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The Sales of Louisa May Alcott's Books The sales of Louisa May Alcott's books The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Myerson, Joel, and Daniel Shealy. 1990. The sales of Louisa May Alcott's books. Harvard Library Bulletin 1 (1), Spring 1990: 47-86. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42660106 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 47 The Sales of Louisa May Alcott's Books Joel Myerson and Daniel Shealy ouisa May Alcott and Roberts Brothers of Boston had one of the most mutually Lprofitable author-publisher relationships in nineteenth-century American literature. Alcott's books helped to establish the firm, which in turn, provided her • with literary advice and enough monies in royalties for what Louisa called "the pathetic family" finally to establish a secure and comfortable standard of living. ,. Fortunately, this two-decade-long relationship is well documented in the correspon- dence of Alcott and Thomas Niles of Roberts Brothers, and in the Roberts Brothers costbooks. 1 Using these documents and others, we will trace Alcott's career with Roberts Brothers and then provide detailed information on the firm's sales of her books. 2 In the summer of 1863, Louisa May Alcott prepared to publish her "Hospital Sketches" in book form. The sketches, having been developed from her letters to her family while Alcott was a nurse at the Union Hotel Hospital in Georgetown, D.C., had already attracted considerable attention when published in the Boston Commo11111calththat spring. James Redpath, the noted abolitionist, had even con- tacted Alcott about publishing the letters as a book. In her June 1863 journal, she noted that Roberts Brothers, a small Boston publishing firm, had "also asked, but I preferred Redpath [-1 said yes, so he fell to work with all his might.'' 3 Alcott had chosen Redpath because she knew him to be an abolitionist; however, in 1877, after JOEL MYERSON 1s Professor of rereading this journal entry, she entered into the margin a revealing remark: "Short- English at the University of sighted, Louisa! little did you dream that this same Roberts, or rather Bros. (mean- South Carolina, in Columbia, ing T[homas]. N[iles].) were to help you make your fortune a few years later. Redpath South Carolina. had no skill as a publisher & the Sketches never made much money, but showed DANIEL SHEALY is Assistant me 'my style'. & taking the hint I went where glory waited me" (p. 124n). What Professor of English at the Alcott had developed with Hospital Sketches (1863) was a style that combined fast- University of North Carolina, paced narrative with autobiographical events-a style that gave her works the touch in Charlotte, North Carolina. 1 The Roberts Brothers· costbooks art' us,-d with the 1wr- publications of Alcott's works by ocher Am,-r1cm firms; n1ission of Little. Brown and Company and the Hough- primarily n:printing~ of L'ariicr title~ designed to c.1.sh in ton L1hrJrv orH.1rv,nd U11ivc·rsin·, \Vhrre thcv Jre now on hL'r sudd1,,.'nt~1nw 3ftcr l.itrll' Hlm1n1 appeared, chc mosr 0 n dcposi(. W,· arc ~rateful to lu;lith M. Kcnncdv ,111d not..i.ble \VJt, the rcprinnng of .,fonilng-G/c1rif_,, 1H1d Other l:lrrnda Tavlor of little, Brown f~r their assist;mcc in.mak- Sr,>rii·, by G. W. Carleton of New York in 1871. There • ing these ~nd other Rob,·rts Brothers and l ittk Brown arc no records fi.)r the- numc.:rous Uriush piracies of Alcott's records .J\'Jtlahlt: tom. We also thmk P:itrick G Scott rnd books, beginning with Lillie 11;,111t·11,and rnntinuint; MadL·leinc B. Stern for thl·ir co1nmc11ts nn Jn eJrlii..·r \'(.'r- through her death 111 18HH. Alcott does list her earnings sion of thh, article_ from the authoriz,·d editions oi her works by the Tauch- 2 Few records arc available for Alcott's books published nitz tirm. but they .ire few and arc outside the scope of between 1855 and 186H by (;eor,;c W. Uri~~s.James Red- our prcs(~nt study. path. Aaron K. Lorin~. Horan· H Fuller. Tl1011ws and Tal- ' Tht.f,)wflal., lf /.( 111/_,,1_,/d)' .-\fcl,11,l'd __llH.:I Myers,in .::i.nd bot. or Elliutt. Thon;e,. and T.1lhot (for a ]1st c,ftl1t·sc·.sec D,micl Shelly: assoc ed., Madeleine IJ Stern (!Joston: Lit- ,. Jacob Ubnck, DiM1<1~r,1p/1y,f A111erirn11 Lila,,tuff. 7 vols_ tle. Urown. 1989). P- 119. Subsequent references to this to date [New Hawn: Y.1k UniYcrsitv Press, 1955- ). edition will be cited 111 the text. l:27-30) Similarly. few records exist ti.;r the unauth,,rized I), ,,. 48 HARVARD LIBRARY BULLETIN Portrait of Louisa May A/coll, published C'S a frontispiece to her Life, Letters, and Journals (1890). • • of universality. But glory awaited her just five years later, in 1868, when she pub- lished her first book with Roberts Brothers-Little Women. Her publishing career, and her life, would never be the same again. Alcott would publish eleven novels and fourteen volumes of short stories under the Roberts Brothers' imprint, and her professional relationship with Thomas Niles, editor and later partner in the firm, would endure for twenty years, until Alcott's death in 1888. During that period, Niles's ideas and suggestions for her literary works helped make Alcott into one of the nineteenth century's best-selling authors. Roberts Brothers had begun as a bookbinding company in 1849 but failed in 1859 and was sold. However, the principal founder, Lewis Augustine Roberts, estab- lished a second firm in 1861, this time specializing in photograph albums, which •,- Louisa May Alcott's Sales 49 were then becoming popular in England and America. The company's name changed from "Bookbinders and Photograph Album Manufacturers" to "Publishers and Booksellers and Manufacturers of Photograph Albums" in 1864. During the last half of the nineteenth century, until Little, Brown and Company bought the firm in 1898, Roberts Brothers published high-quality books of many famous Ameri- can authors, including Helen Hunt Jackson, Edward Everett Hale, and Emily Dick- inson. They were also the authorized publishers of such British authors as Christina and Dante Gabriel Rossetti, Oscar Wilde, and Robert Louis Stevenson. But their real success began when Thomas Niles added Louisa May Alcott to that reputable list of writers. Thomas Niles, a Boston native, joined the company in 1863. Niles's prior experience was noteworthy, for he had worked in the Old Corner Book Store, begin- ning in 1839, under the supervision of William D. Ticknor. Working with Niles was the young clerk James T. Fields, later editor of the Atlantic li1onthly A1agazi11e. The Old Corner Book Store brought Niles into contact with some of the most important American authors of the day: Nathaniel Hawthorne, Ralph Waldo Emerson, Henry Wadsworth Longfellow, James Russell Lowell, and Oliver Wendell Holmes. However, when James R. Osgood joined the publishing company in 1855, Niles's chances for becoming a partner faded, and he resigned. For the next three years, Niles was a member of the Boston publishing company of Whittemore, Niles, and Hall. Most of their publications were reprintings of British and European works, and the small firm could not compete with the more powerful publishing houses in Boston. They dissolved in 1858. Five years later, Niles took his experience to Roberts Brothers; he would became a partner in 1872. He remained the driving force in that respected company until his death in Italy in 1894. 4 In September 1867, Louisa May Alcott made the now famous entry in her jour- nal: "Niles, partner of Roberts, asked me to write a girls book. Said I'd try" (p. 158). Despite her taste of success with Hospital Sketches, she was as yet unpre- pared for the fame and fortune Roberts Brothers of Boston was about to bring her. Her father, Bronson Alcott, writing on 19 February 1868, told her that he had talked to Niles about " 'the story for girls' " which Roberts Brothers had asked her to write. He found they "expect it" and wanted it completed "by September at lon- gest," and desired the book to be "200 pages or more." He added: "Mr. Niles, the literary partner, spoke in terms of admiration of your literary ability, thinking most highly of your rising fame and prospects." 3 In May she confided in her journal that she was working on the book for Niles but that she did not "enjoy this sort of thing," since she had never "liked girls or knew many, except my sisters; but our queer plays and experiences may prove interesting, though I doubt it." Later, when the book had made her famous and wealthy, she inserted the following comment about her prediction: "Good joke" (pp. 165-66). In June 1868 she sent twelve chapters to Niles, who, she said, "thought it dull," although his letter to her on 16 June indicated otherwise: "I have read the 12 chapters & am pleased-I ought to be more emphatic & say delighted, so please to consider judgement' as favorable." She persevered, believing "lively, simple books are very much needed for girls, and perhaps I can supply the need" (p. 166). If Niles had a book of 300 pages, he could, "if closely printed" publish a volume "to sell • Riymond L.
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