About the Author
Charles Lutwidge Dodgson (Lewis Carroll) (1832–98) attended Rugby School for four years and matriculated at Christ Church, Oxford, in May 1850. In 1855, he was appointed mathematical lecturer at Christ Church, a position he held until 1881. Late in the year 1865, he published, under the pseudonym Lewis Carroll, Alice’s Adventures in Wonderland—the Alice of the title being patterned after a daughter of Dean Liddell of the college. In 1869 came Phantasmagoria, in 1871 Through the Looking-Glass, in 1876 The Hunting of the Snark, and in 1883 Rhyme and Reason. During the years in which Lewis Carroll was delighting children of all ages, C. L. Dodgson was publishing mathematical works, the most famous of these being Euclid and His Modern Rivals (1879). Though his authorship of the Alice books was well-known, he shied away from publicity, stating, “Mr. Dodgson neither claimed nor acknowledged any connection with the books not published under his name.”
Review
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 an alternate kindle_edition edition. Book Description
When Alice sees the White Rabbit run by, she is burning with curiosity. Jumping up, she follows him into a rabbit hole. Then she falls down a long, long way...Roy Hudd, Sarah-Jane Holm and David Bamber star in a BBC Radio 4 full-cast dramatization of Lewis Carroll's spell-binding and fantastic story which sparkles with nonsensical life. --This text refers to an alternate kindle_edition edition. Excerpt. © Reprinted by permission. All rights reserved.
From Chapter IV: The Rabbit Sends in a Little BillIt was the White Rabbit, trotting slowly back again, and looking anxiously about as it went, as if it had lost something; and she heard it muttering to itself, “The Duchess! The Duchess! Oh my dear paws! Oh my fur and whiskers! She’ll get me executed, as sure as ferrets are ferrets! Where can I have dropped them, I wonder?” Alice guessed in a
moment that it was looking for the fan and the pair of white kidgloves, and she very good-naturedly began hunting about for them, but they were nowhere to be seen—everything seemed to have changed since her swim in the pool; and the great hall, with the glass table and the little door, had vanished completely.
Very soon the Rabbit noticed Alice, as she went hunting about, and called out to her, in an angry tone, “Why, Mary Ann, what are you doing out here? Run home this moment, and fetch me a pair of gloves and a fan! Quick, now!” And Alice was so much frightened that she ran o at once in the direction it pointed to, without trying to explain the mistake that it had made.
“He took me for his housemaid,” she said to herself as she ran. “How surprised he’ll be when he finds out who I am! But I’d better take him his fan and gloves—that is, if I can find them.” As she said this, she came upon a neat little house, on the door of which was a bright brass plate with the name “W. RABBIT ” engraved upon it. She went in without knocking, and hurried upstairs, in great fear lest she should meet the real Mary Ann, and be turned out of the house before she had found the fan and gloves.
“How queer it seems,” Alice said to herself, “to be going messages for a rabbit! I suppose Dinah’ll be sending me on messages next!” And she began fancying the sort of thing that would happen: “‘Miss Alice! Come here directly, and get ready for your walk!’ ‘Coming in a minute,’ nurse! But I’ve got to watch this mouse-hole till Dinah comes back, and see that the mouse doesn’t get out.’ Only I don’t think,” Alice went on, “that they’d let Dinah stop in the house if it began ordering people about like that!”
By this time she had found her way into a tidy little room with a table in the window, and on it (as she had hoped) a fan and two or three pairs of tiny white kid-gloves: she took up the fan and a pair of the gloves, and was just going to leave the room, when her eye fell upon a little bottle that stood near the looking-glass. There was no label this time with the words “DRINK ME,” but nevertheless she uncorked it and put it to her lips. “I know something interesting is sure to happen,” she said to herself, “whenever I eat or drink anything: so I’ll just see what this bottle does. I do hope it’ll make me grow large again, for really I’m quite tired of being such a tiny little thing!”
It did so indeed, and much sooner than she had expected: before she had drunk half the bottle, she found her head pressing against the ceiling, and had to stoop to save her neck from being broken. She hastily put down the bottle, saying to herself “That’s quite enough—I hope I sha’n’t grow any more—As it is, I ca’n’t get out at the door—I do wish I hadn’t drunk quite so much!”
Alas! It was too late to wish that! She went on growing, and growing, and very soon had to kneel down on the floor: in another minute there was not even room for this, and she tried the effect of lying down with one elbow against the door, and the other arm curled round her head. Still she went on growing, and, as a last resource, she put one arm out of the window, and one foot up the chimney, and said to herself “Now I can do no more, whatever happens. What will become of me?”
--This text refers to an alternate 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.
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.
- 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.
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
--This text refers to an alternate kindle_edition edition. Review
"This edition offers many of the essential notes of Gardener's Annotated Alice at a much more economical price. It's rare that you find such a useful version using Tenniel's illustrations at such an available price."--Karen L. Ruch, University of Alabama
--This text refers to an alternate kindle_edition edition. Review
`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) --This text refers to an alternate kindle_edition edition. From the Author
Lewis Carroll, sometimes referred to by his real name “Charles Lutwidge Dodgson,” was an English writer as well as pursuer of many other artistic and intellectual fields. He was born in Daresbury, Cheshire, England, in 1832, and wrote poetry and short stories from a very young age. As an adult, he attended Oxford University. Throughout his life he penned numerous stories, most notably the two Alice stories. He died in 1898 at age 65.
Sir John Tenniel was a famous English illustrator and cartoonist born in Bayswater, United Kingdom. Throughout his career, he became one of the most significant contributors to the Golden Age of illustration. He illustrated political cartoons for Punch magazine for more than fifty years, provided the famed illustrations for Lewis Carroll’s Alice classics, and was knighted for his artistic achievements. He died in 1914 at age 93. --This text refers to an alternate kindle_edition edition. Review
Praise for Alice s Adventures in Wonderland: [A]t once a biting social and political satire sufficiently complex to satisfy the most sophisticated adult and a delightfully whimsical fairy tale to capture the fancy of the imaginative child. --Masterpieces of World Literature
Praise for Through the Looking Glass: By any reckoning...[one of the] most original works of fiction to emerge from that strange and original time known as Victorian England. --Guardian (London) --This text refers to an alternate kindle_edition edition. From the Publisher
Founded in 1906 by J.M. Dent, the Everyman Library has always tried to make the best books ever written available to the greatest number of people at the lowest possible price. Unique editorial features that help Everyman Paperback Classics stand out from the crowd include: a leading scholar or literary critic's introduction to the text, a biography of the author, a chronology of her or his life and times, a historical selection of criticism, and a concise plot summary. All books published since 1993 have also been completely restyled: all type has been reset, to offer a clarity and ease of reading unique among editions of the classics; a vibrant, full-color cover design now complements these great texts with beautiful contemporary works of art. But the best feature must be Everyman's uniquely low price. Each Everyman title offers these extensive materials at a price that competes with the most inexpensive editions on the market-but Everyman Paperbacks have durable binding, quality paper, and the highest editorial and scholarly standards. --This text refers to an alternate kindle_edition edition. From Publishers Weekly
wonderland revisited Spanish illustrator Angel Dominguez fills an unabridged edition of Lewis Carroll's Alice's Adventures in Wonderland with 75 watercolors, most of them closely packed with lush oversized flowers, strange creatures and winding vines reminiscent of Art Nouveau-often against bizarrely serene pastoral backgrounds. Exotic birds and animals, such as peacocks and zebras, wander through the picture frame. While the illustrations bring out the text's absurdity, pretty-in-pink Alice provides a counterpoint not of normalcy but of sentimentality.
Copyright 1996 Reed Business Information, Inc. --This text refers to an alternate kindle_edition edition. From School Library Journal
Grade 4 Up-- Edens has compiled and arranged illustrations from 25 editions of Alice in Wonderland published in the early to mid-1900s. The result is a fascinating look at a variety of illustrative styles. This is far less jarring than one might expect because the original illustrator, John Tenniel, has so strongly influenced his successors that their interpretations are often similar in design. In fact, the fascination in these pictures is the differing details--Alice's dress, her hairstyle, and her expressions tell much about the time period and the artist's viewpoint. Edens has also done a fine job of integrating the pictures with the text. He varies interest by utilizing full-page plates, half plates, vignettes, and even reducing some illustrations to fit the design so the book flows fairly well and these myriad illustrations blend into a whole rather than distract the eye. The reproduction is excellent. A must for collections with historical interest in children's literature and large libraries. --Karen K. Radtke, Milwaukee Public Library
Copyright 1990 Reed Business Information, Inc. --This text refers to an alternate kindle_edition edition. From Kirkus Reviews
A welcome, greatly expanded third edition of Gardners beloved critical edition of Carrolls Victorian fairy tales. One of the longest ongoing love affairs in literature has to be that between Gardner, a prolific, popular writer on math and science, and Carrolls ostensible childrens tales, Alices Adventures in Wonderland and Through the Looking Glass. With a dedication rare even among scholars, Gardner has tracked down origins and meanings of the wordplay and mathematical puzzles the sly Carroll embedded in his texts. He has also researched Charles Dodgson's life and illuminated the two stories sly parody of high Victorian culture. This new volume combines the notes from The Annotated Alice (1960) and More Annotated Alice (1990) with Gardners latest discoveries, offering both ardent fans of Carroll's work and newcomers a chance to read the texts in the light of Gardner's labors. The result is rather like sitting in on the creation of a work of art; the manner in which the shy mathematician and tutor Dodgson poured everything that fascinated him (children's games, chess, mathematical riddles and logic, an amused view of Victorian literature and society) into the work by his alter ego Carroll is illuminated through Gardner's lucid and copious notes. They run in a narrow (and surprisingly unobtrusive) column accompanying Carroll's text on each page, turning the book into a fluid mix of Carroll and Gardner. The illustrations, by John Tenniel, also provide fertile ground for Gardner's commentary. The notes are so clear, enthusiastic, and helpful that it is now hard to imagine Carroll without Gardner. A unique collaboration has produced, for once, a book that lives up to its name. As close to a definitive take on a classic work as anyone is likely to come. -- Copyright ©1999, Kirkus Associates, LP. All rights reserved. --This text refers to an alternate kindle_edition edition. Review
"A book of wonder and nonsense laced with lethal wit." —Guardian
"A marvellous confidence in the primacy of the imagination." —Will Self, author, The Book of Dave
"Precise, dream-like, subversive." —Independent on Sunday
--This text refers to an alternate kindle_edition edition. Need a classic pick-me-up? Have you thought that it would be nice to read a book with flair and style, but just don't know where to look? Then this is your lucky day. Alan Bennett's extraordinary narration sets this work apart from the merely good, and even from the merely fantastic. His voice can best be described as gnomish, magical, and otherworldly. He has an entire metropolitan area's worth of character voices at his disposal, and he uses them liberally throughout this book. Bennett's enunciation is crystal clear, and his pacing, pauses, and emphasis are right on the mark. So fret not, dear reader; here is nourishment for the word lover's soul. R.I.G. Winner of AudioFile Earphones Award © AudioFile 2006, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to an alternate kindle_edition edition. British illustrator Oxenbury, best known for her acclaimed depictions of baby and toddler life, has undertaken the ambitious challenge of illustrating Carroll's classic dreamscape. This is the second new edition of Alice this season, and though it is a welcome addition, it suffers a bit by comparison with Lisbeth Zwerger's version . Oxenbury's Wonderland is a soft, beautiful springtime world that is a pleasure to observe, but it lacks Zwerger's sense of mystery and Carroll's intellectual angularity. As for Oxenbury's Alice, she's pretty and blonde, but she lacks personality and may be too jarringly contemporary in appearance for some readers. Nevertheless, Oxenbury is a brilliant watercolorist, and her pictures are beautifully designed, as is the book itself. The thick, elegant, cream-colored paper is a visual and tactile delight. Michael Cart --This text refers to an alternate kindle_edition edition. From Library Journal
Clarkson Potter published The Annotated Alice in 1960, and Gardner published the sequel More Annotated Alice in 1990. Here, Gardner combines and expands both to produce The Definitive Edition. This presents the full texts of Alice's Adventures in Wonderland, Through the Looking-Glass, and "The Wasp in a Wig," a "suppressed" chapter of Looking-Glass. Each of these texts is accompanied by a lengthy marginal commentary that identifies historical and literary references and allusions, explains Carroll's logical and mathematical puzzles, and interprets colloquialisms and idiomatic expressions. Gardner's commentary is sufficiently detailed to be informative without burdening Alice with excessive pedantic baggage. The Definitive Edition also includes Tenniel's original illustrations and an exhaustive annotated list by David Shaefer of Alice on the screen. This is a happy contribution to those who appreciate Lewis Carroll.
-Thomas L. Cooksey, Armstrong State Coll., Savannah, GA
Copyright 1999 Reed Business Information, Inc. --This text refers to an alternate kindle_edition edition. From the Inside Flap
"Curiouser and curiouser!" cried Alice (she was so much surprised, that for the moment she quite forgot how to speak good English.) "Now I'm opening out like the largest telescope that ever was! Good-bye, feet!"
Alice and all her many friends will never be forgotten so long as books for children are published. The fascinating adventures of this timeless little girl as she plunges down the rabbit-hole, shrinks and grows, meets the pack of cards and the chess pieces -- should be read regularly by all ages for their totally original fantasy, their humor, and their charm. --This text refers to an alternate kindle_edition edition. 
![Alice's Adventures in Wonderland and Through the Looking Glass by [Lewis Carroll, Erin Morgenstern]](https://m.media-amazon.com/images/I/51fFsMSU8CL._SY346_.jpg)
