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Alice in Wonderland

Press:1-84135 Award Publications Ltd; Later printing edition (2004)
Publication Date:2004-1
Author Name:Lewis Carroll


Alice's Adventures in Wonderland

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.

--This text refers to the Kindle Edition edition.

From School Library Journal

Grade 2-5-An oversized book containing 12 full-page illustrations, one per chapter, with various smaller pictures of story elements peppered throughout, similar to the layout and design Zwerger used in The Wizard of Oz (North-South, 1996). 
The pictures are done in muted watercolors with very simple lines.
Despite the flawless artistry evident in the work, there is something missing from Zwerger's Alice, and that would appear to be Alice herself.
The child is clearly seen full-face in only a single illustration, that of the mad tea party, and then her facial expression is blank and disinterested.
Otherwise, she is merely glimpsed: in the distance, looking down, disappearing from the page, and in some cases headless.
The illustration of Alice after she has drunk the liquid causing her to grow shows only her cramped knees.
Carroll's Alice is a feisty participant in her adventures, but Zwerger portrays her more as a sleepwalker, giving readers no opportunity to see how she is reacting to the events around her, be they bizarre, nightmarish, or humorous.
While adults may find the book interesting from a visual standpoint, either the original artwork by John Tenniel or Michael Hague's charming version (Holt, 1995), which has literally double the number of illustrations, will have more child appeal.Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ Copyright 1999 Reed Business Information, Inc.

--This text refers to the Kindle Edition edition.

From Booklist

Since it was first published in 1865, Carroll's masterpiece has inspired and challenged countless illustrators as wildly different in their styles and interpretations as Salvador Daliand Barry Moser. 
Few have matched the incomparable art of Sir John Tenniel's original pictures, but new generations keep trying because, as Alice herself says, "What is the use of a book without pictures?" The latest to undertake the challenge is Austrian artist Zwerger, who won the Hans Christian Andersen Medal in 1990.
Her watercolor pictures, which range in size from dainty, miniature decorations to full-page illustrations, are uniformly lovely and, occasionally, strange and haunting in their dreamlike quality, making them a surprisingly nice match for the text.
Zwerger enlivens her signature muted palette with splashes of vivid color, usually red, a technique that invests her dreamscapes with drama.
A must for collectors, this new version of a classic will intrigue and please many children.
Michael Cart

--This text refers to the Kindle Edition edition.


Reader Reynolds buoyantly leads listeners down the rabbit hole and into the topsy-turvy world of Carroll’s Wonderland. 
When the young Alice follows a waistcoat-wearing rabbit holding a pocket watch, she finds herself in a fantastical world of talking mice, disappearing cats, hookah-smoking caterpillars, fish-headed footmen, and babies who turn into pigs.
She shrinks smaller than a mouse and grows tall as a tree, participates in a mad tea party, plays croquet using flamingos for mallets, and runs afoul of the ill-tempered Queen of Hearts, whose cry of “Off with their heads!” seems to be the answer to most anything.
It is a madcap, nonsensical entertainment, and Reynolds leaps into this tale’s telling with enthusiastic aplomb.
Fully embracing the material, Reynolds delivers the author’s whimsical prose, poetry, and quirky characters with just the right touch of theatricality: bigger than life, but not completely over-the-top.

--This text refers to the Kindle Edition edition.


`The delicacy and intelligence of George Walker's print-making seems to have come to us from a bygone age. 
Fortunately, we have George with us now.' (Neil Gaiman)For A Is for Alice:`Here is the book that Alice herself would have loved, with wonderfully whimsical illustrations by one of Canada's greatest woodcut artists, George Walker....
Combining technical mastery with insight and wit, George has re-created a much loved classic in an old world style.
This book will be an essential and cherished possession for every Carrollian collector and lover of children's literature.' (Andy Malcolm)

--This text refers to the Kindle Edition edition.


For A Is for Alice:`Each image offered here provides evidence of its creation; there is a reminder, with each turn of the page, of the hand and thought that guided each groove. 
Walker's ability to impress such great detail (as in the grain of both the fur of the Cheshire Cat, and the branch upon which he is perched) in a print made with woodblocks is remarkable....
At the heart of this book is the art of the book, pages kissed by poetic samples of Carroll's writing and bound using artisan techniques onsite at The Porcupine's Quill headquarters.
It is a high-quality, collectible edition in which fans of the Alice stories, bibliophiles, and young readers will delight.
(Patty Comeau ForeWord Magazine)

--This text refers to the Kindle Edition edition.

From the Publisher

This book is perfect for AP classes and is often selected for inclusion on the AP exam. 
The notes, reading pointers, and vocabulary in this addition will also help students at a lower reading level get the most out of these classics.

--This text refers to the Kindle Edition edition.

From the Inside Flap

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 a trials and tribulations  of growing up--or down, or all tumed round--as  seen through the expert eyes of a child.From the Paperback edition.

--This text refers to the Kindle Edition edition.

From the Back Cover

"What is the use of a book," thought Alice, "without pictures?"For over 125 years John Tenniel's superb illustrations for Alice's Adventures in Wonderland have been the perfect complement to Lewis Carroll's timeless story. 
In that time Alice has been illustrated by numerous artists, but not one has come close to matching the universal appeal of the original pictures.This is the first Alice to reproduce Ternniel's exquisite drawings from prints taken directly from the original wood engravings.
Here, Tenniel's fine line work is far crisper, delicate shadings are reproduced with more subtlety, and details never seen before are now visible.Like most nineteenth-century children's books, the pictures for Alice were created by transferring the artist's drawings to woodblocks, But with Alice, the original blocks served as masters from which metal plates were made for printing.
Unfortunately, these plates deteriorated from the repeated pressure applied during printing, and over time, many of the fine lines in Tenniel's pictures simply vanished altogether.As the year-, passed, the original woodblocks disappeared and were believed lost; then, in 1985 they were discovered in a London bank vault.Now, for the first time, prints from these woodblocks have been used to produce a deluxe gift edition with clearer, more detailed images than have ever been seen before.
At last, readers can see the Alice that Carroll and Tenniel had originally envisioned.

--This text refers to the Kindle Edition edition.

About the Author

Lewis Carroll was the pen name of Charles Lutwidge Dodgson (1832-1898), English author, mathematician, and photographer. 
One of eleven children of a scholarly country parson, he studied mathematics at Oxford, obtained a university post, and then was ordained as a deacon but found true success with his masterpiece, Alice's Adventures Under Ground, now known as Alice's Adventures in Wonderland, which originated as a story told to a young friend, Alice Liddell, during a boating trip on the Thames.
Among his other works are Through the Looking-Glass, and What Alice Found There, The Hunting of the Snark, and Jabberwocky.Michael York is a successful screen and stage actor.
Among his screen credits are Romeo and Juliet, Cabaret, The Three Musketeers, Logan's Run, and Austin Powers.
Stage appearances include Britain's National Theatre and Broadway.
His television work has garnered Emmy nominations and his audio recordings Grammy nominations.
He has been awarded Britain's OBE, France's Arts et Lettres, and a star on the Hollywood Walk of Fame.

--This text refers to the Kindle Edition edition.

Excerpt. © Reprinted by permission. All rights reserved.

IDown the Rabbit HoleAlice 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 he was considering in her own mind (as well as she could, for the hot day made 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 veryremarkable in that; nor did Alice think it so verymuch 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, 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 book-shelves: 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 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 down-stairs! How brave they’ll all think me at home! Why, I wouldn’t say anything about it, even I fell off the top of the house!” (Which was very likely true)Down, down, down.
Would the fall nevercome 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 school-room, and though this was not a verygood 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 throughthe earth! How funny it’ll seem to come out among the people that walk with their heads downwards! The antipathies, I think--” (she was rather glad there wasno 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’m, is this New Zealand? Or Australia?” (and she tried to curtsey as she spoke--fancy, curtseyingas 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 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 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 seen: she found herself in a long, low hall, which was lit up by a row of lamps hanging from the roof.There were doors all around the hall, but they were all locked; and when Alice had been all the way down one side and up the other, trying every door, she walked sadly down the middle, wondering how she was ever to get out again.Suddenly she came upon a little three-legged table, all made of solid glass; there was nothing on it but a tiny golden key, and Alice’s first idea was that this might belong to one of the doors of the hall; but, alas! either the locks were too large, or the key was too small, but at any rate it would not open any of them.
However, on the second time round, she came upon a low curtain she had not noticed before, and behind it was a little door about fifteen inches high: she tried the little golden key in the lock, and to her great delight it fitted!Alice opened the door and found that it led into a small passage, not much larger than the rat-hole: she knelt down and looked along the passage into the loveliest garden you ever saw.
How she longed to get out of that dark hall, and wander about among those beds of bright flowers and those cool fountains, but she could not even get her head through the doorway; “and even if my head wouldgo through,“ thought poor Alice, “it would be of very little use without my shoulders.
Oh, how I wish I could shut up like a telescope! I think I could, if I only knew how to begin.” For, you see, so many out-of-the-way thinks had happened lately that Alice had begun to think that very few things indeed were really impossible.There seemed to be no use in waiting by the little door, so she went back to the table, half hoping she might find another key on it, or at any rate a book of rules for shutting people up like telescopes: this time she found a little bottle on it (“which certainly was not here before,“ said Alice), and tied around the neck of the bottle was a paper label, with the words “DRINK ME” beautifully printed on it in large lettersIt was all very well to say “Drink me,“ but the wise little Alice was not going to do thatin a hurry.
“No, I’ll look first,“ she said, “and see whether it’s marked ‘poison‘ or not” for she had read several nice little stories about children who had got burnt, and eaten up by wild beasts, and other unpleasant things, all because they wouldnot remember the simple rules their friends had taught them: such as, that a red-hot poker will burn you if you hold it too long; and that, if you cut your finger verydeeply with a knife, it usually bleeds; and she had never forgotten that, if you drink much from a bottle marked “poison,“ it is almost certain to disagree with you, sooner or later.However, this bottle was notmarked “poison,“ so Alice ventures to taste it, and finding it very nice (it had, in fact, a sort of mixed flavour of cherry-tart, custard, pineapple, roast turkey, toffy, and hot buttered toast), she very soon finished it off.* * *“What a curious feeling!” said Alice.
“I must be shutting up like a telescope!”And so it was indeed: she was now only ten inches high, and her face brightened up at the thought that she was now the right size for going through the little door into that lovely garden.
First, however, she waited for a few minutes to see if she was going to shrink any further: she felt a little nervous about this; “for it might end, you know,“ said Alice to herself, “in my going out altogether, like a candle.
I wonder what I should be like then?” And she tried to fancy what the flame of a candle looks like after the candle is blown out, for she could not remember ever having seen such a thing.After a while, finding that nothing more happened, she decided on going into the garden at once; but, alas for poor Alice! when she got to the door, she found she had forgotten the little golden key, and when she went back to the table for it, she found she could not possibly reach it: She could see it qui...

--This text refers to the Kindle Edition edition.

Excerpt. © Reprinted by permission. All rights reserved.

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.
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.
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.
The young man reinforces his arrogance by using the old man's experience as a crutch.
Whilst throwing past standards out of the window the young man may often come back in through the door if he finds his yardstick less than three feet.
An old man can become intense talking about right and wrong, and a youth can become bored as a result.
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.
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 (20030831)

--This text refers to the Kindle Edition edition.


When reading Alice on one's own, it's easy to have one's attention seized by Carroll's many fanciful characters--the Mad Hatter, the Cheshire Cat, and so on. 
Listening to Shelly Frasier read it reminds one of a crucial aspect to this story: It's a little girl who's experiencing these adventures, and, as Frasier's subtly inflected voice reminds us, Alice can go from excited to terrified in an instant.
In addition to getting her voice just right, Frasier masters all of Carroll's other verbal gymnastics, from the Dormouse's snores to the dreamy illogic of the Caterpillar, and, of course, the nonsensical verse.
This is a great pleasure.
© AudioFile 2003, Portland, Maine-- Copyright © AudioFile, Portland, Maine

--This text refers to the Kindle Edition edition.


Children's Books,Fairy Tales, Folk Tales & Myths,Science Fiction & Fantasy,Fantasy & Magic

 PDF Download And Online Read: Alice in Wonderland

Comment List (Total:14)

  •     The cover says "The definitive illustrated edition", but the images are horribly pixelated, very low quality. Images are scanned at low resolution or most likely just downloaded from the internet. I should have just ordered THE ANNOTATED ALICE instead. And I'm someone who never gives bad reviews!"

  •     WARNING!! This appears to be a self-published version of Alice in Wonderland and has obvious errors apparent even on the back jacket of the book. DON'T PURCHASE!!

  •     Love the book, the pages are perfect and the cover is suiting to the theme.

  •     Love this since I was a child.

  •     The wit and magic of Lewis Carroll lives on.. word for word... with old color Illustrations that can't be matched in a compact book, ribbon page mark, and colored illustrations...

  •     I never ordered this

  •     Very fast pass! Enjoyed it but it was a bit out there!

  •     Bought it in the hardcover. My girlfriend loves alive in wonderland! And has Dali paintings all around the house. When she saw they were coming out with this illustrated edition She had to have It!So on our anniversary I looked and looked. I found it here! I couldn't have been more happy about my purchase, and my girlfriend was absolutely overwhelmingly ecstatic and loves it. Amazing in every way

  •     Classic. Loved it.

  •     Wonderful book! I thoroughly enjoyed!

  •     Everybody knows Alice, of course. The reason for buying this particular edition of her adventures is the 13 “drippy, trippy, hypersaturated” (as Mark Burstein describes them in his introductory essay) illustrations by famed surrealist artist Salvador Dali, originally composed in 1969.This book is a worthwhile addition to the collection of any Dali fan, but people familiar only with his paintings will be in for a surprise: these illustrations, done in a mixture of gouache (a thicker version of watercolor) and black ink, have a style quite different from the photograph-like realism with which Dali usually rendered his melted watches, spindle-legged elephants, and flaming giraffes. (The ink parts of the pictures, however, are similar in style to other drawings that he did.) Certain well-known Dali motifs, such as “crutches” propping up pieces of anatomy and, yes, a melted timepiece, do appear here and there, however. The softness of the gouache makes an interesting contrast to the sharpness of the ink figures.Those looking for literal representations like the Tenniel drawings that usually accompany Carroll’s book may be disappointed, since Dali’s illustrations, for the most part, are semiabstract. Alice is always represented by an ink sketch of a girl in a full-skirted dress skipping rope, casting a long shadow, a figure that also appears in a Dali painting or two, as the introduction explains. Other characters are much harder to identify. I found it intriguing that the butterflies and other insects that often appear in the pictures are always painted very realistically, unlike most of the other figures.The book has two introductory essays, “Dodgson and Dali” by Burstein and “The Math Connection” by mathematician Thomas Banchoff. Burstein’s essay draws parallels between Carroll and the Surrealists, provides some background on Dali’s composition of the illustrations, and quotes some other critics’ responses to them. Perhaps because I don’t have a mathematical background, I found Banchoff’s essay less rewarding: it explains that Dali had an interest in certain aspects of mathematics, including Banchoff’s work, which ties the artist indirectly to mathematics professor Dodgson, but the mathematics in question doesn’t seem to have much to do with the Alice illustrations.

  •     These are two separate children’s books, but the edition I read is one of several in which they are bundled together. Besides the fact that each is only a little over 100 pages, they are conveniently bundled because they share the same lead character, Alice, and take place in similar (arguably the same) alternate realities: Wonderland and the Looking-Glass World. These are worlds in which strange events are common place and there’s little compulsion to behave logically-- worlds in which imagination rules and reality only provides a subconscious shaping of events.In the former book, Alice enters the alternate world by tumbling down the rabbit hole and in the later she does so by stepping through a mirror (i.e. a looking-glass.) Each of these books follows Alice from her entry into the alternate reality, through a series of adventures, and then back to the real world.Not much of a review is necessary because even though—given you are reading a review—you probably haven’t read the books yet, you will be familiar with many of the characters and references from widespread appearance in pop culture. I already mentioned the tumble down the rabbit hole, as does Morpheus (Laurence Fishburne) in “The Matrix.” That movie also references chasing the white rabbit, as does a famous song by Grace Slick. You’ve also probably seen or heard references to the grin of the Cheshire Cat and the frenetic behavior of the Mad Hatter. “Through the Looking-Glass” features several well-known characters from English nursery rhymes (e.g. Tweedledee & Tweedledum as well as Humpty Dumpty.)It’s also not so important to get into plot because the stories are purposefully chaotic and exist in a world of loose logic. The strings of causality are not so strong, but it’s on purpose. It’s supposed to be a strange and surreal world, and it achieves great success in this regard. Events don’t have to make sense; they just have to be imaginable. This doesn’t mean that there is no flow or transitions between the adventures in these books. There is. It’s more easily recognized in “Through the Looking-Glass” in which a game of chess provides an underlying structure for the unfolding of events.I’d recommend everybody read these books. While I referred to them as “children’s books,” I also agree with Neil Gaiman’s point that that is a nonsense term. So one shouldn’t think one missed the boat and there is no going back.

  •     I love Dali's illustrations in this! I hadn't read this in decades, and loved revisiting it and seeing Dali's interpretations.

  •     Good quality.


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