First published in 1865, Alice's Adventures in Wonderland began as a story told to Alice Liddell and her two sisters on a boating trip in July of 1862. The novel follows Alice down a rabbit-hole and into a surreal world of strange and wonderful characters who constantly turn everything upside-down with their mind-boggling logic and word play, and ...
First published in 1865, Alice's Adventures in Wonderland began as a story told to Alice Liddell and her two sisters on a boating trip in July of 1862. The novel follows Alice down a rabbit-hole and into a surreal world of strange and wonderful characters who constantly turn everything upside-down with their mind-boggling logic and word play, and their fantastic parodies. Carroll's fable illustrates his masterful ability to weave logic with nonsense in a tale that continues to delight all ages.While this great classic is widely available, the Broadview edition is unique. Richard Kelly combines Alice's Adventures in Wonderland not with the later (and largely distinct) work Through the Looking Glass but rather with Alice's Adventures Under Ground, Lewis Carroll's first version of the story. Readers are thus able to trace the literary revisions, and to compare Caroll's own illustrations in the original with the famous John Tenniel illustrations for Alice's Adventures in Wonderland. Among the many other materials included in the Broadview Literary Texts edition are a substantial selection of early reviews, selections from Carroll's diaries and correspondence, Carroll's early nonsense poems, and the originals of the poems parodied in his text.
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Publishers Weekly, 2003-09-22 Readers will be astonished by every tableau in this pop-up extravaganza. The initial spread explodes into a surprisingly tall green forest, topped by billowing leafy shapes that resemble the Cheshire Cat, Mad Hatter and Queen of Hearts. On the lawn below, in papery 3D, Alice scurries about while the White Rabbit checks his pocket watch. Along the left-hand border of the book, a series of narrow flaps present an adaptation of Lewis Carroll's text. These pages-within-pages feature pop-ups of a green bottle ("Drink me") that shrinks Alice, a cake that makes her a giant and Alice swimming in "the pool of tears that she had wept when she was nine feet high." Finally, an accordion-pleated square in the lower right corner expands into a long, vertical rabbit hole; through its circular window, Alice can be seen falling, as if into a well. And that's only the beginning. Subsequent stages of this moveable feast include a wiggly Alice grown too large for the White Rabbit's house; a Mad Tea Party with shining silver-foil tea service (the March Hare and Mad Hatter dunk the Dormouse in a teapot); and Alice waving her arms as the Queen and her court, transformed to a "pack of cards," arch over her head like a rainbow. Those who know the story can best negotiate this wonderland, for the narrative gets a bit lost in the visual dimensions. Sabuda, who also has adapted The Wonderful Wizard of Oz, borrows from the Tenniel illustrations, but pares them down and drenches them with violet, fuschia, gold and green hues. His paper engineering snaps solidly into place, and elements like the Cheshire Cat's unfolding face are both startling and beautiful; and the pack of cards rising up into the air will have the audience studying how Sabuda created the effect of scattering and tumbling. A Jabberwocky cheer of "O frabjous day! Calloo, callay!" seems appropriate for this salute to Carroll's classic. All ages. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
Publishers Weekly, 1999-11-01 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, yet?unlike Sir John Tenniel's sedated counterpart?this 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.) (c) Copyright PWxyz, LLC. All rights reserved
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