Alice in Wonderland

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When Alice tumbles down, down, down a rabbit-hole one hot summer's afternoon in pursuit of a White Rabbit she finds herself in Wonderland. And there begin the fantastical adventures that will see her experiencing extraordinary changes in size, swimming in a pool of her own tears and attending the very maddest of tea parties. For Wonderland is no ordinary place and the characters that populate it are quite unlike anybody young Alice has ever met before. In this imaginary land she encounters the savagely violent ...
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Overview

When Alice tumbles down, down, down a rabbit-hole one hot summer's afternoon in pursuit of a White Rabbit she finds herself in Wonderland. And there begin the fantastical adventures that will see her experiencing extraordinary changes in size, swimming in a pool of her own tears and attending the very maddest of tea parties. For Wonderland is no ordinary place and the characters that populate it are quite unlike anybody young Alice has ever met before. In this imaginary land she encounters the savagely violent Queen, the Lachrymose Mock Turtle, the laconic Cheshire Cat and the hookah-smoking Caterpillar, each as surprising and outlandish as the next. Alice's adventures have made her the stuff of legend, the child heroine par excellence, and ensured that Carroll's book is the best loved and most widely read in children's literature.

Charles Lutwidge Dodgson, celebrated under his pseudonym Lewis Carroll, was born in 1832, the third in a large and talented family of eleven children. His fascination with word games, puzzles and writing was evident from an early age. He was educated at Rugby School and then Christ Church, Oxford, where he was later appointed lecturer in mathematics and subsequently spent the rest of his life. Alongside his academic life he pursued a career both as a writer and an accomplished amateur photographer. His most famous works are Alice's Adventures in Wonderland (1865), its sequel Through the Looking Glass and What Alice Found There (1871) and The Hunting of the Snark (1876). He died, unmarried, in 1898.

The handsome volumes in The Collectors Library present great works of world literature in a handy hardback format. Printed on high-quality paper and bound in real cloth, each complete and unabridged volume has a specially commissioned afterword, brief biography of the author and a further-reading list. This easily accessible series offers readers the perfect opportunity to discover, or rediscover, some of the world's most endearing literary works.

The volumes in The Collector's Library are sumptuously produced, enduring editions to own, to collect and to treasure.

One of the most beloved classics in children's literature, Lewis Carroll's tale follows Alice into the nonsensical world of Wonderland where she attends the tea party of the Mad Hatter and plays croquet in the court of the Queen of Hearts.

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Editorial Reviews

Publishers Weekly
A pensive, titian-haired Alice trips down the rabbit hole in this adaptation that pairs the classic story with gracefully expressive illustrations. Ingpen’s detailed visions of the menagerie of creatures Alice meets lend them anthropomorphic qualities while remaining anatomically precise. The Cheshire cat, who peers out at Alice from a crowd of leaves with a milk-tooth smile, does so with kittenish serenity. The infamous tea-party is a cozy affair with intimate soft-focus portraits in pencil of the sleepy dormouse, hare (who dips his watch into his cup of tea) and the rather bleary Mad Hatter, whose pencil-drawn sidewise glances suggest it’s all dreamy good fun. A lovely and faithful interpretation. Ages 10–up. (Nov.)
Children's Literature - Kathie M. Josephs
Alice is sitting with her sister and grows tired of doing absolutely nothing. While her sister reads, Alice picks some daisies when she sees a white Rabbit dressed in a waistcoat. The rabbit is holding a watch worrying that he is going to be late. Alice follows the rabbit and falls down the rabbit hole. In this new, strange place, Alice experiences many adventures. Unfortunately, these adventures are not happy ones but are more like nightmares. This world is called Wonderland and has very crazy creatures. She meets the Mad Hatter, the Caterpillar, and the Cheshire Cat. When she meets the Queen, she is invited to play a game of croquet, but, when the Queen shows her wicked side, Alice's life greatly changes. How will she be able to find her way back to the home she came from? Are there any creatures that live in Wonderland who can help her, and if so, how will she find them? At the end of the book, the author includes information on the main characters, Lewis Carroll, the retelling author, and the illustrator. There is also a glossary. This is a good book to use when introducing chapter books. Books written in graphic format are favorites of mine. They make it just the thing for students who are reluctant readers and never seem to finish a book on their own. They are also a wonderful way to introduce a variety of genres to young people. Young readers who want to read anything they can get their hands on will enjoy the graphics and fast-paced text. The full-color graphics make an enormous impact on the story. Reviewer: Kathie M. Josephs
Children's Literature - Meredith Kiger
This interesting book of critical essays is part of a series created by Dr. Bloom to accompany his "Great Books" studies. Bloom suggests that a liberal education should include the study of 100 of the greatest books ever written. They are the basis of this series and are listed in the beginning of the book. There is some debate, of course, on what are the 100 greatest books. This edition about Alice's Adventures in Wonderland includes 12 critical essays by well-known authors such as J.B. Priestly, Phyllis Greenacre, and Florence Baker Lennon. The authors attempt to categorize Carroll's famous children's novel in terms of thematic content, particular elements such as fantasy or love and death, and his use of poetry. The essays make for challenging and interesting reading, but as even Dr. Bloom admits, "Carroll's genre evades every definition." Carroll's use of nonsense is an English tradition not easily explained, and continues, thank goodness, as evidenced in many Beatles songs and Monty Python performances. Differing from folk tales in its lack of clear moral lessons, Alice's reading remains an exercise in the kind of childlike fun that leaves one thrilled and a bit apprehensive at the same time. The book includes an afterthought by Dr. Bloom, comparing the "Alice" books to modern children's stories such as the "Harry Potter" books; a chronology of the life of Charles Dodgson (Lewis Carroll); an extensive bibliography; brief vita on the authors of the essays; and an index.
Children's Literature
Originally released in 1865, this book is a timeless classic. This edition, illustrated by Ralph Steadman, which first came out in 1968 but has been out of print for a long time making it somewhat of a rarity, has been carefully restored. Carroll's ironic tale, with the familiar cast of characters (Alice, the White Rabbit, the Dodo, the White Hare, the Cheshire Cat, the Dormouse, the Hatter, the Queen and King, the Mock Turtle, the Gryphon). takes on a bizarre life of its own with Steadman's black and white illustrations. Children who have been accustomed to the Disney version of this classic will be curious, confused yet amazed by what they read and see in this book (perhaps some adults as well). Steadman also created the hand carved wood cuts that make the title and chapter numbers. The illustrator started his career as a children's book illustrator and cartoonist in 1956 and since then has had his distinctive drawings in print internationally. Recommended. 2003, Firefly Books, Ages 8 up.
— Cindy L. Carolan
School Library Journal
Gr 4–8—Matthews, well known for his work in sci-fi and fantasy realms, turns his attention to Carroll's classic. His illustrations, which vary between single- and double-page full-color airbrushed paintings and smaller sepia-toned vignettes, have an imagination-stretching, otherworldly veneer. Rich in purple and green hues, the cartoon artwork portrays an Alice with a somewhat angular face and straight blond hair. The depictions of the other characters are fresh and creative, as each familiar figure is festooned with delightfully exaggerated features, kinetic lines, and jewel-toned costuming. The paintings have a fine-art quality to them, and the grandiose scenes provide much detail and action for readers to explore and enjoy. Card-suit motifs appear in both the handsome book design and within the illustrations themselves. Unfortunately, some of the double-page artwork gets lost in the book's gutter. Matthews admits to suggesting "a wider visual arena for the story, including a space scene and the Palace of Hearts (not mentioned by Carroll)." The consistency of artistic vision and quality of the illustrations make this re-interpretation a success. The small-size type, which may demand more accomplished or patient readers, and the sophisticated visual tone make this volume appropriate for older Alice fans.—Joy Fleishhacker, School Library Journal
North Shore News - Terry Peters
A world where people fall down rabbit holes and confront talking caterpillars is a place where Steadman would feel comfortable. An interesting look at the artist at an earlier stage in his own artistic approach.
White Rabbit Tales [Newsletter of the Lewis Carrol
[Steadman's drawings] are still remarkably fresh and unique.
dingbatmag.com
Don't count on a bookful of sweet, charming etchings of the shrinking golden girl; this is a somewhat less flattering Alice than the one we've come to know and expect. In over 40 pen and ink illustrations, this Wonderland is more tempestuous; of greater, grittier (and funnier) distortion... when dangerous satirists like Steadman exercise their imaginations and lyric, delirious pens in the slivers and shards of a distorted world — look out.
Toronto Star
Ferocious Steadman spin.
Victoria Times-Colonist - Liz Pogue
Sophisticated humor
Denver Post - Clair Martin
Pair[s] a perpetually suspicious Alice with peculiar creatures that well warrant her chariness.
San Diego Union-Tribune - David Elliott
Explosive ink drawings... acidic whimsies splash across pages, bringing dear Alice a newly stimulating cup of tea.
Seattle Times - Mary Ann Gwinn
Carroll's hall-of-mirrors children's tale and Steadman's "Fear and Loathing in Las Vegas" style make for an eerily perfect fit.
Waterbury Republican-American - Betsy Daley
Alice as you've rarely seen her... fun for all ages... full of the wit and wisdom Carroll originally gave us.
Children's Literature - Leona Illig
This chapter book adaptation of Lewis Carroll's classic novel adheres to the original plot fairly closely. Alice, who is bored while sitting on a riverbank with her sister, falls asleep and has a remarkable series of dreams which begin with Alice running after the White Rabbit and falling down a rabbit hole. Once through the hole, she finds that whenever she drinks or eats certain things she either shrinks or grows taller, creating considerable turmoil. Her fantastic adventures include swimming out of her own pool of tears; outgrowing a house she finds herself inside; attending a mad tea party; playing croquet with the Queen of Hearts; and finding herself at the center of a trial of the Knave of Hearts, who is accused of stealing tarts. A great deal of Carroll's original language is preserved, and some drawings by his illustrator, John Tenniel, are included. Because the current adaptation is so short, however, the charm of the original is lost. Carroll's humor, word play, puns, and even characterizations are mostly missing as the story simply summarizes one adventure after another. The focus on plot poses some problems, as many children today may find the story too nonsensical, or, worse yet, boring. Children who are already familiar with the story and who are reading chapter books may enjoy it. Nevertheless, introducing children to the classic Walt Disney movie first and then letting them read (or hear their parents read) Carroll's original book later on is likely to be a more rewarding experience. Children who read this adaptation and then never seek out the original will have been robbed of one of literature's greatest pleasures. Reviewer: Leona Illig
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Product Details

  • ISBN-13: 9780766607729
  • Publisher: Modern Publishing
  • Publication date: 7/30/2004

Meet the Author

Lewis Carroll

Lewis Carroll (1832-1898), the pen name of Oxford mathematician, logician, photographer and author Charles Lutwidge Dodgson, is famous the world over for his fantastic classics Alice in Wonderland, Through the Looking Glass, The Hunting of the Snark, Jabberwocky, and Sylvie and Bruno.

Donald Gray is Professor of English at Indiana University. He is the editor of the Norton Critical Edition of Alice in Wonderland, and of the anthology Victorian Poetry.

Biography

Charles Lutwidge Dodgson, known by his pen name, Lewis Carroll, was a man of diverse interests -- in mathematics, logic, photgraphy, art, theater, religion, medicine, and science. He was happiest in the company of children for whom he created puzzles, clever games, and charming letters.

As all Carroll admirers know, his book Alice's Adventures in Wonderland (1865), became an immediate success and has since been translated into more than eighty languages. The equally popular sequel Through the Looking-Glass and What Alice Found There, was published in 1872.

The Alice books are but one example of his wide ranging authorship. The Hunting of the Snark, a classic nonsense epic (1876) and Euclid and His Modern Rivals, a rare example of humorous work concerning mathematics, still entice and intrigue today's students. Sylvie and Bruno, published toward the end of his life contains startling ideas including an 1889 description of weightlessness.

The humor, sparkling wit and genius of this Victorian Englishman have lasted for more than a century. His books are among the most quoted works in the English language, and his influence (with that of his illustrator, Sir John Tenniel) can be seen everywhere, from the world of advertising to that of atomic physics.

Author biography courtesy of Penguin Group (USA).

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    1. Also Known As:
      Charles Lutwidge Dodgson (real name)
    1. Date of Birth:
      January 27, 1832
    2. Place of Birth:
      Daresbury, Cheshire, England
    1. Date of Death:
      January 14, 1898
    2. Place of Death:
      Guildford, Surrey, England

Read an Excerpt

CHAPTER I

DOWN THE RABBIT-HOLE

ALICE was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do. Once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it - "And what is the use of a book," thought Alice, "without pictures or conversations?"

So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid) whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her.

There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, "Oh dear! oh dear! I shall be too late!" (When she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural.) But when the Rabbit actually took a watch out of its waistcoat pocket, and looked at it and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat pocket or a watch to take out of it, and burning with curiosity, she ran across the field after it, and was just in time to see it pop down a large rabbit-hole under the hedge. In another moment down went Alice after it, never once considering how in the world she was to get out again.

The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down - so suddenly, that Alice had not a moment to think about stopping herself before she found herself falling down what seemed to be a very deep well.

Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her, and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything. Then she looked at the sides of the well, and noticed that they were filled with cupboards and bookshelves: here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labeled "ORANGE MARMALADE," but to her great disappointment it was empty. She did not like to drop the jar for fear of killing somebody underneath, so managed to put it into one of the cupboards as she fell past it.

"Well!" thought Alice to herself, "after such a fall as this, I shall think nothing of tumbling downstairs! How brave they'll all think me at home! Why, I wouldn't say anything about it, even if I fell off the top of the house!" (Which was very likely true.) Down, down, down. Would the fall never come to an end? "I wonder how many miles I've fallen by this time?" she said aloud. "I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think." (For, you see, Alice had learnt several things of this sort in her lessons in the schoolroom, and though this was not a very good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over.) "Yes, that's about the right distance. But then I wonder what Latitude or Longitude I've got to?" (Alice had not the slightest idea what Latitude was, or Longitude either, but she thought they were nice, grand words to say.)

Presently she began again. "I wonder if I shall fall right through the earth! How funny it'll seem to come out among the people that walk with their heads downward! The Antipathies, I think" - (she was rather glad there was no one listening this time, as it didn't sound at all the right word) - "but I shall have to ask them what the name of the country is, you know - please, ma'am, is this New Zealand or Australia?" (and she tried to curtsy as she spoke - fancy curtsying as you're falling through the air! Do you think you could manage it?) "And what an ignorant little girl she'll think me for asking! No, it'll never do to ask: perhaps I shall see it written up somewhere."

Down, down, down. There was nothing else to do, so Alice soon began talking again. "Dinah'll miss me very much to-night, I should think!" (Dinah was the cat.) "I hope they'll remember her saucer of milk at tea-time. - Dinah, my dear, I wish you were down here with me! There are no mice in the air, I'm afraid, but you might catch a bat, and that's very like a mouse, you know. - But do cats eat bats, I wonder?" And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, "Do cats eat bats? Do cats eat bats?" and sometimes, "Do bats eat cats?" for, you see, as she couldn't answer either question, it didn't much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah, and was saying to her very earnestly, "Now, Dinah, tell me the truth: did you ever eat a bat?" when suddenly, thump! thump! down she came upon a heap of sticks and dry leaves, and the fall was over.

Alice was not a bit hurt, and she jumped up on to her feet in a moment. She looked up, but it was all dark overhead. Before her was another long passage, and the White Rabbit was still in sight, hurrying down it. There was not a moment to be lost. Away went Alice like the wind, and was just in time to hear it say, as it turned a corner, "Oh my ears and whiskers, how late it's getting!" She was close behind it when she turned the corner, but the Rabbit was no longer to be seen: she found herself in a long, low hall, which was lit up by a row of lamps hanging from the roof.
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Table of Contents

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Preface

Introduction

It is difficult to explain in words what the pictures are trying to say, and therefore my explanations are not precisely what I had in mind because they add shades of meaning which are not there. The reader can only interpret them in his own way, bringing his own observations to bear on the image he is looking at, so that he may agree or disagree with what I have tried to convey. When I set out to draw an idea, part of that idea is not yet formed and only takes shape and reveals itself as the drawing progresses. Consequently, the drawing acquires a life of its own and virtually takes over the direction it will follow — or so it seems.

I have made a few notes about some of the pictures. The rest are self explanatory or purely illustrations.

THE WHITE RABBIT. Worried by time, hurrying and scurrying. Sane within a routine, slightly insane but more engaging when the routine is upset.
Today's commuter.

THE DODO in this picture reminded me of an Archbishop and being as "dead as a dodo" it fitted perfectly. The other animals remind me of people I know, rather as Lewis Carroll apparently created them around friends and associates. The reader can place his own interpretation on them. It was never my intention to set everything in concrete.

I rather hate dogs. They seem to have soaked up all the worst in human nature. They are more human and even more stupid. In place of Tenniel's pug dog which perhaps was the fashionable dog when he drew the pictures, the poodle seems the most apt substitute. The dog is the perfect feed for the man who wants his ego pumped. He can take for granted the dog's blind loyalty and obedience. The dog fouls the pavement and the man fouls the rest of the world.

THE YOUNG INTELLECTUAL. Smoking hash, pedantic, who thinks he has something to say and sheds his opinions as easily as his skins.

THE FATHER WILLIAM set to me is the arrogance of youth versus the certainty of an old man's memories.

  1. The young man reinforces his arrogance by using the old man's experience as a crutch.
  2. Whilst throwing past standards out of the window the young man may often come back in through the door if he finds his
  3. yardstick less than three feet.
  4. An old man can become intense talking about right and wrong, and a youth can become bored as a result.
  5. The old man showing he hasn't lost his touch but the young man finds it is all a big joke.

THE DUCHESS is an ex-starlet who married the aristocrat. A high-class tart gone to seed. Her tiny mind has developed a home-spun philosophy within a cultured environment in an effort to keep up appearances.

THE COOK found fame in the kitchen and enjoys her prima donna tendencies.

THE CHESHIRE CAT makes an ideal TV Announcer whose smile remains as the rest of the programme fades out.

The growth of the tea party tree turns logic upside down. It begins in a puzzle at its top and grows down to its roots.

THE HATTER represents the unpleasant sides of human nature. The unreasoned argument screams at you. The bully, the glib quiz game compère who rattles off endless reels of unanswerable riddles and asks you to come back next week and make a bloody fool of yourself again.

THE MARCH HARE is always standing close by. The "egger-on" urging the banality to plumb even greater depths. He always seems to be around to push someone into a fight.

THE DORMOUSE is always the dormouse. Harmless and nice. The man anyone in the office can take a rise out of. If you tread on his face he will smile right back at you.

THE BRITISH WORKMAN. Bickering about who splashed who and standing in the stuff all the time anyway.

THE MONARCH having evolved or developed into a shapeless mass of hangers-on, the State, H.M. Forces, the Church, the establishment walking on one pair of very well-worn legs. The King and Queen born into it and enveloped in it and lost in it, obliged to go through the motions automatically but surprising even themselves by their own outbursts.

The Duchess again The old con trying to glean from Alice some of the objectivity and honesty she lost years ago.

The croquet game when internal confusion disrupts the xvhole structure. Practically showing its knickers, the heaving mass struggles vainly to maintain its dignity and avoid humiliation.

THE GRYPHON to me is the commissionaire of a modern office block. His epaulettes are his wings. He is slow thinking, sometimes ignorant. If you walk into the building in a humble manner, he exercises his authority to the full and crushes you, but if you walk in looking important he will lick your boots. The only man in the building he can order about is the caretaker, so he is the mock turtle who may have more intelligence but is satisfied with his lot, or at least has accepted it graciously. They may also be quite good friends. The dance would express their nicer sides when they are.

THE LOBSTER wearing the old school tie joins exclusive clubs and reckons he is pretty sharp until a real shark comes along.

My only regret is that I didn't write the story.

Ralph Steadman - London - 1967

Yes, I did! I did write the story, in my other life. It was all so familiar when I picked it up and read it for the first time in 1967. For the first time, as I
thought, but don't you ever get that strange sensation that what you are reading or watching is something you already know? Something that is in your mind already? Bells of recognition ring as you welcome an old friend. All good ideas are like that. You already know them. The familiarity is part of the enjoyment. The words someone has taken the trouble to write down merely reveal the contents of your own mind. The picture someone has struggled to create is something you have already seen, otherwise how would you ever recognise its content?

You have already experienced the sum of its parts. You have lived them, or maybe you have dreamed them. They are the vocabulary of a vast collective consciousness which it is your everyday choice to delve into or ignore at will. What we choose to emphasise forms the structure of our lives, and what an artist chooses to depict forms the basis of his work — but of course not the sum total, for in an artist's world two and two make five. And what an artist says three times is true! Familiarity breeds acceptance. The greater the artist, the greater number of reference points are offered for the rest of us to recognise. The more we recognise, the better we feel. We experience a greater satisfaction because we have contributed to the whole. The spectator has fulfilled his role to a greater or lesser degree depending on his or her receptive faculties.

As far as my pictures are concerned in their role as extensions of Lewis Carroll's stories, they stand up for me as well today as they did when I first made them nearly two decades ago. It would be interesting if the reader could identify (no prizes, of course) the new pictures I have drawn for this edition. I have tried to remain true to originals, and I defy anyone to detect the difference. Lewis Carroll has unravelled some of the complicated conundrums that bedevil our daily lives and our dream-worlds. My pictures are one man's response between the lines.

What can be said in pictures cannot necessarily be said in words, and vice versa. "Contrariwise, if it was so, it might be; and if it were so, it would be; but as it isn't, it ain't. That's logic."

"I know what you're thinking about, but it isn't so, nohow."

Ralph Steadman - Maidstone Bird Sanctuary - September 1986

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Introduction

Introduction

It is difficult to explain in words what the pictures are trying to say, and therefore my explanations are not precisely what I had in mind because they add shades of meaning which are not there. The reader can only interpret them in his own way, bringing his own observations to bear on the image he is looking at, so that he may agree or disagree with what I have tried to convey. When I set out to draw an idea, part of that idea is not yet formed and only takes shape and reveals itself as the drawing progresses. Consequently, the drawing acquires a life of its own and virtually takes over the direction it will follow -- or so it seems.

I have made a few notes about some of the pictures. The rest are self explanatory or purely illustrations.

THE WHITE RABBIT. Worried by time, hurrying and scurrying. Sane within a routine, slightly insane but more engaging when the routine is upset. Today's commuter.

THE DODO in this picture reminded me of an Archbishop and being as "dead as a dodo" it fitted perfectly. The other animals remind me of people I know, rather as Lewis Carroll apparently created them around friends and associates. The reader can place his own interpretation on them. It was never my intention to set everything in concrete.

I rather hate dogs. They seem to have soaked up all the worst in human nature. They are more human and even more stupid. In place of Tenniel's pug dog which perhaps was the fashionable dog when he drew the pictures, the poodle seems the most apt substitute. The dog is the perfect feed for the man who wants his ego pumped. He can take for granted the dog's blind loyalty and obedience. The dog fouls the pavementand the man fouls the rest of the world.

THE YOUNG INTELLECTUAL. Smoking hash, pedantic, who thinks he has something to say and sheds his opinions as easily as his skins.

THE FATHER WILLIAM set to me is the arrogance of youth versus the certainty of an old man's memories.

  1. The young man reinforces his arrogance by using the old man's experience as a crutch.
  2. Whilst throwing past standards out of the window the young man may often come back in through the door if he finds his
  3. yardstick less than three feet.
  4. An old man can become intense talking about right and wrong, and a youth can become bored as a result.
  5. The old man showing he hasn't lost his touch but the young man finds it is all a big joke.

THE DUCHESS is an ex-starlet who married the aristocrat. A high-class tart gone to seed. Her tiny mind has developed a home-spun philosophy within a cultured environment in an effort to keep up appearances.

THE COOK found fame in the kitchen and enjoys her prima donna tendencies.

THE CHESHIRE CAT makes an ideal TV Announcer whose smile remains as the rest of the programme fades out.

The growth of the tea party tree turns logic upside down. It begins in a puzzle at its top and grows down to its roots.

THE HATTER represents the unpleasant sides of human nature. The unreasoned argument screams at you. The bully, the glib quiz game compère who rattles off endless reels of unanswerable riddles and asks you to come back next week and make a bloody fool of yourself again.

THE MARCH HARE is always standing close by. The "egger-on" urging the banality to plumb even greater depths. He always seems to be around to push someone into a fight.

THE DORMOUSE is always the dormouse. Harmless and nice. The man anyone in the office can take a rise out of. If you tread on his face he will smile right back at you.

THE BRITISH WORKMAN. Bickering about who splashed who and standing in the stuff all the time anyway.

THE MONARCH having evolved or developed into a shapeless mass of hangers-on, the State, H.M. Forces, the Church, the establishment walking on one pair of very well-worn legs. The King and Queen born into it and enveloped in it and lost in it, obliged to go through the motions automatically but surprising even themselves by their own outbursts.

The Duchess again The old con trying to glean from Alice some of the objectivity and honesty she lost years ago.

The croquet game when internal confusion disrupts the xvhole structure. Practically showing its knickers, the heaving mass struggles vainly to maintain its dignity and avoid humiliation.

THE GRYPHON to me is the commissionaire of a modern office block. His epaulettes are his wings. He is slow thinking, sometimes ignorant. If you walk into the building in a humble manner, he exercises his authority to the full and crushes you, but if you walk in looking important he will lick your boots. The only man in the building he can order about is the caretaker, so he is the mock turtle who may have more intelligence but is satisfied with his lot, or at least has accepted it graciously. They may also be quite good friends. The dance would express their nicer sides when they are.

THE LOBSTER wearing the old school tie joins exclusive clubs and reckons he is pretty sharp until a real shark comes along.

My only regret is that I didn't write the story.

Ralph Steadman - London - 1967

--

Yes, I did! I did write the story, in my other life. It was all so familiar when I picked it up and read it for the first time in 1967. For the first time, as I thought, but don't you ever get that strange sensation that what you are reading or watching is something you already know? Something that is in your mind already? Bells of recognition ring as you welcome an old friend. All good ideas are like that. You already know them. The familiarity is part of the enjoyment. The words someone has taken the trouble to write down merely reveal the contents of your own mind. The picture someone has struggled to create is something you have already seen, otherwise how would you ever recognise its content?

You have already experienced the sum of its parts. You have lived them, or maybe you have dreamed them. They are the vocabulary of a vast collective consciousness which it is your everyday choice to delve into or ignore at will. What we choose to emphasise forms the structure of our lives, and what an artist chooses to depict forms the basis of his work -- but of course not the sum total, for in an artist's world two and two make five. And what an artist says three times is true! Familiarity breeds acceptance. The greater the artist, the greater number of reference points are offered for the rest of us to recognise. The more we recognise, the better we feel. We experience a greater satisfaction because we have contributed to the whole. The spectator has fulfilled his role to a greater or lesser degree depending on his or her receptive faculties.

As far as my pictures are concerned in their role as extensions of Lewis Carroll's stories, they stand up for me as well today as they did when I first made them nearly two decades ago. It would be interesting if the reader could identify (no prizes, of course) the new pictures I have drawn for this edition. I have tried to remain true to originals, and I defy anyone to detect the difference. Lewis Carroll has unravelled some of the complicated conundrums that bedevil our daily lives and our dream-worlds. My pictures are one man's response between the lines.

What can be said in pictures cannot necessarily be said in words, and vice versa. "Contrariwise, if it was so, it might be; and if it were so, it would be; but as it isn't, it ain't. That's logic."

"I know what you're thinking about, but it isn't so, nohow."

Ralph Steadman - Maidstone Bird Sanctuary - September 1986

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Interviews & Essays

An Interview with Helen Oxenbury

Barnes & Noble.com: When you were a child, did you always know you'd be an artist of some sort when you grew up? How did you get your start illustrating kids' books?

Helen Oxenbury: No, I didn't think I would be an artist, but my father was an architect, so drawing in one way or another was very familiar to me. I drew all the time -- but I didn't really think anything of it. It was just something I thought everybody did. What I wanted to be was a dancer. I learned ballet from the age of three and absolutely loved it. And later on, I wanted to be a tennis player. I made it to Junior Wimbledon, but when you go somewhere like that, you realize when you haven't got it -- that you're not good enough. I wasn't -- so that was the end of that. Then when I left secondary school, my father encouraged me to go to art school. I loved every minute of the course I took in art. And I suppose it was at that moment that I thought I would carry on and try for a career in art. But not in illustration at that point. I specialized in theater design. And I worked in the theater for a few years and in television, and it was only after I had married John [Burningham], who was an illustrator and had already produced about two books, that I got the idea. I saw what was involved and how it was done and when we married and started a family, I really wanted to carry on working, so I tried to illustrate children's books -- because I could do it at home. I didn't have to leave the babies. And that's how I started illustrating.

B&N.com: What made you want to take on Alice in Wonderland as a project?

HO: My mother read Alice to me when I was a little girl, and I'm not sure that I particularly understood it all, but I just caught her enthusiasm for it. She loved it. And then I went back to it as an adult and saw all the things that she had loved in it. I, too, loved it on another level. But how this Alice came about was that a television company wanted to make an animated film about it, and they asked a few people to submit illustrations; I think mine were the most suitable. So I did a lot of work and a lot of research on Alice, and that's when I found my ideal Alice. And the project was all sort of going ahead...and then the team left. So I thought, I've done so much work on this, this must be the moment that I go ahead and try and do it on my own. So I took my work to my publisher, and he said, "yes, fine, go ahead."

B&N.com: Was it difficult to illustrate Alice in Wonderland?

HO: Yes. There were several times when I wanted to give it up or to shelve it and go back to it in six months. But my publisher was very encouraging, and they said, "Oh come on, Helen, you can do it...get on with it -- do it." So I did. And that's how it came about.

B&N.com: How long did it take you to illustrate Alice in Wonderland?

HO: It took a good two years to do. But all the research and working, thinking it was going to be an animated film, was about a year before that. So I'd say three years in all. It was difficult because Alice in Wonderland comes with so much baggage; the most wonderful people have illustrated it. And of course I was brought up with the Tenniel illustrations -- which I loved -- but I had to think of how to make it different from Tenniel's Alice in Wonderland. His version was quite sparsely illustrated, so I thought for today's children, because the language is a little bit difficult, they probably could be helped along the way with pictures. So I made my Alice in Wonderland quite densely illustrated. I also wanted to bring to the fore the peripheral characters like the little creatures, which Tenniel didn't do. And to make my illustrations a little warmer and a little more humorous than Tenniel's.

B&N.com: Throughout your career, you've worked on books geared toward a wide range of ages. Is there a type of book that is more difficult for you to illustrate?

HO: The board books, I suppose [I Can, I Hear, I See, I Touch]. It's quite difficult to pare down and simplify. It looks easy, but it isn't. Like an author with his writing, it's extremely difficult to take something down to the bare bones. It took quite a time to get a style going for those board books.

B&N.com: What kinds of things do you like to do when you're not working?

HO: Well, I still play tennis. I kept it up...but it's on a really pathetic level now. I also do yoga, and I love exploring antique shops and junk shops.

B&N.com: What advice do you have for kids who say they want to be illustrators?

HO: Well, I say, "Go ahead!" It is so much more difficult today than it was in my day. I mean, I wouldn't like to have to start now. It's so competitive, and there are so many children's books around. But don't not do it because of that, if you really want to.

B&N.com: Can you tell me some of your favorite kids' books?

HO: That's jolly difficult. I love the work of Edward Ardizzone and Dr. Seuss, who's an absolute genius. But no specific books are coming to me right now. I know, when I put the phone down, it will all come to me....

B&N.com: That's all right, we'll leave it at that. Thanks so much for taking the time to talk to me. Your Wonderland is simply wonderful, and it's been great getting to know you. (Jamie Levine)

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Reading Group Guide

ALICE'S ADVENTURES IN WONDERLAND and THROUGH THE LOOKING-GLASS
by Lewis Carroll

 

INTRODUCTION

In his diary on July 4, 1862, Lewis Carroll wrote, "Duckworth and I made an expedition up the river to Godstow with the three Liddells: we had tea on the bank there, and did not reach Christ Church again till quarter past eight, when we took them to my rooms to see my collection of micro photographs, and restored them to the Deanery just before nine." Although Carroll did not know at the time, this excursion proved to be the catalyst for the fairy tale which he initially called Alice's Adventures Underground.

In later years, Carroll, his friend Robinson Duckworth, and Alice Liddell all alluded to this day as the origin of Alice's Adventures in Wonderland. In the opening poem to the story, Carroll wrote:

Thus grew the tale of Wonderland:
Thus slowly, one by one,
Its quaint events were hammered out —
And now the tale is done,
And home we steer, a merry crew,
Beneath the setting sun.

In its initial form, this tale told on July 4, 1862, was simply another entry in the oral story tradition that Carroll forged on the numerous expeditions on the "quiet stream." Years later, Carroll wrote, "many a day we had rowed together on that quiet stream—the three little maidens and I—and many a fairy tale had been extemporised for their benefit." He indicates there were numerous other tales that "lived and died like summer midges," but in this single instance "one of my little listeners petitioned that the tale might be written out for her," and thus began Alice's adventures.

Alice's adventures begin on a lazy summer day when a "White Rabbit with pink eyes" races by her. While it was unremarkable for a rabbit to run by her and it was not "very much out of the way" to hear the Rabbit talk, she hurried after the White Rabbit when it "actually took a watch out of its waistcoat pocket." Alice scrambled to her feet and followed it, without a thought, down a large rabbit-hole. Similarly, in Through the Looking-Glass, Alice impulsively goes through the glass over the mantel and into the Looking-Glass room. Later, in both stories, this initial impulsiveness becomes tempered through experience. Although Alice learns from her experiences, the stories were neither moralistic nor written for the purpose of teaching lessons. Instead, they were, and still are, two of the most highly imaginative fairy tales ever conceived.

Both Alice and Looking-Glass, while drawn from Carroll's extemporaneous stories, were later refined and infused with a wealth of allusions to both his own experiences and Alice's. In her travels through Wonderland and the chess-board world behind the Looking-Glass, Alice encounters a multitude of curiosities, many traceable to experiences in her own life. In chapter II of Alice, "The Pool of Tears," she encounters a Duck, a Dodo, a Lory, and an Eaglet. This entire episode in the pool alludes to a trip that Carroll referred to in his diary for June 17, 1862. On this day, during a trip, the traveling party was drenched in a downpour. The animals who appear in the "Pool" chapter represent the trip's participants: the Duck is Carroll's friend Robinson Duckworth, the Dodo is Carroll (a stutterer all his life, Carroll would often pronounce his real name Dodgson as "Do-Do-Dodgson"), and the Lory and the Eaglet are Alice's sisters, Lorina and Edith.

When it was published in 1865, Alice's Adventures in Wonderland was reviewed widely in newspapers and journals drawing near universal praise. Among the reviewing publications were The Times, the Spectator, and the Publisher's Circular. The Circular selected the story as "the most original and most charming" of the 200 books for children they were sent that year. When it was published in late 1871, Through the Looking-Glass reaped similar praise.

While Carroll continued to write children's stories, his distinguished place in literary history was firmly established with the publication of Alice's Adventures in Wonderland and Through the Looking-Glass. By the time Carroll died in 1898, there were about 250,000 copies of these stories in print.

While the Alice books have charmed and excited children ever since their first publication, they have also stimulated a wide array of literary, philosophical, and psychological discussion from twentieth-century writers. As the editor of the Penguin Classics edition, Hugh Haughton, makes clear, at the heart of these children's books lie fascinating questions about meaning. Maneuvering throughout Carroll's puns, word plays, and unconventional prose, the adult reader of these books, often finds him or herself feeling two responses at once: a submission to the spontaneous play of nonsense, to utter meaninglessness—as the Lobster-Quadrille would urge—and a compulsion to interpret, or decode meaning in even the most trivial incident—as Queen Alice might do. For twentieth-century writers like James Joyce, Virginia Woolf, and W. H. Auden who borrowed freely from Carroll, the Alice books have become models of experimental writing. For other intellectuals, reading Alice's Adventures and Through the Looking-Glass as Surrealist dream books, Freudian case studies, or political allegories, they have become texts brimming with profound insights.

 

ABOUT LEWIS CARROLL Of Lewis Carroll, Virginia Woolf said, "since childhood remained in him entire, he could do what no one else has ever been able to do—he could return to that world; he could re-create it, so that we too become children again." Edmund Wilson also recognized Carroll's ability to see from a child's perspective when he noted, "Lewis Carroll is in touch with the real mind of childhood." Wilson linked this understanding to a flair for drawing on "the more primitive elements of the mind of maturity." These characterizations describing the creator of Alice's Adventures in Wonderland and Through the Looking-Glass exemplify the enigmatic Carroll. However, most casual readers may be unaware that Carroll was also a don at Christ Church, Oxford University where he spent most of his adult life as a Mathematics lecturer. In addition, Carroll was a logician, a renowned photographer, and a prolific letter writer and diarist.

Lewis Carroll was born Charles Lutwidge Dodgson in 1832 in the parsonage of Daresbury in Cheshire, England, a small village about twenty miles from Liverpool. The third child and eldest son in a household of seven girls and four boys, Charles spent the first eleven years of his life on this secluded farm. The surroundings of the parsonage were reflected in the characters and images that grace both Alice's Adventures in Wonderland and Through the Looking-Glass. One can imagine a young Charles seeing the White Rabbit, the animals in the Caucus-Race, the Caterpillar and the mushroom, the Mouse, the garden of flowers and much more as he grew up amidst the barnyard and fields of the parsonage.

In 1850, Charles entered Christ Church, Oxford where he would spend the rest of his life as a student, fellow, and lecturer; and where he developed into an accomplished photographer, and met Alice Liddell, the heroine of his great stories. During his lifetime, Charles Dodgson published nearly 300 works on an array of topics. These works included not only children's stories but also books and pamphlets on mathematics, logic, and philosophical debates at Oxford. In addition, he wrote parodies such as "Hints for Etiquette, or Dining Out Made Easy" and constructed games, puzzles, riddles, and acrostics. Among his works are: Euclid and His Modern Rivals, Formulae of Plane Trigonometry, Guide to the Mathematical Student in Reading, and Game of Logic (a method of teaching the principles of logic to children). Allusions to these writings and interests were scattered throughout the Alice books. Both stories, though clearly written to amuse young children, were also replete with puns and allusions to Victorian society, making them 'mature' enough to pique the interest of adults. Interestingly, Dodgson contrived his pen name as a slight puzzle in itself. The pseudonym Lewis Carroll, was created by Latinizing his two given names, Charles Lutwidge, to Carolus Ludovicus, reversing them and translating them back into English.

Besides the array of intellectual pursuits, Charles Dodgson's interests also extended to gadgets, most importantly the photographic camera. Dodgson was introduced to photography by his Uncle Skeffington Lutwidge. In the 1850s and 1860s, prior to the actual development of film, this art form required patience and devotion. Among the persons of his era whom Dodgson persuaded to sit for portraits were the poet Alfred Tennyson, Sir John Millais, Prince Leopold (the youngest son of Queen Victoria), Lord Salisbury (who became Oxford Chancellor in 1870), the Crown Prince of Denmark, John Ruskin, and the actress Ellen Terry. Besides such luminaries, Dodgson also photographed young children he met during his years at Oxford, including Alice Liddell.

However, it is through Charles Dodgson's extensive letters and diaries that a great deal of his life, motivations, and inspiration are revealed. Starting on January 1, 1861, Dodgson began maintaining a register of all the letters he sent and received. Although the register has never been found, the final number that he recorded was 98,721. In a letter to a friend of his, Mary Brown, he estimated he wrote 2,000 letters each year. There are letters to friends, family, his publisher and illustrator, and to endearing young fans. The minutiae of daily life also crept into his correspondence. After the death of his brother-in-law, just days prior to his own, he wrote his nephew, Stuart Collingwood requesting a simple funeral and burial upon his own death. Charles Lutwidge Dodgson died at age 66 on January 14, 1898.

 

DISCUSSION QUESTIONS

  1. Traditionally, Alice's Adventures in Wonderland and Through the Looking-Glass are both considered stories intended for children. If you were asked to support the contention that these are actually stories for adults, how would you defend this?
     
  2. Alice Liddell, the model for Carroll's fairy tale heroine, was a young child when these stories were first told. Although a child in the story, Alice often exhibits mature characteristics; and the adult characters often exhibit childish behavior. Do you consider these books to be an adult's view of childhood, or a child's view of adulthood?
     
  3. Alice rarely speaks nonsense and rarely enjoys it when it is spoken to her. In fact, her speech and manners are as proper as those of any Jane Austen heroine. How is Alice's perception of the world changed when confronted with the world and characters of nonsense?
     
  4. The Cheshire Cat suggests that everything Alice experiences in Wonderland is a dream or the result of madness. Prefiguring Freud's theories, Carroll, in a diary entry, defined "insanity as an inability to distinguish which is the waking and which the sleeping life." Besides the obvious absurdities in imagery what other aspects of these books mimic a dream state?
     
  5. "Take care of the sense, and the sounds will take care of themselves." This play on the proverb, "Take care of the pence and the pounds will take care of themselves," is a good example of Carroll's word play. Often these word plays end up with a nonsensical locution; but at other times, as is the case here, they create a completely different, often subversive, meaning. Discuss other examples of Carroll's word play.
     
  6. Throughout her adventures, Alice grapples with her identity. While this is a common feature of most children's books, Alice's questioning often inadvertently invokes the ideas of western philosophers from Plato to Bishop Berkeley. What philosophical issues about identity does Alice raise?
     
  7. Throughout both Alice and Looking-Glass, Alice usually exhibits a passivity to the incomprehensible events around her. However, at critical times, she learns to assume control of her circumstances. When does this occur and what actions does she take?
     
  8. What is the significance of the mushroom that Alice eats during her adventures?
     
  9. Let's assume that in Lewis Carroll's original telling of these stories, he viewed himself as a teacher/mentor to Alice Liddell. How do the ways in which the fictional Alice adapts to her shifting and unusual circumstances translate into meaningful lessons for a child of Alice Liddell's age?
     
  10. If the Caterpillar from Alice's Adventures in Wonderland were to give advice to Tweedledee and Tweedledum from Through the Looking-Glass on how to solve their differences without having "a bit of a fight," what might the Caterpillar advise?
     
  11. Since their publication, many readers have found material in Carroll's book unsuitable for children. Which parts of the Alice books, if any, do you think are unfit, or even harmful, to children today?
     
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Customer Reviews

Average Rating 3
( 1291 )
Rating Distribution

5 Star

(488)

4 Star

(166)

3 Star

(142)

2 Star

(84)

1 Star

(411)

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See All Sort by: Showing 1 – 20 of 1299 Customer Reviews
  • Anonymous

    Posted November 19, 2000

    The most wonderful children's story of all time.

    Words can hardly describe how I feel about this book. It transports you to another time and place... one is able to suspend all disbelief and experience Wonderland as Alice experiences it- without any doubt or confusion. Alice in Wonderland is magical, charming, and inspiring for children and adults alike.

    58 out of 74 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 22, 2011

    Anonomos

    This book was relly bad, all of it was in jibbarish! DONOT GET THIS BOOK

    37 out of 103 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 8, 2011

    MARVEIOUS!!!!!!!!!

    I love the book. I don't know about that person who keeps writing bad reviews about the book but I love it!

    29 out of 37 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 19, 2011

    Literally Unreadable

    All you can see is the occasional drawings throughout. The rest is basically wingdings.

    28 out of 53 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted December 19, 2010

    Bad File

    downloaded and will not open. File is corupt

    24 out of 40 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted July 8, 2010

    I Also Recommend:

    wonderful and brilliant all at the same time

    One of the most wonderful books about nothing i have ever read. the story seems just down right crazy but thats what keeps you into the book. fiddling around with the characters and trying to fully understand them, and also trying to find the hidden jokes through out the story is just amazing. I remember telling my friends that they should also read it. they stated that it was a children's book and i told them that through out the book there is adult humor and satire that only adults would find and understand. with that said i would like everyone to read this book. I don't care if you are not a adult or if you think that you are to old for this book cause I can tell you that you will love this book and you will fully understand the whole aspect... But i must worn you that if you read this book and see that in the Disney movie, not the new movie(though if you want to know, the movie is also good and i believe you will like it more if you read this book.) but the original Disney classic, that there are parts missing from the movie. do not be scared. there is another book and sometimes you can get them together, called through the looking glass. this is also good but i do like the first book the adventures in wonderland. but both will make your life feel more fulfilled. but believe me when i say that this book is a must read. it will make your imagination come to life and allow you to see things in a brighter light than normal. well i hope you read this book in the long run after reading my long but wonderful review. i hope you have a great day.

    20 out of 25 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted January 25, 2012

    Alice in Wonderland

    This book is hard to understand at first and yes you might have to read some things over, but once you get use to it this book is wonderful. It's pure nonsense and I loved every minute of it. I'm fourteen and I understand Lewis Caroll perfectly, even read Through The Looking Class. This book is splendid and one of my favorites. WAY better than Twilight.

    17 out of 24 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 24, 2011

    Felt like i was in wonderland

    There werent any words in this book, very dissapointed

    17 out of 28 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted December 16, 2010

    Not expected

    This book is written in shorthand...

    17 out of 34 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted December 25, 2010

    written shorthand

    No wonder it's free.

    15 out of 32 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 26, 2011

    DO NOT BUY

    This is not the legitiment copy of Alice in wonderland.
    It's 34 pages of nothing.

    9 out of 14 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 1, 2011

    Ughh :(

    Don't waste ur time... it doznt even open!!

    8 out of 15 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted January 18, 2012

    Very Disappointed

    I thought I getting something good, but all I got was a bunch of gibberish.

    *Forgive my spelling

    5 out of 11 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 27, 2011

    Wow..

    Dont waist ur time on this book! Its not even readable!

    5 out of 14 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 19, 2011

    Horriable

    This book doesny even make sense and there are all of these strange letters and random pictures. No wonder its free

    5 out of 11 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 27, 2010

    Can't open it

    The nook app won't even let me open the book. Horrible.

    5 out of 12 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 31, 2012

    This book has no readable text!

    When I first opened this book,
    I wondered how Alice in Wonderland could only take up 34

    3 out of 6 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 8, 2012

    not what i expected

    I bought this thinking it was the real book. Good if you can read shorthand which i can't and it doesn't read like a real book. Hope this helps!

    3 out of 4 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted April 6, 2012

    I dont like it

    This book is written in a very bad way it so confusing

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted April 5, 2012

    I really love this book. I try to read it every year. Whimsical

    I really love this book. I try to read it every year. Whimsical and entertaining. By the way, the one star reviews are obviously for another version of this book, as this version is great. I think B&N puts all the reviews for every version of the book under the same book, for some reason. This version is clean and nice.

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
See All Sort by: Showing 1 – 20 of 1299 Customer Reviews

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