Literature and Writing Quotes Page 3
How we cite our quotes:
"You can do better than this, Jo. Aim at the highest, and never mind the money." (27.19)
Alcott's narrator has mixed feelings about Jo's success as an author of sensational stories. Although she has mastered the form, perhaps, as Mr. March suggests, there is another dimension to literary success beyond popularity and a paycheck.
"You said, Mother, that criticism would help me. But how can it, when it's so contradictory that I don't know whether I've written a promising book or broken all the ten commandments?" cried poor Jo, turning over a heap of notices, the perusal of which filled her with pride and joy one minute, wrath and dismay the next. "This man says, 'An exquisite book, full of truth, beauty, and earnestness.' 'All is sweet, pure, and healthy.'" continued the perplexed authoress. "The next, 'The theory of the book is bad, full of morbid fancies, spiritualistic ideas, and unnatural characters.' Now, as I had no theory of any kind, don't believe in Spiritualism, and copied my characters from life, I don't see how this critic can be right. Another says, 'It's one of the best American novels which has appeared for years.' (I know better than that), and the next asserts that 'Though it is original, and written with great force and feeling, it is a dangerous book.' 'Tisn't! Some make fun of it, some overpraise, and nearly all insist that I had a deep theory to expound, when I only wrote it for the pleasure and the money. I wish I'd printed the whole or not at all, for I do hate to be so misjudged." (27.39)
The reception of Jo's novel is realistic – her reviews are mixed, and she regrets some of the editorial choices that she let herself be convinced to make.
She thought it would do her no harm, for she sincerely meant to write nothing of which she would be ashamed, and quieted all pricks of conscience by anticipations of the happy minute when she should show her earnings and laugh over her well-kept secret.
But Mr. Dashwood rejected any but thrilling tales, and as thrills could not be produced except by harrowing up the souls of the readers, history and romance, land and sea, science and art, police records and lunatic asylums, had to be ransacked for the purpose. Jo soon found that her innocent experience had given her but few glimpses of the tragic world which underlies society, so regarding it in a business light, she set about supplying her deficiencies with characteristic energy. Eager to find material for stories, and bent on making them original in plot, if not masterly in execution, she searched newspapers for accidents, incidents, and crimes. She excited the suspicions of public librarians by asking for works on poisons. She studied faces in the street, and characters, good, bad, and indifferent, all about her. She delved in the dust of ancient times for facts or fictions so old that they were as good as new, and introduced herself to folly, sin, and misery, as well as her limited opportunities allowed. She thought she was prospering finely, but unconsciously she was beginning to desecrate some of the womanliest attributes of a woman's character. She was living in bad society, and imaginary though it was, its influence affected her, for she was feeding heart and fancy on dangerous and unsubstantial food, and was fast brushing the innocent bloom from her nature by a premature acquaintance with the darker side of life, which comes soon enough to all of us. (34.33-34)
Alcott depicts Jo as becoming gradually corrupted by writing the sensational stories that the newspapers demand. It was a common nineteenth-century belief that sensation fiction and thrillers were dangerous for women to read because of their immorality, and a natural extension of that belief is the suggestion that it would be even more dangerous for women to write such stories.