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While each sister has her fair share of time in the spotlight, Jo functions as the narrative’s main protagonist. She is the second daughter in the March family, and when Alcott first introduces her at age fifteen, she is a bold, outspoken girl who has a particular disdain for the conventions of femininity. She longs to have an impact on the world, lamenting early on that she must stay home “like a poky old woman” while her father is off supporting the war effort. To Jo, the idea of spending every day stuck in the domestic sphere seems incredibly boring. Although numerous women in her life attempt to guide her toward a more traditional way of life, Jo shares a deeply intellectual sensibility with her father that has an undeniable impact on her adolescence. She channels her spirited energy into performing plays and writing stories, and both of these artistic outlets allow her to feel empowered. Each tale gives her the opportunity to become someone other than herself in a world of limitless possibilities which, for an ambitious girl of limited means, is an extremely valuable thing. Choosing to go by the nickname Jo rather than her full name, Josephine, and cutting her hair short are other ways in which she seeks to expand her identity beyond the limitations of 19th-century society. These attempts to assert her independence and find her own voice emphasize the connection between Jo and Alcott herself, especially as many details from the first half of the novel are inspired by her own childhood.
As Jo grows up, her relationships with friends and family play a significant role in shaping who she becomes. Two of the most notable connections that define her youth are those with Beth and Laurie, and each one pushes her to grapple with different aspects of her character that she frequently aims to suppress. Jo has a much deeper connection with Beth than she does with her other two sisters, and while Beth always seeks to bring out the gentle side of her fiery companion, her illness inspires an unprecedented tenderness. Despite her dislike of traditional women’s roles, Jo embraces her duties as Beth’s caretaker and devotes every ounce of her energy to easing her pain. This experience, as well as Beth’s death, teaches Jo the importance of domestic responsibilities and the strength of a family’s love. Her resolve to keep her sister’s memory alive also helps her connect with a softer side of herself. At the same time, the development of Jo’s relationship with Laurie causes her to shy away from ideas of romance and life as a married woman. Meg’s marriage to Mr. Brooke already makes Jo inclined to become a spinster, but Laurie’s declaration of love after a years-long friendship of fun and mischief reinforces her apprehension. Ignoring social expectations, she refuses to marry him because she knows that she will never love him in the same way that he loves her.
Despite pleas from readers after the publication of Part 1, Alcott ultimately chose for Jo to marry Professor Bhaer rather than her childhood friend. This ending, made possible by her journey to New York to work as a governess, brings Jo closer to traditional representations of femininity, but it does not entirely erase her enthusiastic spirit. The fact that Jo settles down and gives up her dream of making a living from writing stories suggests that the independent lifestyle she once pursued is less desirable and more difficult to achieve for a 19th-century woman. The idea of separate spheres, which delegates women to domesticity and men to public life, ultimately prevails. Alcott refuses to fully give into these expectations, however, by allowing Jo to use her inheritance from Aunt March to open a school for boys. This role maintains her now-developed feminine image while also giving her the opportunity to work for a living alongside her husband.
