BLOG #48, SERIES #5
DR. JOE’S BOOK OF THE MONTH CLUB #36
KATE DOUGLAS WIGGIN’S THE BIRDS’ CHRISTMAS CAROL
November 26, 2014
Each of you—even those I’ve never had the privilege of hearing from—who honor me by being a member of Dr. Joe’s Book of the Month Club, will no doubt remember that every Christmas I’ve turned back the pages of time to a Christmas book that has warmed my heart down through the years. For our first Christmas (Nov. 23, 2011), we shared two books: Dickens’ Christmas Carol and Abbie Farwell Brown’s The Christmas Angel –Dickens with his inimitable male Scrooge and Brown with her equally memorable female Scrooge.
A year later (Nov. 28, 2012), we shared Lloyd C. Douglas’s moving Home for Christmas. Then last year (Dec. 4, 2013), we journeyed through the ancient East with Henry Van Dyke’s unforgettable Artaban (The Other Wise Man).
Now, for our fourth Christmas together, I am finally caving in to all the importuning readers over the last 23 years who have repeatedly urged me to include Kate Douglas Wiggin’s beloved little book, The Birds’ Christmas Carol (Boston: Houghton Mifflin Company, 1888) in the Christmas in My Heart® series. I never have, because it is too long, but I can make it our 2014 Christmas book of the year.
St. Luke, of course, told us the greatest Christmas story of all. However, it was left to Charles Dickens, in 1843, to gift the world with the first fictional Christmas book: A Christmas Carol.
Twenty-five years later, Louisa May Alcott brought the four Alcott sisters to life at Christmas time, in Little Women (1868-9). Beth has to be one of the most sentimental and most beloved heroines in all family literature. Just as was true in real life, Beth dies way too young. In my American Literature class discussions, even the macho males who initially groused about having to read “a girls’ book”, after reading it admitted to their classmates that they too had wept over Beth.
Twenty years later (1888) Kate Douglas Wiggin built upon Dickens’ Christmas Carol and Alcott’s depiction of Beth to gift her audience with a Beth-like character of her own—Carol Bird.
The author, Kate Douglas Wiggin (1856-1923) was born in Philadelphia, then the family moved to Hollis, MN. She was homeschooled, then studied at various seminaries and academies. When 17, she joined her family in California; after teaching in Santa Barbara, she moved to San Francisco where she established the first free kindergarten on the West Coast. Her first husband, Samuel B. Wiggin, died young; she later married George C. Riggs. She died in England.
Among her books are The Story of Patsy (1883), The Birds’ Christmas Carol (1888), Timothy’s Quest (1890), The Story Hour (with Nora A. Smith, 1890), Polly Oliver’s Problem (1893), A Cathedral Courtship (1893), Penelope’s Progress (1898), The Story of Waitstill Baxter (1913), Ladies in Waiting (1918), her autobiography, My Garden of Memories (1923), and a number of others. But her reputation rests on two books: The Birds’ Christmas Carol and Rebecca of Sunnybrook Farm. Both were bestsellers, but Rebecca swept the nation, no small thanks to two movies: the first (1917) was a silent film with an organ score – Francis Marion wrote a splendid screenplay for it, and kept it faithful to the book. The film was directed by Marshal Neilan and starred Mary Pickford, Eugene O’Brien, Josephine Crowell, Helen Jerome Eddy, Charles Ogle, Marjorie Daw, ZaSu Pitts, and Mayme Kelso. According to Derek Elley, “Mary Pickford plays as she never played before, varying lights and shades to elicit the major interest, tearful at one moment and laughing the next. Her support is flawless, embodying many artists of repute.” The second film (1938) all but abandons the original novel in favor of a bouncy musical. It was directed by Allen Dwan, produced by Raymond Griffith, photoplay by Arthur Miller. It had a star-studded cast: Shirley Temple, Randolph Scott, Jack Haley, Gloria Stuart, Helen Westly, Bill Robinson, Phyllis Brooks, Slim Summerville, and William Demarest. As would be expected, Shirley Temple steals the show. The plot: a talented stage child who wins a broadcasting moppet contest.
The Birds’ Christmas Carol was never filmed; nevertheless it benefitted mightily from the two Rebecca of Sunnybrook Farms films’ publicity and hype.
You may well ask. Why all the sentimentality in The Birds’ Christmas Carol? Why all the fuss about a girl dying young?
Here’s why: Up until the early 20th century, half of all children died during their childhood or teen years. Since medicine was still in its infancy, sanitation wasn’t even thought of, antibiotics didn’t exist, nostrums were taken seriously, doctors were poorly trained, and hospitals were little used—people tended to be born at home, and die at home. As a result, parents were terrified by any childhood ailment, no matter how minor it might seem. Reason being: there were back then no reliable cures for anything. Most any infliction could end your life. And most women died from childbirth complications because neither doctors nor midwives washed their hands between patients.
Case in point: How well I remember my paternal grandfather, Rollo Wheeler, who though he and Grandma Ruby had eleven children, two of them—little Eva and little Arthur—died young and in his arms at home. So just mention either to him, and he’d weep.
Plus, the 1880s was a most sentimental decade. The traditional family was strong, God and country were celebrated, Father earned the living, and Mother was the almost deified madonna of the home. Children were protected from adult realities and taboos (unlike today). So since death was such an unfathomable mystery, the gradual departure of a young life was both celebrated and sentimentalized.
Offsetting the trauma of Carol’s long decline, Wiggin wisely offset it by the rollicking comic relief represented by the large Ruggles family next door.
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So, with all this as a preamble, search out an early text. But try to get the Houghton Mifflin original text with original illustrations by H.R.H. But the so-called “Popular Edition” (1929), with color and b/w illustrations by Helen Mason Grose is equally attractive. If at all possible, don’t settle for anything but top condition in this heirloom book. When you read it, block out 21st century realities from your mind and pretend you are a turn-of-the-century reader.
Will be most interested in your reactions.