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Power of Adolescent Literature in the Classroom The inclusion of adolescent literature in the classroom is vital to adolescent’s development and understanding of literature. It is crucial for them to read literature that has characters who speak to them, and that they can relate to in their lives. The addition of adolescent novels in dialogue with classic works of literature brings many benefits for our youth, especially in concern with developing a desire and eagerness to read. Young adults long to read novels/books that they are mentally and emotionally ready and to able to understand, which is why it is necessary to include in the curriculum. The book //Jacob Have I Loved// by Katherine Paterson and //Little Women// by Louise May Alcott are two adolescent works of literature that can be taught effectively together in the classroom because they grapple with similar issues that each and every generation of teenagers face, such as gender, identity, poverty or low-income households, sibling rivalry, education, and worldly/economic events. //Little Women// is not only considered part of the literary cannon, but is also a best-selling piece of adolescent literature. Therefore, it has come to be a respected, as well as, accepted work of literature taught in the classroom. However, it is not a simple text for the secondary level, by any means. Therefore, implementing an adolescent book like //Jacob Have I Loved// in conjunction with the other will not only increase the desire and eagerness in students to read, but will build a bridge for reading a longer and slightly more difficult text like //Little Women// afterward. //Jacob Have I loved// can provide an in depth understanding of //Little Women//, tie in key concepts with the classic work, and again; promote a love for reading in general.

The adolescent novel //Little Women// should continue to be taught in the classroom because it presents identifiable characters to be admired by all races, ethnicities, and genders; and asks adolescents to grapple with difficult, but important issues, such as gender, religion, and politics relevant in their lives. It is also rich in historical references to the Civil War, which invites students to experience what it was like to live during that time. It has a long standing legacy and history of praise for various reasons, such as the portrayal of strong and righteous adolescent characters, who question the world, society, and themselves at every opportunity, According to Andrew Kantar’s review of Roberta Seelinger Trites’ book: //Twain, Alcott, and the Birth of the Adolescent Reform Novel//; the characters promote social, educational, and gender reform (par. 7). Jo from Alcott’s novel desires gender justice especially, thus, challenges the usual stereotype of femininity and womanhood. Jo is the picture of rebellion in contrast to the culture and time period she lives in. She is not dainty, delicate, or “girly” like her sisters. Instead, she is brave, assertive, and rough; which are characteristics often decided for males alone. Therefore, Jo from //Little Women// is a protagonist that is generally superior to the culture in which she lives, and who is a “metaphor for the need for social change,” which makes her an ideal role model for adolescents (Roberta Trites 150). The novel has also influenced a plethora of other adolescent authors inside and outside of the literary canon, as well as, significant writers, such as Getrude Stein, Adrienne Rich, and Cynthia Ozick (Trites 146). Therefore, the fact that //Little Women// has been emulated by other authors and inspired many writers reinforces that it is, and always has been, an effective literature choice in the classroom.

The adolescent book Jacob //Have I loved// should be taught in the classroom because it also asks adolescents to grapple with similar difficult, but relevant issues they face in the midst of growing up. It is also universal and tends to appeal to all ages, which makes it an effective choice to be implemented in the classroom. According to Patricia A. Liddie, the best thing about this book is that it appeals to the older-junior high student (par. 13). She says, “At a time when vision of self is all-important, ninth graders are relieved to discover that most of us take years to find self and to accept the self that we find, that such acceptance is not an easy passage, and that, very often the self we find is not the one we expected” (par. 13). Therefore, the book deals greatly with identity issues, which is a common problem adolescents face. Another issue that this book deals with greatly is gender problems, similar to those in //Little Women.// The main character and protagonist, Sara Louise is also a tomboy; who is often told that she was meant to be a male (Katherine Paterson 192). It is also rich in biblical references and historical references to World War I and II; which provides yet another reason why it is an excellent scholarly text for the classroom. The biblical references invite the students to explore numerous literary tropes and symbolism along the way. //Jacob Have I Loved// is considered by many to be a timeless classic.

One of the main reasons //Little Women// and //Jacob Have I Loved// work in conjunction with one another in the classroom is because of the obvious poverty issues, and the presence of war in each. For instance, the four sisters in //Little Women// are barely able to get by, even with the help of the two eldest daughters of a mere 15 a 16 years of age, working to help contribute to the family’s income. The eldest Margaret works as a governess, and Jo, as a companion to their Aunt March. Their father is off at war, which is hinted and later exposed as the Civil War. This war is embedded into the story line, and discussed frequently by the young girls and their mother. For example, when the girls ask their mother when their father will come home, Marmee replies “Not for many months, dear, unless he is sick. He will stay and do his work faithfully as long as he can, and we won’t ask for him back a minute sooner than he can be spared” (Louisa M. Alcott 18). The war and money issues are a constant worry for the family, but they choose to have an optimistic outlook on their dismal situation in spite of their setbacks. The family’s situation is similar to the family in //Jacob Have I Loved// because of the backdrop of War presented and explored throughout the plot; Specifically, World War II. Sara Louise also works to support her family, like Jo from Little Women, but from her crab fishing expenditures because her family borders on the poverty line as well. She brings home around two dollars from a day’s work. Sara Louise tells the reader that the extra money meant they had enough money for her mom to “splurge and make she-crab soup for supper” (Paterson 13). Although the father does not go off to war, Call, Sara Louise’s best friend does later in the novel after he drops out of school. Sara Louise describes the pivotal moment when she learns that Pearl Harbor has been attacked. She tells the reader “I knew by the chill that went through my body that it meant war” (23). Vital moments like these in the book grab adolescent’s attention because it makes the wars of our country’s past real to them. They can imagine themselves in Sara Louise’s shoes, and experience the chilling feeling that fills her body. War references, such as this one, in //Jacob Have I Loved// are more obvious, which is why it is a great book to be taught in preparation for //Little Women//.

The time period in which the characters lived, in both //Little Women// and //Jacob Have I loved// are clearly not congruent with one another, but are in a relatively close in approximation, which presents an opportunity for expressive and creative culminating activities for the students to benefit from, after reading both works of literature. For instance, I came across an article titled “Doing the Decades” by James Brewbaker, which discusses how various secondary schools in the U.S. are implementing programs, which encourage the students to actively explore the lifestyle and experiences from different time periods, such as the early-mid 1940’s during “World War II, the Holocaust, and its Aftermath” (par. 25). //Jacob Have I loved// is described as a prime candidate for this time period since it discusses the presence of World War II throughout the book. According to Brewbaker, there are two types of adolescent literature that work well with this activity: historical fiction, and adolescent books “that mirror the times in which they were written,” such as //Jacob Have I Loved// (par. 5). Since //Little Women// is set in the mid- to late- nineteenth century, and //Jacob Have I loved// is set in the early-mid twentieth century, it would make an interesting comparison for the students to reenact the similarities/differences of the clothing, food practices, language, customs, and values. This is not only an exciting example of how both of these works of literature can be used together in the classroom, but also used to appeal to student’s interests and to hold their attention.

Perhaps one of the most crucial reasons why these two texts complement each other so well is because of the outstanding similarities between the two protagonist characters in each of the texts. Roberta Trites’ convincingly argues that in //Jacob Have I Loved//, the Jo prototype and the Amy prototype from //Little Women// are “paired as twins named Louise and Caroline” (156). Jo and Sara Louise from separate texts are unarguably more alike than they are in comparison to their own siblings. In fact, they are even described as physically similar. For instance, in //Little Women//, “round shoulders had Jo, big hands and feet, a fly-away look to her clothes, and the uncomfortable appearance of a girl who was rapidly shooting up into a woman, and didn’t like it” (Alcott 14). In //Jacob Have I loved//, Sara Louise is described “a mess” (11), “a fat dark shadow” (16), and “pudgy hands” (17). Similarly, Amy and Caroline (both the youngest) from separate texts are described as physically similar as well. In //Little Women//, “Amy, a regular snow maiden, with blue eyes, and yellow hair curling on her shoulders; pale and slender, and always carrying herself like a young lady mindful of her manners”(14-15). Caroline, from //Jacob Have I loved// is described as “tiny and exquisite, her blond curls framing a face that is glowing with laughter” (16). While Caroline and Amy are much alike, it is more important to focus on Jo and Sara Louise because they both challenge the typical female stereotype of a femininity and womanhood, from their physical appearance and mannerisms to their interest and goals (Sarah Wadsworth 3).

According to Trites’, Jo and Sara Louise both, originally project their anger that has been motivated by their gender conventions on their sisters, but each eventually learn to reject that anger when they become adults (156). For instance, Jo complains “It’s bad enough to be a girl, anyway, when I like boys’ games, and work, and manners” (13). She also expresses resentment that she is not able to go fight with her “papa” in the war, and has to stay at home instead and “knit like a poky old woman” (13). In the same way, Sara Louise expresses deep resentment that she is not able to join her father as a waterman “tonging for oysters” and crabbing all day long, and adds “but in those days men’s work and women’s work was sharply divided” (17). Both Jo and Sara Louise feel confined to their gender stereotype. However, after many challenges and hard work, they are each able to accomplish one of their greatest desires. Interestingly enough, they each face a major road block along the way. For Jo, it is the failing reviews of the first novel she writes, but after her sister Beth’s death, she is encouraged by her mother to write again, and she does. As a result, “for a small thing, it was a great success; and Jo was more astonished than when her novel was commended and condemned all at once” (468). For Sara Louise, it is being told by her advisor that she will only be able to obtain nurse status, and not become a doctor because of her gender. However, she does not let this spoil her plans. She transfers schools, becomes a mid-wife, and makes a plan to convince the government’s mind about the entrance to medical school (204). They are both fiercely independent and goal-oriented female characters who defy the status quo, and find their true identity by the time they reach adulthood.

` Jo and Sara Louise also share sibling rivalry issues with their respectful family member, who they share the most conflict with. In fact, Sara Louse discloses a hatred of Caroline’s perfect looks, and musical abilities. She specifically says “Hate. That was the forbidden word. I hated my sister” (Paterson 64). Sara Louise complains that everyone caters to her sister’s needs and goes out of their way to ensure her happiness. She is even granted the opportunity to attend voice lessons with what little money the family has left over. Sara Louise also despises the way her sister brags about her musical gift. For instance, her sister declares “I’ve decided to write a book about my life. Once you’re known”, she explained carefully as though some of us were dim-witted, “once you’re famous, information like that is very valuable” (13). She is clearly projected as someone who perceives themselves as better than those around her. This can be compared to the way Amy is viewed in //Little Women//, as well. For instance, the text states “Amy was in a fair way to be spoilt; for every one petted her, and her small vanities and selfishnesses were growing nicely” (Alcott 50). Jo and Amy have the most conflict between them out of the four sisters. This picture is painted quite clearly when Amy burns Jo’s manuscript that she had been working on for a long time because she wouldn’t let Amy go to a play with her and Meg, and was rude to her. Jo proclaims “You wicked, wicked girl! I never can write again, and I’ll never forgive you as long as I live!” (87). Amy and Jo’s personalities often clash the most because their values differ. Likewise, Caroline and Sara Louse have different values in life too.

The last significant piece of evidence, concerning the main reasons why these two pieces of literature complement each other so well is because the two main characters, Sara Louise and Jo, share a remarkably similar journey toward self-realization. As I briefly discussed earlier, Jacob Have I Loved has a story line that appeals to readers of all ages because it “chronicles one person’s search for and acceptance of one’s self” (Liddie par. 1). Sara Louise struggles with her own identity and place in the world as a result of the immediate attention her twin sister receives at birth, due to health complications; and later, the attention she receives for her musical talent. Therefore, like many adolescents, her journey toward self-realization is not an easy one, or without its challenges. She is not able to find herself until she has moved away from home, become a mid-wife, and delivered a brand new set of twins. She walks home after, singing the very song in the beginning of the book that her sister sung: “I wonder as I wander out under the sky” (215). She has finally forgiven her sister, and herself; and found herself in the process. Indeed, Jo follows a similar process. She learns that Amy is going to marry Laurie, the neighbor lad that she was interested in a long time ago, and who Beth was in love with before she passed. Instead of lingering on regrets, she concentrates on finding her own happiness. At the end of the novel, it is apparent that Jo has found just that. She talks to Laurie about Amy, and says “Amy and you never did quarrel as we used to. She is the sun, and I the wind in the fable, and the sun managed the man best, you remember” (479). This exposes the idea that Jo has come to accept the way things have turned out, and the relationship she shares with Amy now. She marries Professor Bhaer, and comes into her own fully realized self. She too realizes that individual identity is connected to one’s place in the larger context of the world (Liddie 3).

//Jacob Have I loved// and //Little Women// are two works of literature that can be used powerfully in conjunction with one another in the classroom, and it is a wise choice to do so because //Jacob Have I loved// is a great starter book to prepare students for a more challenging novel like //Little Women//. They share similar themes, tropes, historical pressures, and characters, which all work together to provide interesting comparisons, and the potential for engaging discussions in the classroom. These texts open up a lot of opportunities for fun culminating activities, such as “Doing the Decades.” They also both include timeless issues that many adolescents face, such as, gender, identity, poverty, sibling rivalry, education, and worldly/ economic events. Therefore, implementing //Jacob I have loved// in the secondary curriculum, in conjunction with //Little Women// will ultimately obtain the main goal educators set out to do: instill a wonder, desire, and eagerness in students for reading, which will stay with them for the rest of their lives.

Works Cited Alcott, Louisa M. //Little Women//. New York: Random House, Inc., 1868/69. 11-527. Print. Brewbaker, James. "Doing the Decades." //The Alan Review// 26.3 (Spring1999): 44 pars. Web. 19 Mar. 2011. [].

Kantar, Andrew K. “Twain, Alcott, and the Birth of the Adolescent Reform Novel (review).” Rev. of ://Twain, Alcott, and the Birth of the Adolescent Reform Novel//, by Roberta S. Trites. //The Lion and the Unicorn// 32.1 (2008): 119-24. //Project Muse.// Web. 12 Feb. 2011. Liddie, Patricia A. “Vision of Self in Katherine Paterson’s Jacob Have I Loved.” //The ALAN Review// 21.3 (1994): 13 pars. Web. 22 Feb. 2011. [] Paterson, Katherine. //Jacob Have I Loved//. New York: Harper Collins Publishers, 1980. 1-215. Print. Trites, Roberta S. //Twain, Alcott, and the Birth of the Adolescent Reform Novel//. Iowa City: University of Iowa Press, 2007. 156. Print. Wadsworth, Sarah A. "Louisa May Alcott, William T. Adams, and the Rise of Gender-Specific Series Books." //The Lion and the Unicorn// 25.1 (2001): 42 pars. //Project Muse//. Web. 19 Mar. 2011.