|Publisher:||Naxos Audiobooks Ltd.|
|Edition description:||2 Cassettes|
|Product dimensions:||4.17(w) x 5.45(h) x 0.65(d)|
|Age Range:||9 - 12 Years|
About the Author
Lewis Carroll is the pseudonym of Charles Lutwidge Dodgson (1832-1898). He wrote Alice's Adventures in Wonderland for the amusement of eleven-year-old Alice Liddell and her two sisters, who were the daughters of the dean of Christ Church College, Oxford, where Dodgson taught mathematics. The book was published in 1865, and its first companion volume, Through the Looking-Glass and What Alice Found There, followed in 1871.
Read an Excerpt
From Tan Lin's Introduction to Alice's Adventures in Wonderland and Through the Looking-Glass
Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There pursue what lies beyond and down rabbit holes and on reverse sides of mirrors. But mainly their subject is what comes after, and in this sense the books are allegories about what a child can know and come to know. This quest, as in many great works of literature, unwinds against a larger backdrop: what can and what cannot be known at a particular historical moment, a moment that in Lewis Carroll's case preceded both Freud's speculations on the unconscious and Heisenberg's formulation of the uncertainty principle. Yet because the books were written by a teacher of mathematics who was also a reverend, they are also concerned with what can and cannot be taught to a child who has an infinite faith in the goodness and good sense of the world. But Alice's quest for knowledge, her desire to become something (a grown-up) she is not, is inverted. The books are not conventional quest romances in which Alice matures, overcomes obstacles, and eventually gains wisdom. For when Alice arrives in Wonderland, she is already the most reasonable creature there. She is wiser than any lesson books are able to teach her to be. More important, she is eminently more reasonable than her own feelings will allow her to express. What comes after for Alice? Near the end of Through the Looking Glass, the White Queen tells Alice, "Something's going to happen!"
Quests for mastery are continually frustrated in the Alice books. In comparison with the eversane Alice, it is the various Wonderland creatures who appear to be ridiculous, coiners of abstract word games. Yet Carroll also frustrates, with equal precision, Alice's more reasonable human desires. Why, after all, cannot Alice know why the Mad Hatter is mad? Or why will Alice never get to 20 in her multiplication tables? In Carroll, the logic of mathematical proofs runs counter to the logic of reasonable human desireand neither logic is easily mastered. To his radical epistemological doubt, Carroll added a healthy dose of skepticism for the conventional children's storya story that in his day came packaged with a moral aim and treated the child as an innocent or tabula rasa upon which the morals and knowledge of the adult could be tidily imprinted.
Alice embodies an idea Freud would later develop at length: What Alice the child already knows, the adult has yet to learn. Or to be more precise, what Alice has not yet forgotten, the adult has yet to remember as something that is by nature unforgettable. In other words, in Alice childhood fantasy meets the reality of adulthood, which to the child looks as unreal and unreasonable as a Cheshire Cat's grin or a Queen who yells "Off with her head!" But even as she calls adult reality unreal, Alice, as the most reasonable creature in her unreasonable dreams, doesn't quite yet realize that the adult's sense of reality has already taken up residence in her. The principal dream of most childrenthe dream within the dream, as it wereis the dream of not dreaming any longer, the dream of growing up. For the adult, the outlook is reversed. The adult's quest is an inverted one: to find those desires again, in more reasonable formsand this involves forgetting the original childhood desires (to become an adult) in order to remember them as an adult. The psychoanalyst Adam Phillips notes: "Freud is not really saying that we are really children, but that the sensual intensities of childhood cannot be abolished, that our ideals are transformed versions of childhood pleasures. Looking forward . . . is a paradoxical form of looking back. The future is where one retrieves the pleasures, the bodily pleasures of the past."1 The Alice books manage to show both these queststhat of the child to look forward, and of the adult to look backsimultaneously, as mirror logics of each other.
Like both Freud and the surrealists, Carroll implicitly understood that a child's emotions and desires appear omnipotent and boundless to the childand thus make the adult's forgetting of them difficult if not illogical. Growing up poses psychological and logical absurdities. The quandary of a logically grounded knowledge constituted out of an illogical universe pervades both books. The questions that Alice asks are not answered by the animals in Wonderland nor by anyone after she wakens. It is likely that her questions don't have answers or that there are no right questions to ask. Alice's Adventures in Wonderland and Through the Looking Glass remain the most prophetic of the nineteenth century's anti-narratives, inverted quest romances, circular mathematical treatises on the illogical logic of forgetting one's desires. They display a logic that the child must master in order to grow up. As the White Queen remarks of the Red Queen: "She's in that state of mind . . . that she wants to deny somethingonly she doesn't know what to deny!"
Table of Contents
Reading Group Guide
ALICE'S ADVENTURES IN WONDERLAND and THROUGH THE LOOKING-GLASS
by Lewis Carroll
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 streamthe three little maidens and Iand 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 meaninglessnessas the Lobster-Quadrille would urgeand a compulsion to interpret, or decode meaning in even the most trivial incidentas 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 dohe 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.
- 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?
- 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?
- 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?
- 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?
- "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.
- 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?
- 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?
- What is the significance of the mushroom that Alice eats during her adventures?
- 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?
- 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?
- 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?
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)
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.
- 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
Most Helpful Customer Reviews
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
Scanned copy w/ no proofreading.
I really like this book. The author does a good job describing how the main character is feeling and thinking.
Lots of growing and shrinking Fanntasy All in all a good book
Very interesting book but all the typos make it very hard to read. Takes a lot of personal creativity to work around.
Who cares if there are mistakes? I KNOW i dont. :)
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.
It is great for anyone over the age of about 8
Its a good book.
The letters where scatterd EVERY WHERE!!!!! But besides that it was a really good book. I rate it five stars!
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.
If you have seen the Alice in Wonderland movie, starring Jonny Depp as the Mad Hatter, circa 2010, do not expect this book to be anything like the movie. Yes, there are some similarities, but the movie is actually a blend of the 1st & 2nd Alice books- this one, and the second novel, which is called Through the Looking Glass. However, even though this novel was not what i was expecting after watchimg the movie, I still enjoyed it anf highly recommend it to anyone who is looking for a good classic novel to read. <3 the_book_worm
I take that back this one is terrible!!!!!!!!!
I am a ten-year-old and I hate boring books. This one is not boring at all and whoever says so is a blockhead. As a six-year-old Alice is a little annoying but seriously get over it. The book is better that way with her like that. Oh my god, you have to watch the movie Alice in Wonderland it is great and is a mixture of this book and Through the Looking Glass. :3 I LIKE KITTIES
Just a few misspellings in this story, but its rather good for a free book on a nook! I really love this book anyway though. Happens to be my favorite, even though i am pretty sure when L. Carol wrote this he was high... if you read it you will understand surly. Such a crazy book. -Carebear ;)
I watch the show and reading it is better
Lol i love this
I can not belve that this book is much better than any other book (like any other alce book i read ) d i like them but not as much as this one
All of their songs are the same.
You mean the movie is way differnt from the book -_-
This book is awesome. I read it to my 6 year old sister and she loved it. I love the movie with Jonny Deap in it too. That movie is the best . Now back to the book . That book is totilly awesome.
To many typos in this book
Line breaks at seemingly random places, though at least what's there is decent. Look elsewhere, people.