholar John Matteson brings his expertise to the book, to the March family it creates, and to the Alcott family who inspired it all. Through numerous photographs taken in the Alcott family home expressly for this edition--elder daughter Anna's wedding dress, the Alcott sisters' theater costumes, sister May's art, and Abba Alcott's recipe book--readers discover the extraordinary links between the real and the fictional family. Matteson's annotations evoke the once-used objects and culture of a distant but still-relevant time, situating Alcott's work within the world of art, music and literature that defined and inspired her. The book's rich commentaries bring us back in touch with the books Alcott read, the people she knew, the foods she ate. The introductory essays examine the book's pivotal place in children's literature and tell the captivating story of Alcott herself.--Adapted from book jacket.… (altro)
Ordeal. That's the first word that comes to mind when I think of reading this book. I don't think I had so much trouble wading through text since conquering Moby Dick back in the '80s. How can this monstrosity possibly be popular with children? Do they actually read the original, or are they simply reading the numerous abridged versions that are available?
The book is just preachy and dull with antiquated notions about the role of women in society, and its other morals are weird too. Near the end two main characters brag about their planned philanthropy, but not for the truly poverty stricken -- like those damned Irish who really need to learn to lift themselves up on their own -- but for the more deserving lower middle class who are in need of, oh, art lessons: "I must say, I like to serve a decayed gentleman better than a blarneying beggar..."
I can almost put up with the boring lives of the March sisters until they start courting, but the men in their lives just all ticked me off, including their father.
The supplemental material of the annotated edition at least showed that Alcott's real life was much more interesting and twisted than what she fictionalized for the book. Her luck was mostly crap and her dad was way, way out there. ( )
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To all my dear friends, past and present, who have given their time, treasure, and love to Orchard House
Incipit
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"Christmas won't be Christmas without any presents," grumbled Jo, lying on the rug.
Predating Tom and Huck, Jim Hawkins and David Balfour, Dorothy and the Wizard, and only three years junior to Lewis Carroll's Alice, the March sisters of Little Women stand virtually at the inception of modern children's literature. (Introduction by John Matteson)
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Dati dalle informazioni generali inglesi.Modifica per tradurlo nella tua lingua.
“Oh, my girls, however long you may live, I never can wish you a greater happiness than this!”
The Pulitzer Prize-winning biographer illuminates the world of Little Women and its author. Since its publication in 1868-69, Little Women, perhaps America's most beloved children's classic, has been handed down from mother to daughter for generations. It has been translated into more than fifty languages and inspired six films, four television shows, a Broadway musical, an opera, and a web series. This lavish four-color edition features over 220 curated illustrations, including stills from the films, art by Norman Rockwell, and iconic children's-book illustrations. Renowned Alcott scholar John Matteson brings his expertise to the book, to the March family it creates, and to the Alcott family who inspired it all. Through numerous photographs taken in the Alcott family home expressly for this edition--elder daughter Anna's wedding dress, the Alcott sisters' theater costumes, sister May's art, and Abba Alcott's recipe book--readers discover the extraordinary links between the real and the fictional family. Matteson's annotations evoke the once-used objects and culture of a distant but still-relevant time, situating Alcott's work within the world of art, music and literature that defined and inspired her. The book's rich commentaries bring us back in touch with the books Alcott read, the people she knew, the foods she ate. The introductory essays examine the book's pivotal place in children's literature and tell the captivating story of Alcott herself.--Adapted from book jacket.
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(4.06)
1
The book is just preachy and dull with antiquated notions about the role of women in society, and its other morals are weird too. Near the end two main characters brag about their planned philanthropy, but not for the truly poverty stricken -- like those damned Irish who really need to learn to lift themselves up on their own -- but for the more deserving lower middle class who are in need of, oh, art lessons: "I must say, I like to serve a decayed gentleman better than a blarneying beggar..."
I can almost put up with the boring lives of the March sisters until they start courting, but the men in their lives just all ticked me off, including their father.
The supplemental material of the annotated edition at least showed that Alcott's real life was much more interesting and twisted than what she fictionalized for the book. Her luck was mostly crap and her dad was way, way out there. (