Ever since I originally read Little Women as a young teenager, Louisa May Alcott's classic 1868/1869 story of the four March sisters (of their lives, their loves, their individual philosophies, their tragedies, their successes and failures) has been one of my favourite novels, reread multiple times both then and now and with me laughing and crying alongside of Meg, Jo, Beth and Amy, and often also rather desperately wanting to have sisters like that, except perhaps for Amy as she did and does remind me rather too much of my younger sister and how coddled and how much of a proverbial golden child she always seemed to be for everyone (and indeed with me equally always strangely hoping a bit at each and every reread of Little Women that Beth would not end up dying but somehow survive, silly and totally and utterly ridiculous, I know and agree, but it is what it is and every time I read Little Women this does seem to happen).
Thus and considering my absolute and utter adoration of Louisa May Alcott's delightful and oh so emotionally satisfying and evocatively stimulating semi-autobiographical story as it is presented in Little Women, I have naturally also read quite a goodly number of retellings over the years (a select few truly wonderful, some a trifle lacking but sadly far too many simply infuriatingly annoying). But Sarah Miller's 2022 young adult novel Marmee is rather (and yes indeed massively delightfully) different from all of the other Little Women adaptations I have encountered to date, since with Marmee Miller reimagines Little Women according to the mother, according to the character of Margaret March, focussing historically realistically and with a marvellous sense for textual authenticity and believability (and even providing a detailed bibliography) on how Marmee's four daughters and their antics, their personalities, their foibles and the absence of her husband Amos due to his participation in the the U.S. Civil War as a chaplain all affect and often traumatise Margaret (who is tasked with holding the March family together in the midst of war and through serious bouts of major poverty and insecurity). And while Marmee in Little Women is portrayed by Louisa May Alcott as pretty much the epitome of saintly patience, albeit there are in fact a select few textual hints of a volatile temperament akin to her daughter Jo textually shown, that same Marmee’s thoughts (in diary, in journal format) as they are realistically and believably imagined by Sarah Miller in her Marmee reveal a vulnerable and easily frustrated woman who is actually often on the brink of losing control and her temper as she tries to feed and provide support and parenting advice to her four daughters and take care of the destitute (all by herself) in a time period where the USA is rather falling apart around her in and with huge and problematic internal strife (civil war, racial tension, social upheaval, you name it). So yes, Sarah Miller's Marmee is authentic, relatable and personable, displaying in the fictional diaries Miller presents in Marmee both major and also many rather petty grievances and a very quick temper always ready to explode, all mixed with a courageous woman on a mission to show love and support to the lowliest of society in a very much tangible and overtly practical manner (basically practical and not theoretical social justice).
Indeed, a wonderful and finely nuanced mirror and expansion of Little Women is Marmee, a journal type novel that I sped through really quickly and with very much appreciated and lovely reading joy. And even though I do sometime cringe a bit at how often in Marmee March family matriarch Margaret is shown by Sarah Miller as being not only at odds with Amy's vanity, Jo's pretty unbridled temper and quick anger, Meg's tendency to embrace conventionality but also with Beth's shyness (as I personally really cannot think of Beth's shyness and being generally a total homebody as something inherently negative), well, I do realise that this also makes Miller's Marmee character all the more human for and to me and that I do (even if a bit contritely) even somewhat prefer this and Marmee's struggles and frustrations to how in Little Women Louisa May Alcott constantly renders Marmee into some almost angelic paragon of virtue, that while Little Women is still and will always remain a personal favourite, I do think that Miller's Marmee does a better job showing Margaret March as a real and living, breathing character, with doubt, with both positive and negative character traits, and that I also very much do appreciate Miller's extra and interesting imagined details in Marmee on both Hannah and the Hummel family (and yes, I really and truly do applaud how Sarah Miller takes away from Birte Hummel and her children that faint but ever present taint of buffoonery, helplessness and even lack of common sense that sometimes does seem to rear rear its head in Little Women).
Five stars for Marmee, highly recommended, and that yes, I also really love love love how Sarah Miller actually stays pretty close to Louisa May Alcott's original text for Little Women, that she does for example not miraculously cure Beth (albeit part of me totally and emotionally speaking wants this), that Jo and Professor Bhaer still end up together as do Amy and Laurie, and that thankfully, the German language inclusions Sarah Miller uses in Marmee are for the most part correct and error free (and that the one or two mistakes I did find in Marmee are pretty much totally insignificant and really only noticeable to those of us who are both fluent in German and also a wee bit anal regarding proper spelling and the like, and while I so stand by being more than a bit the latter, I also know not to go overboard, and that there are indeed so very few German language errors to be encountered in Marmee, that I really do not at all care and in fact very much applaud Sarah Miller for the fact that when she uses German in Marmee, she usually gets both spelling and word usage right).