Little Women Clubs and Boston Philanthropy

Illustration by Jessie Wilcox Smith, c. 1915.

Louisa May Alcott’s Little Women, published just after the Civil War, was a runaway best seller that impacted generations of readers and significantly influenced American culture as a whole, through countless editions, versions, sequels, translations, images, plays, and films. Little Women was so compelling that it inspired young fans to create spontaneous clubs, such as the “Little Men and Little Women,” the “Alcott Reading Club,” and the “Alcott Literary Club.” Inspired by the March sisters’ Pickwick Portfolio, five sisters from a small town in Pennsylvania created a family newspaper in 1871 that boasted a thousand subscribers nationwide before winding down a few years later.

     
A charming spinoff, The Little Women Club (1905), by Marion Ames Taggart, a children’s book about four friends aged eleven to thirteen who decide to form a club and who enact the novel in their daily lives, seeded Little Women Clubs across the United States. The clubs became so popular that adults soon took notice and began taking control. Some clubs were created to preserve the Alcott homestead, Orchard House, transforming it into a house museum. Young settlement workers followed the trend, creating a Louisa M. Alcott Club for Jewish immigrants, which aimed to “instruct small girls in all branches of housekeeping.” There was an Alcott Club sponsored by Hull House in Chicago, and a San Francisco chapter of the Little Women Club that provided poor children with “practical and moral training” and a few weeks of country life under the care of settlement workers. Little Women Clubs became generally associated with mental cultivation, character development, and philanthropy.

In December of 1905, Rosamond Warren Gibson attended a Congregational church fair in Norwood, Massachusetts, which was sponsored by the “Mission Circle” and the “Little Women.” Rosamond was on the Committee of Arrangements. Cake and candy tables, a fancy table (featuring precious or whimsical handmade items for sale), and a photo and art table were all well patronized. Entertainment consisted of a cantata entitled Santa Clause’s Mistake, a dumbbell drill by two squads of girls, with piano accompaniment, and “a tambourine drill in Spanish costume by 12 young ladies.” Designed to promote mental cultivation, character development, and philanthropy, Little Women Clubs were an outgrowth of two important social trends spanning the late nineteenth and early twentieth centuries: the women’s club movement and the settlement house movement.

Part 3: The Poet

This post is the third of a three-part series on the life and writings of Charles Hammond Gibson, Jr., founder of the Gibson House Museum. You can read the first part here and the second here.

The mysteries of our lives resolve themselves very slowly with the progress of years. Every decade lifts the curtain, which hides us from ourselves, a little further, and lets a new light upon what was dark and unintelligible.

—Oliver Wendell Holmes, 1896

A portrait of the artist as a young man: independent and well-traveled, Charles Hammond Gibson, Jr. (1874–1954), the bachelor-poet of Boston, achieved early success. His first two books, Two Gentlemen in Touraine (1899) and Among French Inns (1905), both on French

Charles Hammond Gibson, Jr., c. 1920.

travel, were so popular they went into second editions. In Two Gentlemen in Touraine, Gibson explored the art, architecture, and social customs of rural France, depicting it as an enchanted “fairyland,” a greenwood and pastoral escape route in the gay Arcadian literary tradition of the Victorian era—in sharp contrast to the cooler, monochromatic stones of old Beacon Street. As explored in the second blog post in this series, Two Gentlemen in Touraine told a thinly veiled autobiographical tale of initiation into the transatlantic gay subculture of the 1890s, with the Count Maurice Mauny Talvande as guide and mentor. Among French Inns takes the form of a travel book embedded in a comic novel—a farce—containing a wry parody of Isabella Stuart Gardner and John “Jack” Lowell Gardner, Jr. in the character of Mr. and Mrs. James Blodget Wilton.

Gibson’s first love, however, was poetry, and in the first decade of the twentieth century he produced two substantial volumes, The Spirit of Love and Other Poems (1906) and The Wounded Eros (1908). Working closely with the Riverside Press of Houghton Mifflin, he planned to produce a total of four volumes, to be bound as an elegant set, including Odes and Elegies (1908) and Dialogues and Satires (1909). The last two volumes were never produced, although most of the poems were prepared in manuscript.

Part 2: Two Gentlemen in Touraine: A Pilgrimage to Fairyland

This post is the second of a three-part series on the life and writings of Charles Hammond Gibson, Jr., founder of the Gibson House Museum. You can read the first part here. 

Let us then take a sweeping glance around, for we may not have another half so grand, half so fair, or half so high, while we are in the old Touraine which lies before us, there in the last orange glow of the departed sun. And if we follow these avenues of the roof below us, if we wind our way around these great towers, around the high and pointed roofs of slate, we may well imagine ourselves in some fairyland. This maze of cupolas, of domes, of towers, appears more bewildering to us than ever. And we lean against the stone, in an artistic intoxication, so overpowering is it.

 

—Charles Hammond Gibson, Jr., Two Gentlemen in Touraine (1899)

In 1899, when Charles Hammond Gibson, Jr. (“Charlie”) published Two Gentlemen in Touraine, a lighthearted but sophisticated book about the historic and picturesque French royal chateaux of Touraine, he was just twenty-four years old. A young Bostonian educated at elite New England prep schools, he also briefly attended the Massachusetts Institute of Technology, where he became captivated by French history and architecture. Charlie had talent, a refined sensibility, and an entrepreneurial spirit. His family, part of the last wave of Boston’s Brahmin elite, wanted him to become an engineer of some kind and so sent him off to MIT, then called Boston Tech and located, like his family’s fashionable brownstone residence, in the Back Bay. Charlie would later recall that he resisted such a utilitarian path. “I wanted only to create beauty, and, through my verse and my garden, I think I’ve done that.”

In the twilight of the Brahmin era, estates and inherited wealth were divided and subdivided; young men had to pursue careers and establish themselves, socially and financially. And so Charlie’s decision to become a traveling bachelor-poet created tension at home, especially with his father, Charles Gibson, Sr. Although mitigated by a close and loving relationship with his mother, Rosamond Warren Gibson, this tension would come to define his life in significant ways. A similar pattern of intra-familial conflict would play out with other gay men of Charlie’s generation, and beyond, in legal struggles over inheritance and, in some cases, disinheritance.

Manuscript copy of the first chapter of Two Gentlemen in Touraine.
Collection of the Gibson House Museum

Part 1: The Wounded Eros

This post is the first of a three-part series on the life and writings of Charles Hammond Gibson, Jr., founder of the Gibson House Museum. Stay tuned for parts two and three in the coming months.

Gibson in his rose gardens
at Forty Steps, c. 1910.

How does one measure a life dedicated to poetry, a writing life?   Charles Hammond Gibson, Jr. dedicated his entire adult life to the art of poetry, as poet, critic, editor, and literary personality.  He published his first poem in the Boston Transcript in 1894, and, toward the end of his career, he quipped to a curious listener at one of his many public readings, “My dear lady, I have been writing poems for fifty years.  They are like the droppings of pigeons all over the house.” His manuscripts overflowed from portfolios, closets, desk drawers, cabinets, drawing rooms, and even toolsheds! In some ways, Gibson’s poetry was closely connected to the domestic spaces he crafted, curated, and inhabited--his “Victorian Museum,” the Gibson House, and the spectacular gardens of his family’s exclusive summer residence, Forty Steps, Nahant. Like many traditional poets of the late nineteenth and early twentieth centuries, Gibson’s work is highly context-dependent.  His poems tend to be formal, referential, commemorative, and backward-looking--vintage before their time--the kind of poetry that was almost completely obscured by the advent of literary modernism.  On the other hand, viewed holistically, there is a compelling sense of quirky humor, passion, historicity, and mystery about Gibson’s writing, a body of work peppered with veiled autobiographical fragments that conceal as much as they reveal.

Tributes to Allied Leaders Part II: Winston Churchill

 

In a previous post (see “Tributes to Allied Leaders, Part I," November 1, 2015) I discussed Charles Gibson Jr.’s poetic tribute to President Franklin D. Roosevelt following Roosevelt’s passing, which Charlie sent to President Truman, Roosevelt’s successor. In this post, I will discuss Charlie’s ode to Prime Minister Winston Churchill.

Writing to the editor of the New York Times in late 1944, Charlie requested that his “To Winston Churchill” be published in both the Times of London and New York. The simultaneous publication, he wrote, could “make a complete international gesture.” As Charlie would later write to MIT Chairman Karl T. Compton, “one of my efforts has been Anglo-American, as well as world[,] fellowship.” Charlie certainly held a lifelong interest in international diplomacy and goodwill (in fact, it wouldn’t surprise me if he were a supporter of the United Nations when it was created after the Second World War). However, nothing came of Charlie’s plans for an “international gesture.” The Times rejected his poem for publication.

But 1949 presented a new opportunity for Charlie’s poem to be read and appreciated, and MIT Chairman Compton would prove vital in this respect. That year MIT held a convocation for members of the scientific community “to appraise the state of the post-war world, [and] to consider the progress of scientific enterprise.” The event’s keynote speaker was Winston Churchill.

Tributes to Allied Leaders Part I: Franklin D. Roosevelt

 

 

Visitors to the Gibson House will be familiar with the framed letters displayed in the dressing room on the third floor. When giving tours of the house, I always point out my two favorites. One is from Prime Minister Winston Churchill, and the other is from President Harry Truman. Both are short but serve to thank Charles Gibson, Jr. for poems he sent to them. Charlie wrote an ode to honor the English prime minister, which was read to him at a science convocation hosted by MIT. And after the passing of President Franklin Roosevelt, Charlie wrote a poem in his memory and sent it to Truman, Roosevelt’s successor.

Whenever I directed tour groups into the dressing room to show them the letters, I always wondered whether there were any existing copies of those poems and whether there were any way to find out why Charlie cared so much about having them read by these men. After all, couldn’t he simply have submitted the poems for publication in some newspaper? Fortunately, I was able to locate copies of these poems and related documents—including Charlie’s response to Churchill’s thank you note and the letter he sent to Truman with the FDR poem—in the museum archives.

In a two-part post, I want to share these poems and provide background information regarding their creation and why Charlie wanted to have them read by Churchill and Truman. This week I am focusing on Charlie’s poem on President Roosevelt, and in our next post, the one on Winston Churchill.

Charles Gibson Remembers Mark Twain

Travelling with members of the Boston Authors Club, including club president and “Battle Hymn of the Republic” author Julia Ward Howe, Charlie Gibson, Jr. attended the dedication ceremony of the Thomas Bailey Aldrich Memorial Museum (author Aldrich’s childhood home) in 1908. Held in Portsmouth, New Hampshire, the event featured many distinguished speakers, including Mark Twain, who had been Aldrich’s close friend.

Nearly forty years later, Charlie wrote a short article on Twain’s tribute to Aldrich that day, which was published in late 1945 in the Mark Twain Quarterly, the official publication of the International Mark Twain Society. Entitled, “My Last Impression of Mark Twain,” Charlie wrote that Twain would “always remain the picture indelibly imprinted upon my mind, as he appeared on the stage” at the Aldrich Memorial. For Charlie, Mark Twain’s performance stood out as an example of the author’s great genius and extraordinary abilities.