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A review by libraryvee
Behind a Mask -Or- A Woman's Power by Louisa May Alcott, A.M. Barnard
4.0
So damn enjoyable! Louisa May Alcott started her writing career by contributing sensationalist stories published in newspaper columns under the pen name "A M Barnard." She said afterwards that her “blood and thunder tales,” as she called them, held a special place in her heart.
Behind A Mask is one of these tales, and what a fun romp it is. We meet the wealthy Coventry family; a mother, two sons, a daughter and a cousin. They are all apprehensive as they await the arrival of a new governess. When Jean Muir arrives at the manor, she quickly wins over most of the family. Only Gerald, the eldest son, and Louisa, the beautiful cousin, remain unconvinced. Early on, we learn that Jean is not all she appears, but exactly what she’s up to, and the secrets that follow her and are threaded throughout, kept me guessing. Alcott plays with societal expectations of women and romantic tropes so wonderfully that I honestly couldn’t predict how it would end, and kept changing my mind right up until the last chapter.
Alcott’s style is charming and playful; she writes as if imparting an entertaining story to a close friend, with cheeky humour and endearing familiarity with the characters. The dialogue feels natural; the conversations are revealing. There’s a bit of a melodramatic flourish at work in her tone, and it fits well with the story’s (and Jean’s) goals. Even if you called if from the beginning, you’ll still be pleasantly surprised to discover how Alcott uses an amusing, Gothic drama as a way of challenging feminine roles and commenting on 19th century women’s labour.
Behind A Mask is one of these tales, and what a fun romp it is. We meet the wealthy Coventry family; a mother, two sons, a daughter and a cousin. They are all apprehensive as they await the arrival of a new governess. When Jean Muir arrives at the manor, she quickly wins over most of the family. Only Gerald, the eldest son, and Louisa, the beautiful cousin, remain unconvinced. Early on, we learn that Jean is not all she appears, but exactly what she’s up to, and the secrets that follow her and are threaded throughout, kept me guessing. Alcott plays with societal expectations of women and romantic tropes so wonderfully that I honestly couldn’t predict how it would end, and kept changing my mind right up until the last chapter.
Alcott’s style is charming and playful; she writes as if imparting an entertaining story to a close friend, with cheeky humour and endearing familiarity with the characters. The dialogue feels natural; the conversations are revealing. There’s a bit of a melodramatic flourish at work in her tone, and it fits well with the story’s (and Jean’s) goals. Even if you called if from the beginning, you’ll still be pleasantly surprised to discover how Alcott uses an amusing, Gothic drama as a way of challenging feminine roles and commenting on 19th century women’s labour.