For as long as there have been beloved maternal figures in literature, there has been Marmee, the matriarch of the March women of LITTLE WOMEN. In MARMEE, Sarah Miller, the author of CAROLINE, retells the story of Meg, Jo, Beth and Amy from the perspective of their mother --- a multifaceted, layered woman brought fully to life in this powerful, poignant work of historical fiction.

On Christmas Eve, 1861, the Civil War is raging in America’s South, but in Concord, Massachusetts, Margaret “Marmee” March is taking care of the people left behind. Her husband, Amos, has enlisted as a chaplain to provide the soldiers on the frontline with the comfort of religion. Although Marmee admires and supports his decision, she has her own frontliners to consider: her four daughters and the community suffering around them. With Amos gone and the money he sends each month dwindling, a terrified Marmee is skeptical about her ability to maintain her household, keep her girls safe, happy and educated, and continue her usual acts of charity that so fulfill her.

In MARMEE, she records her activities, thoughts, fears and musings in her diary, starting on Christmas morning. Readers familiar with the famous opening scene of LITTLE WOMEN --- Marmee asking her daughters to give their breakfast to the Hummels, a family in need, as a Christmas present before being surprised by the generosity of their neighbors, the Laurences --- immediately will be taken back to this childhood classic. But from there, Miller reimagines and retells the story in a way that only she could. The notes and major scenes are the same, but with the perspective widened by Marmee's point of view, the world of the March girls and the tumultuous time in American history is broadened, deepened and enriched.

"MARMEE is not a simple retelling or a disrespectful reimagining, but rather a perfect complement to the original that will appeal to both lifelong fans of LITTLE WOMEN and those who have never read the March sisters’ story."

As the war rages on, Marmee grapples not only with financial woes, already made clear in LITTLE WOMEN, but with her ability to take care of her daughters. She would like to spoil them, of course, but she also wants to be proud of them, to raise them with the same generosity and citizenship she values in herself. At the same time, she often fixates on the injustices of the world: the men who walk freely and are handed so many opportunities, while women work twice as hard, the rich who continue to live as if men aren’t dying every day on the battlefield, and the burdens placed on a wife and mother when she is already cracking under the pressure.

From that first Christmas morning to letters from Amos, Jo and Laurie’s budding romance, and even Beth’s tragic death, every element of the plot mirrors that of LITTLE WOMEN --- but with an astounding depth, and even some reclaimings and reimaginings of the lives of supporting characters, like the Hummels and Hannah, who are given their own backstories and arcs in ways that make MARMEE feel truly original. Larger events, like Amy’s burning of Jo’s manuscript, are seen through a different light in a way that stops short of rewriting LITTLE WOMEN, while still providing a nice redemption arc for these often disparaged characters.

Marmee’s observations of society are astute and poignant (and, of course, painfully timely, particularly as she ruminates on the rights of women and African Americans), but so too are her grievances and missteps. She fills her days with charity work just as she did in LITTLE WOMEN, but her mind burns with Meg’s cleverness, Jo’s temper, Beth’s warmth and Amy’s ability to find the beauty in everything. Though Miller does not merely pin the traits of these characters to their mother, the resemblances are clear and satisfying, as is the unveiling of her innermost thoughts and regrets --- most notably the biggest financial mistake of her life, one that she feels cost her daughters the lives and education they deserve. As open and wise as Marmee is, she too struggles with holding on to guilt, petty arguments and “what-ifs.”

If there is one trait of Marmee that has withstood history and numerous retellings, it has been her generosity and big heart. But in MARMEE, Miller expands upon her generous acts to delve into the darker feelings behind them: powerlessness to help everyone she meets; rage at the inequities of the world around her, especially as it pertains to women; and even a surprising temper (surprising in its depth, though fans of LITTLE WOMEN may recall Marmee’s confession to Jo: “I am angry nearly every day of my life.”). She is as committed to social justice and advocacy as she was in the original, but what makes this novel fascinating is the insight it provides into the ways that she believes she has fallen short, or the times she misspeaks and ignores her own privileges.

MARMEE is not a simple retelling or a disrespectful reimagining, but rather a perfect complement to the original that will appeal to both lifelong fans of LITTLE WOMEN and those who have never read the March sisters’ story. Miller’s history is fully fleshed out, her world meticulously researched, and her characters magnificently multifaceted and complex. The result can feel occasionally drawn out or overwritten (not surprising given the book’s length), but Miller’s choice to write in diary entries keeps the pace brisk and makes Marmee incredibly accessible.

This stunning portrait of one of the most memorable yet overlooked characters in literary history will appeal to readers of HESTER, MR. DICKENS AND HIS CAROL and MARLEY. With the holiday season upon us, this invitation to revisit LITTLE WOMEN and its messages of charity, compassion and community is the perfect read for classics lovers, historical fiction fans and everyone in between.