Daniel Shealy – författare

Famous for her classic novel Little Women, and regarded as America's best-loved author of juvenile fiction, Louisa May Alcott is not readily identified with page-turning thrillers and sensational tales. Freaks of Genius, however, presents a collection of previously unknown sensational narratives by Alcott, originally published in the weekly storypapers of the 1860s and never before reprinted. The stories are startling examples of an atypical Alcott, delving into such subjects as violence and insanity, revenge and murder, and narcotics addiction and evil.Included in the collection are six of Alcott's tales of the sensational: A Nurse's Story, The Freak of a Genius, La Jeune, A Laugh and a Look, The Romance of a Bouquet, and Mrs. Vane's Charade. Their themes include the blight of inherited insanity, the power struggle between man and man, the sexual power struggle between man and woman, a Faustian/Mephistophelian pact (later used in A Modern Mephistopheles), the passions of actors and actresses, and feminist triumphs and failures. These skillfully plotted stories are sure to interest the general reader with their narrative excitement, and to fascinate the scholar trying to reconcile their darkness with the sweetness and light tone that has always been associated with Alcott's work. In addition, the book includes the first complete bibliography of Alcott's known thrillers, both anonymous and pseudonymous. For libraries, general readers, and courses such as American literature and feminist studies, Freaks of Genius will be an essential publication.

Little Women has delighted and instructed readers for generations. For many, it is a favorite book first encountered in childhood or adolescence. Championed by Gertrude Stein, Simone de Beauvoir, Theodore Roosevelt, and J. K. Rowling, it is however much more than the “girls’ book” intended by Louisa May Alcott’s first publisher. In this richly annotated, illustrated edition, Daniel Shealy illuminates the novel’s deep engagement with issues such as social equality, reform movements, the Civil War, friendship, love, loss, and of course the passage into adulthood.The editor provides running commentary on biographical contexts (Did Alcott, like Jo, have a “mood pillow”?), social and historical contexts (When may a lady properly decline a gentleman’s invitation to dance?), literary allusions (Who is Mrs. Malaprop?), and words likely to cause difficulty to modern readers (What is a velvet snood? A pickled lime?). With Shealy as a guide, we appreciate anew the confusions and difficulties that beset the March sisters as they overcome their burdens and journey toward maturity and adulthood: beautiful, domestic-minded Meg, doomed and forever childlike Beth, selfish Amy, and irrepressible Jo. This edition examines the novel’s central question: How does one grow up well?Little Women: An Annotated Edition offers something for everyone. It will delight both new and returning readers, young and old, male and female alike, who will want to own and treasure this beautiful edition full of color illustrations and photographs.

The Selected Letters of Louisa May Alcott contains a broad cross-section of letters from the correspondence of the creator of Little Women and provides a compelling autobiography of this most autobiographical of writers. Spanning a period of forty-five years, this collection provides vivid accounts of Alcott's life and development as a writer.Episodes in Alcott's life are candidly reflected: her youth, when the prototype of Jo March was already being shaped; the 1868 publication of Little Women and the prosperity and renown the book brought its author; her never-ending struggles for her family; the final years spent caring for her niece and an invalid father. Alcott's letters also furnished a vent for the pressures she felt to write a sequel to Little Women and play matchmaker for the novel's heroine. Writing to a friend in early 1869, Alcott remarked that "Jo should have remained a literary spinster but so many enthusiastic young ladies wrote to me clamorously demanding that she should marry Laurie, or somebody, that I didnt dare to refuse & out of perversity went & made a funny match for her. I expect vials of wrath to be poured out upon my head, but rather enjoy the prospect."The correspondence sheds light on Alcott's relationship with her publishers, such friends as Emerson and Thoreau, and members of her family. Of particular note are her observations—many of them firsthand—on such major issues of the day as abolition, the Civil War, and the women's rights movement.

From her eleventh year to the month of her death at age fifty-five, Louisa May Alcott kept copious journals. She never intended them to be published, but the insights they provide into her remarkable life are invaluable.Alcott grew up in a genteel but impoverished household, surrounded by the literary and philosophical elite of nineteenth-century New England, including Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne. Like her fictional alter ego, Jo March, she was a free spirit who longed for independence, yet she dutifully supported her parents and three sisters with her literary efforts. In the journals are to be found hints of Alcott's surprisingly complex persona as well as clues to her double life as an author not only of "high" literature but also of serial thrillers and Gothic romances.Associate editor Madeleine B. Stern has added an in-depth introduction to The Journals of Louisa May Alcott, the only unabridged edition of Alcott's private diaries.

In 1870, Louisa May Alcott and her younger sister Abby May Alcott began a fourteen-month tour of Europe. Louisa had already made her mark as a writer; May was on the verge of a respected art career. Little Women Abroad gathers a generous selection of May’s drawings along with all of the known letters written by the two Alcott sisters during their trip. More than thirty drawings are included, nearly all of them previously unpublished. Of the seventy-one letters collected here, more than three-quarters appear in their entirety for the first time. Daniel Shealy’s supporting materials add detail and context to the people, places, and events referenced in the letters and illustrations.By the time of the Alcott sisters’ sojourn, Louisa’s Little Women was already an international success, and her most recent work, An Old-Fashioned Girl, was selling briskly. Louisa was now a grand literary lioness on tour. She would compose Little Men while in Europe, and her European letters would form the basis of her travel book Shawl Straps. If Louisa’s letters reveal a writer’s eye, then May’s demonstrate an eye for color, detail, and composition. Although May had prior art training in Boston, she came into her own only during her studies with European masters. When at a loss for words, she took her drawing pen in hand.These letters of two important American artists, one literary, the other visual, tell a vibrant story at the crossroads of European and American history and culture.

In 1870, Louisa May Alcott and her younger sister Abby May Alcott began a fourteen-month tour of Europe. Louisa had already made her mark as a writer; May was on the verge of a respected art career. Little Women Abroad gathers a generous selection of May's drawings along with all of the known letters written by the two Alcott sisters during their trip. More than thirty drawings are included, nearly all of them previously unpublished. Of the seventy-one letters collected here, more than three-quarters appear in their entirety for the first time. Daniel Shealy's supporting materials add detail and context to the people, places, and events referenced in the letters and illustrations.By the time of the Alcott sisters' sojourn, Louisa's Little Women was already an international success, and her most recent work, An Old-Fashioned Girl, was selling briskly. Louisa was now a grand literary lioness on tour. She would compose Little Men while in Europe, and her European letters would form the basis of her travel book Shawl Straps. If Louisa's letters reveal a writer's eye, then May's demonstrate an eye for color, detail, and composition. Although May had prior art training in Boston, she came into her own only during her studies with European masters. When at a loss for words, she took her drawing pen in hand.These letters of two important American artists, one literary, the other visual, tell a vibrant story at the crossroads of European and American history and culture.

By 1888, twenty years after the publication of Little Women, Louisa May Alcott (1832-1888) was one of the most popular and successful authors America had yet produced. In her pre-Little Women days, she concocted blood-and-thunder tales for low wages; post-Little Women, she specialized in domestic novels and short stories for children. Collected here for the first time are the reminiscences of people who knew her, the majority of which have not been published since their original appearance in the 19th and early 20th centuries. Many of the printed recollections in this book appeared after Alcott became famous and showcase her as a literary lion, but others focus on her teen years, when she was living the life of Jo March; these intimate glimpses into the life of the Alcott family lead the reader to one conclusion: the family was happy, fun, and entertaining, very much like the fictional Marches. The recollections about an older and wealthier Alcott show a kind and generous, albeit outspoken, woman little changed by her money and status.From Annie Sawyer Downs's description of life in Concord to Anna Alcott Pratt's recollections of the Alcott sisters' acting days to Julian Hawthorne's neighborly portrait of the Alcotts, the thirty-six recollections in this copiously illustrated volume tell the private and public story of a remarkable life.

Contributions by Beverly Lyon Clark, Christine Doyle, Gregory Eiselein, John Matteson, Joel Myerson, Sandra Harbert Petrulionis, Anne K. Phillips, Daniel Shealy, and Roberta Seelinger TritesAs the golden age of children’s literature dawned in America in the mid-1860s, Louisa May Alcott’s Little Women, a work that many scholars view as one of the first realistic novels for young people, soon became a classic. Never out of print, Alcott’s tale of four sisters growing up in nineteenth-century New England has been published in more than fifty countries around the world. Over the century and a half since its publication, the novel has grown into a cherished book for girls and boys alike. Readers as diverse as Carson McCullers, Gloria Steinem, Theodore Roosevelt, Patti Smith, and J. K. Rowling have declared it a favorite. Little Women at 150, a collection of eight original essays by scholars whose research and writings over the past twenty years have helped elevate Alcott’s reputation in the academic community, examines anew the enduring popularity of the novel and explores the myriad complexities of Alcott’s most famous work. Examining key issues about philanthropy, class, feminism, Marxism, Transcendentalism, canon formation, domestic labor, marriage, and Australian literature, Little Women at 150 presents new perspectives on one of the United States’ most enduring novels. A historical and critical introduction discusses the creation and publication of the novel, briefly traces the scholarly critical response, and demonstrates how these new essays show us that Little Women and its illustrations still have riches to reveal to its readers in the twenty-first century.