she never had children or married, despite her interest in children’s literature.
Woolsey published What Katy Did in 1872, at the age of 37, and established herself on the literary stage. She continued authoring books until her death in 1905, at the age of 70. Parallels can be drawn between What Katy Did, The Secret Garden (1911), by Francis Hodgson Burnett, and Pollyanna (1913), by Eleanor H. Porter. All three books tackle the subject of paraplegic paralysis in one way or another.
In What Katy Did, the eponymous Katy admires the robustness and goodness of her invalid cousin Helen. She then suffers temporary paralysis herself, due to a fall from a swing, and Helen teaches her how to cope with her affliction until she recovers. In The Secret Garden, there is a reversal, in which Mary teaches her sickly cousin Colin to fight his affliction and learn to walk again. In Pollyanna, the eponymous Pollyanna is paralyzed when struck by a motorcar and finds the will to recover thanks to the love returned to her by the townsfolk.
Clearly, Hodgson Burnett and Porter were both influenced by the work of Woolsey and saw potential in reworking the general theme of mind over matter. The message that things will improve by encouraging the body to heal with the application of thought is an interesting one to consider. There is more than a hint of Christian faith underpinning these stories, suggesting that minor miracles can be generated simply by thinking positively with determination and perseverance.
If we consider the era in which these books were written, it becomes apparent why these books were successful. The fields of medicine that dealt with the causes and treatment of paralysis were not yet developed, so the idea of using the mind to overcome such disabilities seemed as good as any. Moreover, those who did show improvement and recovery were deemed to have done so for positive reasons, while those who remained unchanged were thought to have lapsed faith. In short, it was a self-fulfilling belief system, so it was assumed to be true.
There was also the prevailing notion that unabashed children, and girls in particular, were somehow in possession of a magic charm that overrode the jaded cynicism of adults. Of course, all three authors happen to be female themselves, but one would be hard pushed to find a boy in literature imbued with similar charm. This is the veneration of female virtue that prevailed at that time. It is the ‘marianismo’ of the female, as contrasted with the machismo of the male. In What Katy Did, this is especially so, as the implication is that Katy suffers her accident precisely because she is a tomboy. When she eventually recovers, her cousin teaches her how to be more feminine and appreciative in her outlook. Thus, femininity is good for the girl and good for those who are touched by it.
An American Childhood
Of course, What Katy Did is also a tale of American childhood. In this respect, it shares a good deal with Mark Twain’s The Adventures of Tom Sawyer, which was published just four years later, in 1876. Twain – real name Samuel Langhorne Clemens – was born in the same year and had been a journalist during the American Civil War. Both stories are good yarns, in the sense that they have effective characterization and plots that keep the reader amused and entertained. As such, Woolsey and Twain jointly set the precedent for what the modern children’s novel should be. There was certainly a ready market in the post-war climate, in which parents were beginning to forget the horrors of war and their children had either been too young to remember or had been born in the aftermath.
Just as Twain followed up the success of The Adventures of Tom Sawyer with The Adventures of Huckleberry Finn, Woolsey also published sequels to What Katy Did: What Katy Did at School (1873) and What Katy Did Next (1886). In the latter, the reader finds Katy travelling to England, where the author finds humour in her discombobulation and perplexity at English culture and world outlook. Woolsey wrote many other books, including two titles that followed the antics of Katy’s siblings – Clover (1888) and In the High Valley (1890) – but none was ever as popular as the What Katy Did books. In the US, these books had helped to restore the idea of what being American was all about. In Britain, they were a breath of fresh air in a staid Victorian and then Edwardian milieu.
Publication
One of the reasons that Woolsey managed to find a publisher in the first place was her clever approach of the Roberts brothers. They had published Little Women (1868–9) by Louisa May Alcott and had established a niche for realistic girls’ literature. When Woolsey came along, they were more than happy to add her work to their portfolio, realizing that it had the same commercial appeal.
In the character of Katy, Woolsey tapped into the awkwardness and self-consciousness felt by many girls and that resulted in a vast readership that identified with Katy. In turn, the author based Katy on herself, which was why she was able to make her personality so well observed and believable. Key to this was Katy’s height and lankiness, which made her conspicuous when she would rather have passed unnoticed. Generally, children do not like to have traits that distinguish them as different from the norm, as it only serves to amplify their self-awareness and anxiety. This desire to attenuate is what Woolsey understood so well in Katy and it is what brought her to life in the minds of her keen readership.
The Roberts brothers chose Addie Ledyard as the illustrator of What Katy Did. She illustrated many other books at that time and became the illustrator of choice, because of her rounded style. Her attractive line drawings can be found in children’s novels by Woolsey (Coolidge), Louisa May Alcott, Helen Hunt Jackson, Laura Elizabeth Howe Richards and Louise Chandler Moulton. Ledyard was able to lend all of these women a collective identity as a stable of authors who fit into a similar mould. Her images gave the books a familiarity that created a shared readership of young girls who wished to collect the range of different titles. From a historical point of view, Ledyard’s illustrations provide information about the informal dress code of that era, which is useful, as most photographs and paintings have a more formal ‘Sunday best’ feel to them. Ledyard also contributed drawings to St. Nicholas Magazine, which was a very popular children’s magazine first published in 1873.
Six of us once, my darlings, played together
Beneath green boughs, which faded long ago,
Made merry in the golden summer weather,
Pelted each other with new-fallen snow.
Did the sun always shine? I can’t remember
A single cloud that dimmed the happy blue,
A single lightning-bolt or peal of thunder,
To daunt our bright, unfearing lives: can you?
We quarrelled often, but made peace as quickly,
Shed many tears, but laughed the while they fell,
Had our small woes, our childish bumps and bruises,
But Mother always “kissed and made them well.”
Is it long since?—it seems a moment only:
Yet here we are in bonnets and tall-coats,
Grave men of business, members of committees,
Our play-time ended: even Baby votes!
