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Alice's Adventures in Wonderland (Children's Classics), by Lewis Carroll
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In 1862 Charles Lutwidge Dodgson, a shy Oxford mathematician with a stammer, created a story about a little girl tumbling down a rabbit hole. Thus began the immortal adventures of Alice, perhaps the most popular heroine in English literature. Countless scholars have tried to define the charm of the Alice books–with those wonderfully eccentric characters the Queen of Hearts, Tweedledum, and Tweedledee, the Cheshire Cat, Mock Turtle, the Mad Hatter et al.–by proclaiming that they really comprise a satire on language, a political allegory, a parody of Victorian children’s literature, even a reflection of contemporary ecclesiastical history. Perhaps, as Dodgson might have said, Alice is no more than a dream, a fairy tale about the trials and tribulations of growing up–or down, or all turned round–as seen through the expert eyes of a child.
From the Paperback edition.
- Sales Rank: #2391993 in Books
- Published on: 1988-05-25
- Released on: 1988-05-25
- Original language: English
- Number of items: 1
- Dimensions: 9.75" h x 8.00" w x 1.00" l,
- Binding: Hardcover
- 249 pages
Amazon.com Review
Source of legend and lyric, reference and conjecture, Alice's Adventures in Wonderland is for most children pure pleasure in prose. While adults try to decipher Lewis Carroll's putative use of complex mathematical codes in the text, or debate his alleged use of opium, young readers simply dive with Alice through the rabbit hole, pursuing "The dream-child moving through a land / Of wonders wild and new." There they encounter the White Rabbit, the Queen of Hearts, the Mock Turtle, and the Mad Hatter, among a multitude of other characters--extinct, fantastical, and commonplace creatures. Alice journeys through this Wonderland, trying to fathom the meaning of her strange experiences. But they turn out to be "curiouser and curiouser," seemingly without moral or sense.
For more than 130 years, children have reveled in the delightfully non-moralistic, non-educational virtues of this classic. In fact, at every turn, Alice's new companions scoff at her traditional education. The Mock Turtle, for example, remarks that he took the "regular course" in school: Reeling, Writhing, and branches of Arithmetic-Ambition, Distraction, Uglification, and Derision. Carroll believed John Tenniel's illustrations were as important as his text. Naturally, Carroll's instincts were good; the masterful drawings are inextricably tied to the well-loved story. (All ages) --Emilie Coulter
From Publishers Weekly
Zwerger's (The Wizard of Oz) captivating cover image of the Mad Tea-Party for this edition of Carroll's 1865 tale conveys the psychological tension of the interior artwork: Alice, at the head of an elongated table with a pristine white linen cloth, stares at the pocket watch that the March Hare is about to lower into his cup of tea. The Hare, bug-eyed, gazes out at readers while the Mad Hatter to his right, wearing a hat box, fixates on a black upturned chapeau (in lieu of a place setting), and the Dormouse between them sleeps. Across the table, an empty red mug is placed in front of a vacant green chair, and a teacup and saucer trimmed in red seems to be set for the reader. The painting conveys the way in which Zwerger brilliantly manages both to invite readers into the story and to keep them at a distance. From the heroine's first appearance, as she falls down a well while chasing the White Rabbit, with a glimpse of orderly bookshelves at the upper left corner, Zwerger demonstrates the many layers to Alice's journey: a cutaway view reveals that the bulk of the other "shelves" are the result of rats and insects tunneling underground. The supporting cast conveys the artist's nearly sardonic perspective. The contrary caterpillar, with six of its eight arms crossed, would be at home in New York's East Village: instead of a hookah it smokes a cigarette and sips red wine, yetAunlike Sir John Tenniel's sedated counterpartAthis caterpillar is lucid, defiantly staring out at an Alice (and readers) absent from the scene. Zwerger's penetrating interpretation reinvents Carroll's situations and characters and demands a rereading of the text. All ages. (Oct.)
Copyright 1999 Reed Business Information, Inc.
From School Library Journal
Grade 3 Up Hague, in his "Afterword," gives a fine reason for tackling a book that has already been illustrated some 100 times: to "reinterpret the classics for each new generation of children." But what does Hague bring to Alice that is fresh or contemporary in insight? Only a set of crowded images that seem too often to be seen through a dirty yellow filter. There's no denying the competency of his drawing. He does his anatomy homework, and his mock-Rackham trees are properly gnarled, but they lack the brooding mystery of the master's originals. The Queen is a fresh face with a red fright wig and jutting lower lip, almost a Dom DeLuise in drag. But Alice, although a real girl, looks too old for the part at times. Individually, Hague produces attractive characters that hover quite close to the descriptions Carroll provides or Dame Nature offers. Once again the trouble comes in the organization of these characters and architectural sets; they too frequently don't seem to fit. A heavy-handed use of black outline is one reason figures are isolated in space. Sometimes it's an odd juxtaposition of colors. And why does he put human hands on some of his animals and not on others? Although these odd bits of artistic shortcomings are in evidence, they do not override an attraction to aspects of Hague's illustrations, which will have broad appeal. Yet despite his expressed hope that children "will want to read this wonderful story" because of his pictures, it is more likely that they'll want to read it because of the profound imagination of the author and his ability to spin a yarn as pertinent today as it was 100 years ago. Kenneth Marantz,u Art Education Department, Ohio State Univ . , Columbus
Copyright 2002 Reed Business Information, Inc.
Most helpful customer reviews
31 of 31 people found the following review helpful.
Many layers
By Liza
This is a great classic! Children and adults have loved this book as it has many layers and meanings. I love reading it over and over, always getting something new and different each time. I think everyone can enjoy this book; kids and adults. The meaning one retrieves from this classic depends on what path or where one is on their individual journey in life.
119 of 128 people found the following review helpful.
A Trip Down The Rabbit Hole All Grown Up
By Michael L. Kauffmann
There is one thing that all potential customers must keep in mind when buying any Alice book: Do not purchase one that does not include the illustrations of John Tenniel! This edition includes all of them and the quality of the reproductions on the pages are excellent. Tenniel's illustrations help add to the childish excitement of Carroll's stories and will be especially invaluable to teenagers and adults, having just by nature of growing up lost some of the imaginative innocence, that ability to stretch reality, that we all possessed as kids.
Of course, the illustrations wouldn't mean jack if they didn't have a captivating story to work with. Carroll's amusing tale of nonsense is targeted as a kid's book, and that is always where many of our fondest memories of it will remain, but as a college student reading it I was amazed by its power to suspend reality and return me to a level of imagination that I had simply thought I lost somewhere along the way. The trip down the rabbit hole can be quite a different experience from a different point of view.
This particular edition also includes a good introduction and very helpful explanatory notes organized chapter by chapter. The introduction and notes offer insights to Carroll's life and his relations with the real life Alice and her family that, from a student viewpoint, reveal an interesting and more personal side of the Alice tales.
12 of 12 people found the following review helpful.
Well, hello Dali! I see that you have met Alice.
By Robert J Stek
In 1969 Random House produced a limited run of Alice in Wonderland with 12 wild and colorful heliogravures by surrealist artist Salvador Dali. They issued 2500 standard editions and 500 deluxe editions of the book, charging $375 retail for the standard edition. Copies of the standard edition in good condition now sell for thousands of dollars.
This edition reproduces the original Lewis Carroll text with nice reproductions of the Dali illustrations at a price everyone can afford. The additional material by Carrollian expert Mark Burstein and by a mathematician friend of Dali, Thomas Banchoff, add to the value of owning this edition of Alice no matter how many other versions you may already have.
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