Alice in Wonderland [Illust. By Tenniel].pdf
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From Publishers Weekly
If Zwerger's Alice (reviewed above) is deliciously cryptic, Oxenbury's (Tom and Pippo books) brims with the fun and frights of a visit to an amusement park. In perhaps her most ambitious work to date, Oxenbury applies her finely honed instinct for a child's perspective to create an Alice accessible to all ages. With the opening scene of a tomboyish heroine slumped against her sister who is reading under a tree, the artist seems to answer Alice's first line: "What is the use of a book... without pictures or conversations?" Nearly every spread contains either a spot-line drawing or full-bleed full-color painting. The artist nods to Tenniel with her hilarious portrait of the waistcoated White Rabbit and even extends the metaphor of the "grin without a cat" with a quartet of watercolors as the Cheshire Cat begins to disappearAuntil only his grin remains. The villains here are more stoogelike than menacing, including the baby-throwing Duchess and the Queen of Hearts, and Oxenbury makes the most of such comic opportunities as the entangled powdered wigs of the Frog-Footman and Fish-Footman. A series of cleverly choreographed closing scenes shows Alice in the Queen's courtroom, pelted by the playing cards that, on the next spread, seem to have transformed into the falling leaves of the tree where Alice awakens and her sister gives her a kiss; a poignant parting shot of Alice's sister silhouetted at dusk under the tree, with sheep grazing in the field, acknowledges the shift in tone of Carroll's conclusion. An ideal first introduction to a lifelong favorite read. Ages 8-up. (Nov.)
Copyright 1999 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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 out of print or unavailable edition of this title.
"A book of wonder and nonsense laced with lethal wit."
"Precise, dream-like, subversive."
--Independent on Sunday--From the Paperback edition.
Lewis Carroll's real name was Charles Lutwidge Dodgson. He was born on 27th January 1832 at Daresbury in Cheshire. He studied at Christ Church, Oxford University and later became a mathematics lecturer there. He wrote Alice's Adventures in Wonderland (1865) and Through the Looking Glass (1872) for the daughters of the Dean of Christ Church. He was very fond of puzzles and some readers have found mathematical jokes and codes hidden in his Alice books. His other works include Phantasmagoria and Other Poems (1869), The Hunting of the Snark (1876), Rhyme? And Reason? (1882), The Game of Logic (1887) and Sylvie and Bruno (1889, 1893). Dodgson was also an influential photographer. He died on 14th January 1898.
ONE Down the Rabbit-Hole
TWO The Pool of Tears
THREE A Caucus-Race and a Long Tale
FOUR The Rabbit Sends in a Little Bill
FIVE Advice from a Caterpillar
SIX Pig and Pepper
SEVEN A Mad Tea-Party
EIGHT The Queen's Croquet Ground
NINE The Mock Turtle's Story
TEN The Lobster Quadrille
ELEVEN Who Stole the Tarts?
TWELVE Alice's Evidence
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!"
The highest standards in editing and production have been applied to the Wordsworth Children's Classics, while the low price makes them affordable for everyone. Wordsworth's list covers a range of the best-loved stories for children, from nursery tales, classic fables, and fairy tales to stories that will appeal to older children and adults alike. Many of these volumes have contemporary illustrations, and while they are ideal for shared family reading, their attractive format will also encourage children to read for themselves. Like all Wordsworth Editions, these children's books represent unbeatable value.
This edition contains "Alice's Adventures in Wonderland" and its sequel "Through the Looking Glass". In both, Alice meets a range of characters that are now familiar figures in writing, conversation and idiom.
Book Dimension :
length: (cm)19.8 width:(cm)12.6