Her And Her ... And Her
T Singapore: The New York Times Style Magazine|April 2020
As women are increasingly (and finally) being heard, stories of female troikas — from Louisa May Alcott’s “Little Women” to Anton Chekhov’s “Three Sisters” to “The First Wives Club” — have taken on unexpected resonance, speaking to both the power of the collective and to finding one’s own voice among the clamour of the crowd.
Megan O'Grady
Her And Her ... And Her

As a girl of 6 or 8 or 10, I spent the long Midwestern summers and longer winters reading the sort of books one typically gave to American girls in the mid-1980s, many of which featured trios of female characters: the frontier Ingalls sisters of “Little House on the Prairie” (1935); Nancy Drew and her two sidekicks; the triumvirate of friends in turn-of-the-20th-century Minnesota in Maud Hart Lovelace’s Betsy-Tacy books of the 1940s and ’50s. In time, I would acquaint myself with the Civil War-era sisters growing up in genteel poverty in Louisa May Alcott’s 1868-69 “Little Women” (after Beth dies, there are three); and after that, the many geometries of women, sisters and friends, as well as meddling aunts and ineffectual mothers, in the 19th-century novels of Jane Austen. In my marked-up Keds, I’d let myself into an empty suburban house after school with my own key, settling down to a package of peanut-butter crackers and a book that seemed to offer three choices of who to be — books so immersive I forgot about watching Mary, Laura and Carrie on television reruns, or those other sisters who immediately followed on channel 13, Marcia, Jan and Cindy.

This story is from the April 2020 edition of T Singapore: The New York Times Style Magazine.

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This story is from the April 2020 edition of T Singapore: The New York Times Style Magazine.

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