Summary — Chapter 34: Friend
In New York, Jo begins to write sensationalist stories
for a publication called the “Weekly Volcano.” She is not proud
of these stories, as they are not moral or profound in any way.
They do, however, provide her with a lot of money. Later, she witnesses
Mr. Bhaer defending religion in a philosophical conversation and
is more impressed with him than ever. When he finds out that she
writes sensationalist fiction, she is even more ashamed, and quits
writing the tales. In June, she must return home. She tells Bhaer
that she will see Laurie graduate, and Bhaer looks a bit jealous.
He tells himself that he cannot hope to have Jo. She goes home feeling
unsuccessful in writing, but very successful in having found such
a good friend.
Summary — Chapter 35: Heartache
All of the Marches except Amy go to see Laurie graduate
from college. He has done well there, having spent the last year
working hard, probably to impress Jo. When he returns home, he finally
confesses his love to Jo. She tries to stop him from speaking his
mind, but he insists on telling her how he feels. She rejects his
marriage proposals, telling him she doesn’t love him in that way,
which breaks his heart. He worries that she loves Professor Bhaer,
and speaks scornfully of Bhaer’s old age. Jo energetically defends
the professor, but says she does not love him. After the rejection,
Laurie mopes for a while until Mr. Laurence, to whom Jo has told
of her conversation with Laurie, suggests that he and Laurie go
to Europe for a while. Laurie reluctantly agrees and sadly leaves.
Summary — Chapter 36: Beth’s Secret
Coming home from New York, Jo has been surprised to find
Beth even paler and thinner than before. She proposes to take Beth
to the mountains with the money that she has earned. Beth says that
she does not want to go so far and asks to go to the seashore again instead.
When they are on holiday, Beth confesses that she knows that she
will die soon. Jo tells her that she will not, but Beth is certain
that she will. Beth tells her that this realization was the reason
she was melancholy the previous fall. She asks Jo to tell their
parents so that she does not have to. But when they return home,
Jo does not need to say anything. Their parents can see the change
in Beth for themselves.
Summary — Chapter 37: New Impressions
Laurie meets up with Amy in Nice, in southern France,
on Christmas. They each find that the other has changed quite a
bit. Laurie notes that Amy has grown into a sophisticated and lovely
young woman. Amy sees that Laurie is more somber, but she also starts
to see him as a handsome gentleman instead of a childhood friend.
He escorts her to a ball in her hotel that evening. She deliberately
tries to look extremely pretty for him. At first, he is not as attentive
as she wants him to be. Toward the end of the night, however, when
she merrily and honestly confesses to the little tricks she employs
to make herself pretty despite her poverty, he is touched, and fills
up her dance card with his own name.
Summary — Chapter 38: On the Shelf
Meg is spending so much time taking care of her babies
that she rarely spends time with Mr. Brooke. After half a year of
this behavior, he takes to going over to a friend’s house at night.
When he begins to spend less time with the children, Meg is saddened
by his absence. Marmee figures out what the trouble is and suggests
that Meg make an effort to be more interested in her husband’s affairs and
to be more presentable and loving. She says that Meg needs to work
on her relationship with her husband as well as her relationship
with her children. Meg resolves to try Marmee’s advice: she puts
the children to bed early, makes a nice dinner, and dresses up. John
comes home and is pleased with what he sees. Demi, however, will
not go to sleep. John takes over, reprimanding his son and making
sure that he minds his mother. This night marks a change: Meg and
John begin sharing the childrearing responsibilities and, as a result,
spend more time together in their home.
Analysis — Chapters 34–38
In Chapter 34, Jo is still
largely the same person as at the novel’s beginning, pursuing her
writing talent. The name of the magazine for which she writes—“Weekly
Volcano”—suggests intense, even dangerous, creativity. Like a volcano,
Jo possesses a wild and unpredictable temperament, and she is never
really at ease. She is ready to erupt with her writing, and this
magazine serves as the perfect outlet for her creativity.
In Chapter 35, in an extremely
unusual literary event, Jo rejects Laurie’s offer of marriage. Literary
works are inevitably influenced by the values of the society in
which their authors live, and at the time Alcott wrote, society
did not look kindly on women who turned down eligible men. Women
were expected to accept as their destiny the roles of wife and mother,
and to dismiss any ideas of living an independent life that rejected
these conventional roles. For this reason, very few female characters
in literature from before the twentieth century display the sort
of assertiveness and expression of individual desires that modern
society, for the most part, values in women. It is therefore extremely
significant that Jo rejects Laurie despite the fact that he is handsome,
kind, loving, and rich, and that she rejects him for no other reason
than that she does not love him as she wants to love a husband.
Alcott depicts this decision as admirable. As Laurie says, everyone
expects the marriage to happen—not only the characters in Little
Women, but also everyone in the reading audience. Yet Alcott
shows us that a strong woman is perfectly within her rights to flout
the expectations of society.
In keeping with Alcott’s progressive ideas about female
roles in society, scholar Elizabeth Lennox Keyser has suggested
that Beth’s death results almost necessarily from the fact that
the society in which she lives is evolving and thus rendering outdated
the traditional values to which she clings outdated. Beth’s quiet
and old-fashioned character symbolically cannot survive in a world
in which women begin to demand more from life than housework. She
seems to have no place in the future and, by extension, no place
in the second half of the novel.
Eager for her characters and her story not to be flat,
Alcott attempts to show life’s complexities by exploring both the
positive and the negative aspects of certain experiences and attitudes.
She realistically depicts marriage as a mixture of love, grumpiness,
miscommunication, and gradual improvement. Similarly, she
depicts Jo’s separateness as a mixture of independence and loneliness.
Earlier, Meg and John seem to be growing apart; now, however, they
strike a balance in their relationship and begin to appreciate it
again. Conversely, Jo, who earlier revels in her rebellious nature
and defiance of social convention, now begins to envy Meg’s family
and see marriage in a more positive light. By putting her characters
through this flux of emotion and attitude, Alcott makes her characters
more realistic.
Alcott characterizes Meg and John’s twins along traditional
gender lines, which seems to reflect her understanding that progress toward
a greater role for women would be achieved only gradually. Daisy
is a stereotypical girl, while Demi is a stereotypical boy, who often
tries to control his sister. While the family considers Demi’s domination
sweet, this behavior perpetuates the gender roles that Alcott has
blurred with some success in the preceding generation, that of the
March girls and Laurie.
