Alice's Adventures in Wonderland (Norton Critical Edition) / Edition 2

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Overview

This Norton Critical Edition reprints the 1897 editions of Alice’s Adventures in Wonderland and Through the Looking-Glass and the 1876 edition of The Hunting of the Snark.
New to the Second Edition is "The Wasp in a Wig," a recently discovered episode Carroll deleted from Through the Looking-Glass, but which fits into the story in interesting ways. Each text is accompanied by ample explanatory notes.
"Backgrounds" reprints new selections from recent biographies of Carroll and from recent editions of his diaries and letters.
Our understanding of and appreciation for Carroll’s life and literature are deepened by new contributions from Anne Clark, Tony Beale, E. M. Rowell, and, most revealingly, Carroll himself.
"Criticism" retains seven seminal critiques from the First Edition while adding four important recent essays by Nina Auerbach, Roger Henkle, Robert Polhemus, and Donald Rackin.
A revised and updated Selected Bibliography is also included.

Alice's Adventures in Wonderland is one of the most celebrated children's books of all time. Since its publication in 1865 most editions of the beloved tale have featured the work of a single artist. Chronicle Books is proud to present this Classic Illustrated Edition with a unique vision: Lewis Carroll's original story of little Alice's tumble down a rabbit hole is brought to life by a wondrous collection of vintage illustrations gathered from the late 19th & early 20th century editions of the book. This oversize edition of the complete text of Carroll's classic contains examples of illustrations from 29 artists.

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Editorial Reviews

Children's Literature - Marilyn Courtot
Charles Dodgson wrote this story at the request of Alice Liddell, and for close to 150 years, it has been a favorite of young readers. Lisbeth Zwerger brings her award-winning artistic skill to the story and offers a very different look for a new generation. Her palette is brighter, the art has more of a layered look than in her previous works, and she offers more frontal views. The whimsy is there and the White Rabbit, Queen, Cheshire Cat and others will be quickly recognized. The illustrations range from full pages to spot art liberally sprinkled throughout the twelve chapters. The story can be read on one level as a magical adventure in which Alice faces a host of very strange things and variety of bizarre characters. It fills a child's need for fantasy and escape. The actual social commentary and satire will elude most contemporary readers, but it in no way diminishes the joy of reading this classic story.
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.
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Product Details

  • ISBN-13: 9780393958041
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 4/1/1992
  • Series: Norton Critical Editions Series
  • Edition description: Norton Critical
  • Edition number: 2
  • Pages: 416
  • Product dimensions: 5.20 (w) x 8.40 (h) x 0.90 (d)

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

Read More Show Less

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

Read More Show Less

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)

Read More Show Less

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 4
( 635 )
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See All Sort by: Showing 1 – 20 of 638 Customer Reviews
  • Anonymous

    Posted December 29, 2010

    DON'T USE THIS VERSION! spelling and formating errors

    The misspelled words in this version can be distracting. Also, the line breaks are awkward. Some sentences stop halfway across the page and begin again two lines down. (distracting isn't it?)It takes a lot away from an otherwise great book. Ex: Pm instead of I'm Ahce instead of Alice

    52 out of 64 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted April 15, 2011

    more from this reviewer

    Misspellings

    Scanned copy w/ no proofreading.

    19 out of 31 people found this review helpful.

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

    Posted December 26, 2011

    Dont buy it

    Its not the full story. The full story is some what longer than 140 pgs. This is only 55. But from what is there ,it is good.

    10 out of 18 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted February 3, 2010

    I Also Recommend:

    Classic story ruined by lousy art

    I'll never understand why anyone would want to re-illustrate a book whose illustrations are as iconic as the book itself. John Tenneil's work on the original books needs no replacing and certainly not with the mess I'm confronted with here. Camille Rose Garcia may have a place in the world of art. I'm sure there are those who like this sort of thing and I can see where something could be made of such a style. What *cannot* be made from it is a decent representation of Alice and the denizens of Wonderland. By making *everything* crazy and over-the-top, Garcia destroys the dichotomy of the story of normal Alice amongst the strageness of Wonderland.

    Take my advice. Avoid this edition and stick to those that use the original Tenniel illustrations.

    9 out of 21 people found this review helpful.

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

    Posted November 26, 2011

    Its alice in wonderland!

    Who cares if there are mistakes? I KNOW i dont. :)

    8 out of 13 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted August 25, 2011

    Still won,t open in Nook color....... disregard star, only there to allow posting.

    7 out of 16 people found this review helpful.

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

    Posted January 16, 2012

    Great book.

    Ths book is wonderful. Definitly buy it. There are 181 pages and I think the sample is 55. BUY IT!!!!!!!!!!!!!!!!!!!!!!!

    6 out of 9 people found this review helpful.

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

    Posted January 1, 2012

    Spell check please

    Bad spelling bad rate and review

    6 out of 12 people found this review helpful.

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  • Anonymous

    Posted December 25, 2011

    Very well written.

    I really like this book. The author does a good job describing how the main character is feeling and thinking.

    5 out of 5 people found this review helpful.

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

    Posted December 30, 2012

    Awesome

    I honestly love this book

    4 out of 4 people found this review helpful.

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

    Posted April 27, 2012

    EXCUSE ME

    Will someone PLEASE post a REAL review of this book? Dont use the customer review section as a chat board unless it is about the book. PLEASE AND THANK YOU

    4 out of 11 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted February 25, 2011

    Bad format - don't download

    I know it's a free book, and that is probably why the format is so horrible. But after 2 or 3 chapters, the screen only showed sporadic words about the screen and you couldn't read it.

    4 out of 5 people found this review helpful.

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  • Anonymous

    Posted December 29, 2012

    Good book... for the price

    Good book. Classic read. A few spelling mistakes but not as bad as the other free Alice in wonderland nook books. Formatting is much better compared to other free copies of the book. But still has a few formatting errors. The book itself is a wonderful story as long as you are not some uptight grammar buff who cannot stand minor grammatical errors.




    3 out of 4 people found this review helpful.

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

    Posted August 18, 2012

    A very, very strange book

    Great book. Its in very good detail, and nice characters, to. Though mind that its a very, very, strange book. But its still good. Diserves five stars

    3 out of 3 people found this review helpful.

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

    Posted June 7, 2012

    Good

    Good. Slightly boring. Bit good.

    3 out of 4 people found this review helpful.

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

    Posted May 18, 2012

    Alice in Wonderland . . .

    I've got absolutely no idea why, but suddenly I have been completely drawn to and facinated with this book. It's totally amazing and full of fantasy and humor! There is definately nothing like it. Lewis Carrol, you are a genius!
    Xoxo to all,
    -E

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted February 20, 2012

    Hi

    Lots of growing and shrinking
    Fanntasy
    All in all a good book

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted February 1, 2012

    Alice

    Very witty alice would have to be my favorite storybook charecter

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted January 1, 2012

    Very good read but Many typos

    Very interesting book but all the typos make it very hard to read. Takes a lot of personal creativity to work around.

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted September 1, 2013

    Very onapropiate!!

    This book is exteremeley inapropiate!!! I could not belive how terrible and x rated thus book is!!! I let my 15 year old son read it and now he's scared for life! This worse than the twilight books and worse than pornagraphy! Yea I'm taking about alice in wonder land! Do not ever ever let your pure child read this horrible perverted book! This book is the worst in the stack!I tried to read it but I freaked out and cracked my nook screen with a hammer! It is so gross. I hilgey do not recomend.. god bless you! Amen

    2 out of 4 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
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