The Definition and Scope of World Literature: The Case of Little Women

♦ Josephine Nichols ♦

If works of world literature are confined only to their culture and language of origin, how can they ever reach an international audience? In that case, how can they possibly constitute “world literature”? It is clear that the term “world literature” encapsulates any work of literature whose impact is both long-lasting and influential in that it has reached beyond its originating culture, regardless of the presence of translation or the country of origin. A book that perfectly exemplifies the worldly impact of international literature is Little Women by Louisa May Alcott.

Literary historian David Damrosch defines world literature as “all literary works that circulate beyond their culture of origin, either in translation or in their original language” . Damrosch’s definition has heavily influenced my own. Given the complex nature of the genre, it is clear that the definition must remain general and flexible. However, my proposed definition builds upon Damrosch’s groundwork by also emphasizing the importance of impact. For a work to be considered world literature, it must have influence—its message must transcend cultural differences. 

Take, for example, classic works of Russian literature. Even generations after publication and through the process of translation, the works of Tolstoy and Dostoyevsky continue to illustrate universal themes that resonate with the broader human experience. Tolstoy's War and Peace and Anna Karenina pose issues of love, morality, and inner conflict—concerns which run deep in human nature and are not unique to Russian society. In the same vein, Dostoyevsky's Crime and Punishment investigates guilt, redemption, and the psychological consequences of crime—issues which readers of all societies resonate with. These books have been consumed by every corner of the world, demonstrating literature has no geography or language. Their global concern makes them something that anyone reading can relate to on a deeply personal level regardless of background.

This general impact can also lead us to see American literature. The 1868 novel Little Women by Louisa May Alcott, for example, tells the story of four sisters—Meg, Jo, Beth, and Amy—each with distinct personalities and ambitions. The novel follows the girls through their teenage years and into young adulthood, capturing their personal growth as they navigate the relatable conflicts of maturing out of adolescence. It tracks their reactions as their environment evolves and their interpersonal dynamics shift. More than a century after its publication in the United States, the book continues to resonate with generations of readers across the world.

The novel was exceptionally well received on an international scale upon its initial release and in the years that followed. As The New Yorker notes, “Its hundred-and-more editions, its translation into fifty-odd languages (reportedly, it is still the second most popular book among Japanese girls), its sequels, its spinoffs—the Hallmark cards, the Madame Alexander dolls—and, above all, its fabulous sales” (Acocella, 2018). The novel’s monetary success speaks for itself, but the cultural impact that accompanies it is equally significant—particularly its influence on Japanese girls and women. Jan Turniquist, Executive Director of Louisa May Alcott’s Orchard House (where Little Women was both written and set), explains: “In 1987, [she] was working as a guide at Orchard House in her hometown of Concord when then-Crown Prince Akihito and Crown Princess Michiko of Japan visited the historic home… According to Turnquist, the 1868 novel is so beloved in Japan that the royal couple’s visit was chronicled by a Japanese television station so the nation could view the place in which Alcott wrote and set the story” (Cantrell, 2013).

Moreover, the existence of the 1987, 48-episode anime adaptation Tales of Little Women and its success in Japan serve as further testament to the country’s deep appreciation of the novel. Alcott’s international influence is undeniable. The novel's concepts of family, individual ambition, and women's independence are applicable everywhere, and thus a paradigm novel of world literature. The novel's ongoing popularity can additionally be witnessed in its many film adaptations. In 2019, Greta Gerwig's film adaptation of Little Women gained critical and commercial success globally, only further cementing the novel's lasting influence.

Other schools of thought may argue that American literature should not be included in the catalogue of “world literature,” believing that the term should encompass only foreign works. However, this perspective is profoundly American-centric. From the viewpoint of someone whose lived experience is primarily American, the phrase “world literature” may primarily evoke images of European, African, or Asian literature. But this line of thinking is inherently flawed. Consider the perspectives of those living in these so-called “foreign” nations. For example, the thousands of Japanese women who so passionately adore the work of Louisa May Alcott—Little Women is undoubtedly foreign literature to them, as it originated from a culture that is not their own. If that is the case, why should American literature not be considered world literature?

The definition of world literature is inherently international in scope. In this context, it is imperative to consider a definition through the lens of diverse global audiences. There is no use in attempting to specify a rigid definition for a concept that is intrinsically broad.

Furthermore, the normalcy of translation is paramount in allowing cross-cultural understanding and the sharing of literary works. Without translation, works such as The Diary of Anne Frank, Les Misérables, or Don Quixote would be inaccessible to millions of readers. Translation is needed to bridge the gap between differing cultures. Transcending the language barrier allows for groundbreaking works of literature to be recognized and understood by all.

As an amalgamation of David Damrosch’s definition and my own, world literature requires three things: cross-cultural relatability, international outreach, and long-standing impact. If a work of literature meets these criteria, regardless of country or language of origin, it is a clear illustration of world literature.  Louisa May Alcott’s Little Women is a prime example: it presents a strong central theme of growth and sisterhood, has sold millions of copies and inspired adaptations across the globe, and remains relevant even 150 some years after its publication.

The genre of world literature is crucial to cross-cultural understanding. Whether consumed in its original language or through translation, the study of world literature fosters a shared intercultural recognition. This alone is why the definition of world literature must remain expansive and inclusive. If the standards of what constitutes world literature are made too stringent, the catalogue of world literature is severely minimized, and different voices and experiences of life have a high probability of being excluded. World literature is an all-encompassing genre; in the interest of diversity and comprehensiveness, its definition cannot be restricted. It is in this openness that literature can achieve its greatest objective: to unite individuals, overcome cultural barriers, and provide insight into the common human experience. For the sake of the genre’s richness and inclusivity, its definition must remain flexible.

Works Cited

Acocella, Joan. “How “Little Women” Got Big.” The New Yorker, 20 August 2018, https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big. Accessed 1 March 2025.

Cantrell, Cindy. “Concord’s Orchard House director brings Alcott to Japan.” Boston.com, 16 February 2013, https://www.boston.com/news/local-news/2013/02/16/concords-orchard-house-director-brings-alcott-to-japan/. Accessed 1 March 2025.

Lenfield, Spencer Lee. “From Harvard Magazine: A World of Literature – David Damrosch’s Literary Global Reach.” CompLit, October 2019, https://complit.fas.harvard.edu/article/from-harvard-magazine-a-world-of-literature-david-damroschs-literary-global-reach/. Accessed 1 March 2025.