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Full text of "Knight Letter No. 86"

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KNIGHT LETTER 






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TA^ Lewis Carroll Society of North America 




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LONDON : 
PUBLISHED AT THE OFFICE, 85, FLEET STREET, 



AND SOLD BY ALL BOOKSELLERS. 
1864. 



Summer 201 1 



Volume II Issue 1 6 



Number 86 




Knight Letter is the official magazine of the Lewis Carroll Society of North America. 

It is published twice a year and is distributed free to all members. 

Editorial correspondence should be sent to 

the Editor in Chief at mahendra373@hotmail.com. 

SUBMISSIONS 

Submissions for The Rectory Umbrella and Mischmasch should be sent to 

mahendra373@hotmail.com. 

Submissions and suggestions for Serendipidity and Sic Sic Sic should be sent to 

andrewogus@mindspring.com 

Submissions and suggestions for All Must Have Prizes should be sent to 

joel@thebirenbaums.net. 

Submissions and suggestions for From Our Far-Flung Correspondents should be sent to 

FarFlungKnight@gmail.com. 

© 2011 The Lewis Carroll Society of North America 
ISSN0193-886X 

Mahendra Singh, Editor in Chief 

Ann Buki, Editor, Carrollian Notes 

Cindy Watter, Editor, Of Books and Things 

James Welsch & Rachel Eley, Editors, From Our Far-Flung Correspondents 

Mark Burstein, Production Editor 

Andrew H. Ogus, Designer 

THE LEWIS CARROLL SOCIETY OF NORTH AMERICA 

President: 

Mark Burstein, wrabbit@idiom.com 

Vice-President: 

Cindy Watter, hedgehogccw@sbcglobal.net 

Secretary: 

Clare Imholtz, imholtz99@atlantech.net 

www.LewisCarroll.org 

Annual membership dues are U.S. $35 (regular), 

$50 (international), and $100 (sustaining). 

Subscriptions, correspondence, and inquiries should be addressed to: 

Clare Imholtz, LCSNA Secretary 

11935 Beltsville Dr. 

Beltsville, Maryland 20705 

Additional Contributors to This Issue 
Saranne Bensusan, Alan Levinovitz, Alan Tannenbaum 

On the cover: The semiannual Punch compendium for January through June 1864 
shows a half-hidden Alice figure. See That Badcock Girl, p. 17. 




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CONTENTS 



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THG RGCTORY UMBRGLLA 

Alice in San Franluma 1 

AUGUSTA. IMHOLTZJR. 

A Carrollian in Brazil: Adriana Peliano, Part Two 9 

ANDREW SELLON & MAHENDRA SINGH 

Butcher in the Ruff: Rendering the Snark 14 

(A Work in Progress) 

OLEG LIPCHENKO 

That Badcock Girl 17 

MARK BURSTEIN 

It Isn't "Christ Church College"! 19 

EDWARD WAKELING 

Alice 150: Celebrating Wonderland — 20 

A Call for Support! 

Through a Carrollian Lens: Byron Seivell 2 1 

MISCHMASCH 



Leaves from the Deanery Garden — Serendipity- 
Ravings — Sic, Sic, Sic 

The Mad Snarkers 
MATT DEMAKOS 

All Must Have Prizes 

JOEL BIRENBAUM 

CARROLLIAN NOT6S 

A Brandy and Water with Lewis Carroll 

ROBERT MITCHELL 



25 
31 



32 



Boojums from Down Under 32 

JOEL BIRENBAUM 

The Eternal Jabberwock 35 

The Animating of a Snark 36 

Transforming Alice into a Museum Wonderland 38 

HILARY WINIGER 

OF BOOKS AND THINGS 



The Alice Behind Wonderland by Simon Winchester 39 

CINDY CLAYMORE WATTER 

Livres d 'artiste 40 

Under the Influence of A lice: 4 1 

Music Inspired by the Classic Tale 

DR. GREG BOWERS 

Alice in Wonderland: a Classic Story Pop-Up Book 42 
with Sounds 

ANDREW OGUS 

Alisa dlya Malishei: A Russian Nursery Alice 42 

AUGUSTA. IMHOLTZ,JR. 

Slithy Tove 43 

Trevor Brown's Alice' 43 

MARK BURSTEIN 

FROM OUR FAR-FLUNG 
CORReSPONDSNTS 



Art & Illustration — Articles 6? Academia — Books — 

Events, Exhibits, & Places — Internet & Technology — 

Movies £sf Television — Music — Performing Arts — -Things 44 



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^^^^^ s temporary editor-in-chief of tliis journal, 
^^^\ I do hope that Lewis Carroll would have 
M. ^.approved our hastily improvised editorial 

strategy. If you don't know where you are going, any 
road will take you diere, and die international per- 
egrinadons of this issue certainly fit that bill. We fin- 
ish our lengthy interview with artist Adriana Peliano, 
president of the Sociedade Lewis Carroll do Brasil. We 
have several articles from Great Britain — including a 
gende (though firm) Carrollian correcdon from Ed- 
ward Wakeling — and also news of a British animated 
film version of the Snark going into producdon. Cana- 
dian LCSNA member and award-winning artist Oleg 
Lipchenko has provided us with an explanation of 
his own evolving Snark Hunt, and from China comes 
a fascinadng look at the Carrollian labors of die lin- 
guist and polymath Dr. Y. R. Chao. 

We're stardng a new feature, "Through A 
Carrollian Lens," in which various LCSNA members 
can tell us the story behind their own Carrollian inter- 
ests, adventures, and even obsessions. The feature be- 
gins with the Carrollian confessions of Byron Sewell, 
the well-known West Virginian Snark hunter. We en- 
courage bodi long-dme and new members to submit 



±*&* 



the story behind their own Carrollian adventures for 
this feature (2,500 word maximum). What led you to 
Wonderland and its environs and what did you find 
when you got there? Such journeys can be as interest- 
ing as the desdnadon itself, especially when the latter 
is nonsense of the highest order. 

While our editor-in-chief, Sarah Adams-Kiddy, is 
on sabbadcal, Ann Buki and Cindy Watter have very 
graciously volunteered their services as editors of 
"Carrollian Notes" and "Books and Things," respec- 
tively. Their contributions are greatiy appreciated, es- 
pecially at such short notice — along with those of all 
odier staff members and contributors. Finally, we're 
pleased to announce die birth of twins to Sarah and 
Ray Kiddy. Both parents resisted the nominal temp- 
tation to Tweedle the young innocents, instead nam- 
ing them Niall Alexander Kiddy and Elspeth Louise 
Kiddy, thus avoiding future family tensions and cosdy 
psychotherapy sessions. Congratulations and best 
wishes to all! 

MAHENDRA SINGH 



THG RGCTORY UMBRGLLA 







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ALICE IN SAN FRANLUMA 



AUGUST A. IMHOLTZ, JR. 



Yes, San Franluma is without doubt the worst 
portmanteau phrase ever coined anyway any- 
how, but our April meeting in San Francisco 
(Saturday, April 16, and Sunday afternoon) and in 
Petaluma some thirty miles north of the City (Sunday 
morning) was equally without a doubt one of the best 
West Coast gatherings of the Lewis Carroll Society of 
North America we have ever had. 

President Mark Burstein, in his amazing technicol- 
or dreamshirt, began our Saturday meeting by wel- 
coming us all, some sixty or so members and guests, to 
Northern California and then thanked Brewster Kahle 
for his hospitality in making the facilities of the Inter- 
net Archive's headquarters available to us. 

The mission of the Internet Archive, a digital li- 
brary and 501 (c) (3) nonprofit organization, is to pro- 
vide "free universal access to books, movies & music, 
as well as 150 billion archived web pages" — no small 
thinking there in the mind of Kahle, who founded the 
Internet Archive in 1996. They have made real prog- 
ress in moving toward that goal. From cramped quar- 
ters in San Francisco's Presidio, the Archive moved a 
few years ago to the impressive former building of the 
Fourth Church of Christ, Scientist at the corner of 
Funston and Clement in San Francisco's Richmond 
neighborhood. Built in the early 1920s in classical re- 
vival style by architect C. Werner, the church's impos- 
ing Greek columns are very similar to the columns 



on the stylized Greek temple that Brewster Kahle had 
designed for the Internet Archive's logo long before 
they acquired the 21,000-square-foot church. (Shortiy 
after the meeting I mentioned this to Mark, adding 
that the current temple featured Corinthian col- 
umns, while those in its prescient logo seemed more 
Doric. "How very Ionic," he remarked.) 

Those who have an opportunity to watch the vid- 
eo of all of the meeting's talks, which the Internet Ar- 
chive has put up at http://www.archive.org/details/ 
lewiscarrollsociety2011, will see, on the far left of the 
nave, statues of many of the people who have worked 
for the Internet Archive permanendy memorialized 
like the terracotta soldiers of Xian — though not quite 
as numerous or uniform. And because one can watch 
and listen to those talks given on Saturday, the follow- 
ing account will be somewhat briefer than previous 
accounts of our meetings. 

Mark's father, Dr. Sandor Burstein, gave the after- 
noon's first talk, in which he told the story of how he 
learned about, pursued, and in the end acquired the 
little accordion which had belonged to Alice Pleasance 
Hargreaves. The accordion, to give the little squeeze- 
box its correct name, was a flutina. It had come into 
the possession of Flodden W. Heron, a scholar and 
literary critic who wrote for The Colophon and other 
journals. He left his library and many other posses- 
sions, including Alice's flutina, to the Lilly Library at 




A lice L iddell 's Jlutin a 




Joshua Brady pl/iys Alice's Jlutin a 



Indiana University, which is located in Bloomington, 
Indiana. The library, however, was not interested in 
the realia Heron had collected, such as Alice's flutina 
or Sir Walter Scott's shoes. The accordion passed by 
inheritance to Lewis and Dorothy Allen. Sandor knew 
them through membership in die Roxburghe Club, 
the San Francisco bibliophilic society, and through 
die books produced by dieir private fine press, The 
Allen Press. Exhibiting patience, diligence in tracking 
die provenance of the flutina, and polite persistence 
without ever abandoning hope, Sandor finally was able 
to purchase it. The whole talk was a case study in how 
to be a collector and was fascinating to hear. Furdier- 
more, Sandor had die instrument restored to such a 




James Welsch and R/ichel Eley 




Alan Selsor 

fine condition that Mark's distant cousin Joshua Brody 
proceeded to play "Beautiful Dreamer" — one of Lewis 
Carroll's favorite songs — on it for us. 

Mark then called the present author to the lec- 
tern. I recounted how on Friday, the day before our 
meeting, as Clare and I were crossing Union Square, 
I — who was never a believer in channeling, in spite 
of Shirley MacLaine — suddenly found myself chan- 
neling the words of Nicholas Murray Buder, the 
longwinded and pompous president of Columbia 
University. As soon as we got to die Mechanics' In- 
stitute Library a few blocks east of Union Square for 
our board meeting, I wrote down the words I had 
heard, which were very similar to Butler's address, 
given as he awarded Alice Hargreaves an honorary 
doctorate degree in 1932. The text of die Proclama- 
tion is at the right. 



■fe 



PROCLAMATION 

Dr. Sandor Gershon Burstein, time-honored San Franciscan, 

descendant of Rabbi Elliot Burstein, son of a distinguished mother, 

Lottie, who had the wisdom to send her son to an elementary school 

where he first fell in love with Alice in Wonderland, stirring him later to 

reveal his complete understanding of the heart of a child as well as the 

mind and emotions of the adult, to create a collection of Alice books 

and works which constitute a high adornment among the American 

collections of Lewis Carroll, and which are as charming and quizzical 

and fascinating as all that the name Lewis Carroll stands for, thereby 

building a lasting bridge from his childhood of yesterday to his 

descendants today and to all his friends, always as a moving cause. 

Therefore, as a mark of respect for all that Dr. Sandor Gershon 

Burstein has done for die Lewis Carroll Society of North America 

(LCSNA) , I wish to thank him on behalf of the entire membership. For 

his many contributions, some of which are herein enumerated, 
Carrollian scholars and enthusiasts in America and around the world 
are profoundly grateful. Sandor was the cofounder of our West Coast 

Chapter, which lasted from 1979 to 1987, and often hosted its 
meetings; he was president of the LCSNA in 1983 and 1984; he is the 
author of an important series of articles on the "Alice in Wonderland 

Syndrome" as well as many other contributions to Jabberwocky, The 

Carrollian, and other journals; he has shared his knowledge of Carroll's 

life and works with all who sought his help; and he has opened his 

home to many Carrollian visitors, first on Sea Cliff 

and now on Russian Hill. 

in witness thereof, we have hereunto set our hands this 

sixteenth day of April, in the year two thousand and eleven, and since 

the birth of Lewis Carroll one hundred and seventy-nine. 

[signed by Mark, Byron Sewell, 

and almost all of the members in attendance] 



1| 



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Rachel Eley and James Welsch next gave a brief 
but very amusing account of their roles as editors of 
the Lewis Carroll Society of North America blog. They 
touched on blog entry 101010, which, as Mark point- 
ed out on Oct. 10, 2010, is 42 in binary. Rachel stirred 
some comment in asking why all the interest in the 
number 42, and finally, in what was an enjoyable dia- 
logue, they noted that the blog post on the death of 
Martin Gardner had been accessed 1900 times. Web- 
master Ray Kiddy then, also very briefly, brought us 
up to date on the newly revised and much improved 
website of the Lewis Carroll Society of North America, 
which owed much to Andrew Sellon, Ray noted. 

Next, art dealer Alan Selsor spoke feelingly about 
outsider San Francisco artist Charles Ware, whom 
Alan had known. Ware's best works are his prints with 
Alice themes, and one of them incorporated a Jesus 



figure at the Last Tea Party. He clearly was obsessed 
with Alice. Ware late in life taught himself printmak- 
ing after having struggled with substance abuse prob- 
lems. Several prints of Ware's were offered for sale 
during the intermission. 

"Lewis Carroll and Mechanical Puzzles" was the ti- 
tle of Stan Isaac's illustrated talk. Carroll did not invent 
any mechanical puzzles, unless one considers Fortuna- 
tus's Purse from Sylvie and Bruno Concluded to be in that 
class. He was, however, very interested in tangrams. He 
owned a copy of The Fashionable Chinese Puzzle, one of 
the earliest books on tangrams in English and a work 
that had become very popular in the nineteenth cen- 
tury, and also a book by Prof. Hoffman called Puzzles 
Old and New that treated tangrams. In his diary entry 
for May 17, 1880, he mentions the "15" game over 
which he spent most of the evening. It is an unsolv- 




Stan Isaacs 




Lauren Benjamin 

able puzzle with numbers one slides in a rectangular 
frame with the goal of putting "14" and "15" in the 
proper sequence — Stan had a modern version of this 
puzzle-game. From his large puzzle collection, he next 
showed other games and a series of tangible puzzles 
more or less based on Carrollian characters, including 
a modified Rubik's cube and Instant Insanity. 

Following Stan, Lauren Benjamin, a graduate 
student at Sonoma State University, gave an excellent 
talk called "Vision and Wonderland: Mystical Sight 
and Photographic Knowing in the Alice Books." She 
began by showing that Victorian visual culture of die 
second half of die nineteenth century was a margin- 



ally religious way of looking at the universe at the 
time photography was becoming popular. In her own 
words: "Coupled with his unique views on scientific 
and psychic knowledge, Carroll's work presents a co- 
gent representation of Victorian visual imagination; 
the Alice books render an interesting, exemplary rep- 
resentation of visual culture in die late 19th century, 
both in terms of physiological sight and, just as impor- 
tant, yet consistendy overlooked, a more intangible, 
marginally religious way of mystic 'seeing.'" Alice 
begins by following the White Rabbit, who is literally 
chasing time. And further, Lauren noted, the fact tiiat 
"the Wonderland clock 'grins' rather than smiles at 
Alice is not to be overlooked; here, we see a hint of 
the distincdy Victorian tendency to view the passing 
of time as a lamentable, malefic condition of life." 
Photography, she suggested, "was sometimes an artful 
or otherwise useful form of seeing; it was, like all man- 
ner of sight for the Victorians, essentially problematic 
in its assertion of Truth. These concerns of illusory 
truth are beautifully illustrated in Alice's second ad- 
venture, Through the Looking-Glass. In the fifth chapter, 
Alice enters a supernatural shop where the very act of 
viewing obscures the thing observed: 

The shop seemed to be full of all manner of 
curious things — but the oddest part of it all 
was that, whenever she looked hard at any 
shelf, to make out exactly what it had on it, 
that particular shelf was always quite empty, 
though the others around it were crowded as 
full as they could hold. 

"Things flow about so here!" she said at 
last in a plaintive tone. . . . 

After discussing Alice's problems with her own 
identity, Lauren moved on to the emerging cult 
of esoteric knowledge and spiritualism in Carroll's 
time. Yet she rightly noted that "despite die fact that 
mystical vision and nonsensical creatures dominate 
Wonderland, Alice repeatedly uses geography, madi- 
ematics, and her skills of recitation in an attempt to 
understand this world on above-ground terms; even 
while falling down an endless, supernatural rabbit 
hole, Alice attempts to pinpoint her whereabouts in 
relation to the center of the earth, wondering aloud, 
". . . that would be four thousand miles down, I diink 
. . . yes, diat's about the right distance — but dien I 
wonder what Longitude or Latitude I've got to?" 
She concluded diat "Carroll's utilization of an atypi- 
cal worldview in the Alice books — one in which die 
relationships between self, others, and die world are 
blurred — is an attempt to suggest alternative realities 
and modes of understanding for a culture poised on 
die brink of enormous, and frightening, change." 

Brewster Kahle next said a few words about the 
Internet Archive — here are just a few bits: The Ar- 
chive has 23 digital scanning centers in five covin- 





Brewster Kahle 



The audience is enraptured. 



tries; through the WayBack Machine, it preserves 
and makes available 150 billion Internet web pages, 
snapped every other week since 1996; it digitizes 1000 
books a day — so far 2,801,448 texts are available for 
free; to date, it has digitized 878,564 audio recordings 
and 510,747 movies; it operates a print-on-demand 
bookmobile; and so on. Brewster then led us on a tour 
of the scanning operations in their converted church 
building, though before we filed out of the room he 
pointed out to us that the three numbers listed on 
the wall to the left of the stage — which in the days of 
the church would have been for the day's hymns — are 
314 159 265, i.e., the number pi, or at least its begin- 
ning digits (on the right was 271 828 182, e). 

After a break for refreshments, we reassembled 
to hear James Saint Cloud speak about "The Alice 
Code." He is a disciple of Howard Thornton — a man 
who, under the pseudonym David Rosenbaum, wrote 
Queen Victoria's Alice in Wonderland. Rosenbaum 's ear- 
lier book, written under the pseudonym of Hercules 
Molloy and called Oedipus in Disneyland, is, as Mark 
Burstein said, an "extremely droll, very funny book." 
Rosenbaum founded the Continental Historical Soci- 
ety and spoke to us on the topic "Did Queen Victoria 
write Alice}" at our LCSNA meeting held at the Glee- 
son Library of the University of San Francisco on Oct. 
18, 1992. Like Rosenbaum, though not so much at 
all with the statistical arguments he employed, James 
Saint Cloud is also convinced that Victoria wrote Alice. 
He presented an argument that interlaced key dates 
subjected to abstruse interpretation and other facts 
with the claim that John Conroy, with whom the Duch- 
ess of Kent — i.e., Victoria's mother — had formed a 
close relationship, was trying to keep Victoria from 




James Saint Cloud 

the throne. Bill the Lizard is thought to represent the 
Regency Bill, the act that provided that, if the king 
died before Victoria's eighteenth birthday, Victoria's 
mother would be regent. Although Saint Cloud may 
not have convinced most of us of his thesis, he did 
offer some interesting insights and asked some good 
questions about the text and its puzzling contradic- 
tions. For example, does not Alice contradict herself 
when she says the sun is up when she falls down the 
rabbit hole and then says she was changed during the 
night? And, to give another example or two, "Is there 
a reason the Cheshire Cat rises higher each scene 
it's in? And the Mad Hatter's face grows smaller over 





Dan Singer 



Dr. Seluryn Goodacre 



time, when you compare it with his hat?" Not only 
is James Saint Cloud's talk available on die Internet 
Archive's video, one can also visit his site Alicecode. 
blogspot.com and order his novel The Alice Code, a fic- 
tionalized account of how Queen Victoria became the 
unknown author of the greatest children's book ever 
written, when it is published. 

Daniel Singer followed James Saint Cloud with 
his insider's talk about die Blu-ray DVD edition of 
Disney's Alice in Wonderland. (Daniel was one of the 
people interviewed for the Blu-ray version, along with 
Brian Sibley, Morton Cohen, Charles Solomon, and 
Paula Sigmond. He participates in the bonus Through 
the Keyhole: A Companion 's Guide to Wonderland, Refer- 
ence Footage, which contains new or additional mate- 
rial in a documentary that one can watch at the same 
time as the movie. The Disney animators, for ex- 
ample, studied film footage of the actor Ed Wynn in 
order to create the animation based on him — Wynn 
being the voice and image of the Hatter in the Disney 
version. Sometimes what is presented in the docu- 
mentary, however, has little relation to what is being 
shown in the film itself. 

Dr. Selwyn Goodacre traveled from Britain to at- 
tend our meeting, at which he gave a brilliant talk, 
largely bibliographic, though with more than a tinge 
of die lucid old-fashioned text criticism of the close- 
reading sort at which he is so very adept. He called 
his paper "New Explorations into The Hunting of the 
Snark (in Eight Fits)." Like Lauren Benjamin's talk, 
it is best heard in its full form. Here are just a few 
points Dr. Goodacre made. On the bibliographic 
side, he showed that the words of authors and pub- 
lishers cannot always be accepted: There is supposed 



to have been only one copy of the Snark bound in 
white, but we now know of 1 1 copies bound in white! 
Physical evidence trumps assertions made by what- 
ever authorities. And on the textual side, Goodacre 
noted that the phrase "Friends, Romans, and coun- 
trymen" is not an exact quotation from the speech 
Shakespeare gives to Mark Antony, where we find 
"Friends, Romans, countrymen." There are also 
some problems of scale: the Snark is said to have a 
"fondness for bathing machines, which it constant- 
ly carries about," which must mean either that the 
Snark is a Godzilla-size creature, for which we have 
no evidence, or that the bathing machines are tiny, 
just like the assortment of porcelain ones Goodacre 
drew from his jacket pocket — for he too constandy 
carries them about. He admitted that he had been 
criticized in the Lewis Carroll Revieiv for saying that 
Carroll sometimes wrote nonsense. What else can 
"they roused him with jam and judicious advice" 
be but wonderful nonsense (and the two concepts 
sometimes do belong together) ? 

The afternoon's full schedule of talks concluded 
with Mark Burstein's for-adults-only presentation 
titled "Scented Rushes: Alician Erotica." The first 
version of dlis illustrated talk was given years ago to 
an audience that included Mark's grandmodier, but 
has become a bit more edgy, largely due to accessibil- 
ity through die Internet. The show started with the 
1982 animation Malice in Wo nderla rid by V'mce Collins. 
In the world of comics, one finds Wally Woods' por- 
nographic Alice in National Screw magazine, Tommy 
Kovacs' "The Antipadiies" in his Skelebunnies, artist 
Pierre Riverstone's Alice, etc. For movies, just a couple 
to mention are Bill Osco's Alice in Wonderland — an 




Top: at the Burstein Collection; BL: The Bursteins, pere etfils; BFL Original art by Walt (Pogo) Kelly 



adult musical comedy in which Playboys Kristine De- 
Bell played Alice, Alice in Acidland, Malice in LaLaland, 
and so on. All of the slides and excerpts were accom- 
panied by Mark's typical witty commentary (there was 
a lot of opportunity for broad humor) on this subject, 
which at least the U.S. Department of Justice at one 
time took very seriously indeed. 

An absolutely delightful keepsake, a limited edi- 
tion cookbooklet titled Tried Favorites for Teatime, edited 
by Cindy Claymore Watter and designed by her daugh- 
ter, the Oxford-bound Charlotte, was distributed to all 
attending the meeting at the Internet Archive. 



A good number of us, 20 or so, then made our 
way to the Jackson Fillmore Trattoria, located surpris- 
ingly at Fillmore and Jackson Streets, where we en- 
joyed a delicious dinner and sparkling conversation. 
What the few other customers who were able to find a 
table thought of us I cannot say. 

Thanks to Vice President Cindy Watter's organi- 
zational skills, on Sunday morning we traveled in cars 
from San Francisco across the Golden Gate Bridge and 
up about 30 miles to Mark and Llisa's home in the farm 
country of Petaluma in Sonoma County. The Burstein 
collection is housed in a three-story tower separated 




Bob Hornback 



from the main house by a hundred yards or so. We saw 
at close quarters the flutina that Sandor had discussed 
on the previous afternoon, beautifully restored and 
resting in a purpose-built mahogany case. 

Lewis Carroll's own cribbage board, which also 
came from the Heron trove, was available for inspec- 



tion on the shelf above the flutina. The treasures of 
the Burstein Collection are too numerous to men- 
tion: rare first editions, photographs, and thousands 
of books, posters, original art, tchotchkes, and more. 
Some can be seen online, as our website explains: 
Twenty-seven beautifully rendered hi-resolution fac- 
similes of old Lewis Carroll books (and hundreds 
from other authors) can be read online at rare- 
bookroom.org, translations "in Dutch, Esperanto 
(illustrated by B. LeFanu), Farsi, French (Rackham, 
Tenniel), German (Birnbaum, Tenniel), Greek, Hun- 
garian, Italian, Polish, Romanian, Russian, Spanish, 
and Swahili," and English editions with illustrations 
by Maybank, McManus, Pease, Pogany, Rackham, 
Charles Robinson, Rountree, and Winter." 

Following a delicious boxed lunch at the main 
house, some of us stayed for a tour of the Eames Col- 
lection, Llisa being the granddaughter of designers 
Charles and Ray Eames (think Eames chairs, lots of 
them festooned from a balcony) , and some wandered 
back to look at more of the books in the Alice tower. 
Both Mark and Llisa deserve our thanks for the treats 
they provided and the hospitality they showed to us. 

By mid-afternoon we headed back to the city, to 
the Walt Disney Family Museum located in the Presidio, 
where we heard an entertaining talk, "A Garden Tour 
of Wonderland," by Bob Hornback, dressed fittingly as 
the White Rabbit, and enjoyed a screening of the 1951 
Disney film with further discussion by our experts. 

Although in Alta California there never was a mis- 
sion named San Franluma, perhaps there is one in 
that parallel universe called Outland. We shall have to 
look for it carefully when we are next there. 




The ceiling of the tower. 



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7*F 



A CARROLLIAN IN BRAZIL: ADRIANA PGLIANO 



ANDREW SELLON & MAHENDRA SINGH 



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PART II 



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This is the second and final installment of our inter- 
view with Adriana Peliano, the artist, teacher, and 
founder of the Sociedade Leivis Carroll do Brasil (Letuis 
Carroll Society of Brazil). 

KL: Do you think it possible to honestly "talk " about lan- 
guage luith pictures, especially when dealing with non- 
sense such as Leivis Carroll's, which is already talking 
about language? 

ap: That is a good, hard question. To be honest, I 
don't think it is possible. I don't believe in a faith- 
ful illustration of Carroll or even other authors. 
But that's why illustration is so fascinating. When 
illustrators focus on fidelity to an author's words, 
they usually create dull pictures. When illustrators 
are stimulated to create pictures that can create a 
dialogue and propose new meanings that expand 
the ways to read a text, something exciting can 
appear. For me, reading it isn't about repeating, 
but about creating something new; it's also like 
illustrating, and like reading illustrations that 
have become a parallel text. In general, I feel the 
same about movies inspired by literature. 

I like illustrations that stimulate me to under- 
stand the original text in a creative, not submis- 
sive, way. I deeply trust the reader's imagination 
to understand what was created, to understand in 
a different way than the artist's way — I'm glad to 
see that happen. It is not about misunderstand- 
ing but active reception, co-creation. 

When I began my Alice illustrations, I tried to 
go further along the path of Carroll's language 
games. Now I'm pleased to realize that I've cre- 
ated a different path which is inspired by his. My 
grandfather used to say that he who is illiterate 
cannot read what is not written. That's my belief, 
that I have to amplify the implicit place between 
the lines. 

KL: Your book with Katia Canton is very interesting. Can 
you tell us more about it"? 

ap: This book is part of a collection where artists 
were invited to illustrate books and share author- 
ship with the writers. It is a criticism of the way 
illustrations are usually shown, as secondary to 
the written text. I illustrated it, and she wrote 
it — that's how the book is labeled — but we are 



both the authors. It talks about the Victorian age, 
explaining the context of Carroll's life and con- 
necting it with some aspects of the Alice books. 

Katia Canton is a journalist, curator, and teach- 
er at the University of Sao Paulo. She is also my 
mentor while I'm studying for my MA in Brazil. 
She is a specialist in fairy tales and children's lit- 
erature and has written many books for children. 
In this book, we wanted to offer something for 
both children and adults. I think that the text 
is more accessible for children and the illustra- 
tions are more complex, but that is intentional. 
I'm tired of childish images that underestimate 
children's intelligence. The publishing market 
mostly teaches children to understand images in 
an obvious way. 

To be honest, I didn't elaborate my Carrollian 
illustrations too much on a conceptual level. I 
was so immersed in Carroll's universe and in the 
pictures I was using that the images came to my 
mind in a more intuitive way. While I was improv- 
ing the collages I began to interpret them, but 
I followed the river, mainly. I study a lot. I'm 
always researching new artists and visual refer- 
ences, of course, but when I began I allowed the 
images to flow. 

I think I created something that did not strict- 
ly correspond to the text but put it in a different 
context. We are talking about the Victorian age, 
and then suddenly I'm presenting Hieronymous 
Bosch, Salvador Dali, Giuseppe Archimboldo, 
Marcel Duchamp, etc. Why? I think this shows 
that Carroll isn't strictly Victorian. I intended, 
like the surrealists, to create a brotherhood cross- 
ing the ages, to show that Carroll is part of a 
broader investigation of the territory of dream, 
of metamorphosis, and those conundrums that 
question common sense and invite us to jump 
into the unknown. My MA dissertation also focus- 
es on the presence of Alice in surrealist art. 

I also think that collage stimulates the mind to 
understand that meanings are not fixed. I can re- 
signify art and the world all the time. The book is 
available for purchase on the Internet. 



KL: Your Alice Anvil FX album, can you explain how it 
happened"? Any other audio or video works? 

ap: It is not an album exactly; we just published 
it on the Internet and presented it in pri- 
vate gatherings (http://alicerabbit.blogspot. 
com/2009/05/adriana-peliano-anvil-fx-alice-no- 
pais.html). I found a warped vinyl LP of Disney's 
Alice, I played it and then began to tape repetitive 
fragments in loops and superimposidons, produc- 
ing strange and funny results. My husband, Paulo 
Beto (he was my boyfriend at die time), is a musi- 
cian, composer, and sound designer, a collector 
of contemporary and electronic compositions, 
concrete music, experimentations, etc. His work 
and tastes range from the very trashy and popular 
to the most erudite approaches. He loved what I 
had taped, and created some electronic tracks on 
top of my experiments. 

We created a video to go with diat musical 
experience. It's a work in progress where I con- 
structed an assembled Alice witii a hookah, a 
clock, cards, keys, mushrooms, butterflies, and 
tears. Alice has become a machine of multiple 
transformations, losing her identity in a laby- 
rinthic metamorphosis (http://alicenations. 
blogspot.com/2010/10/i-am-alice. html). 

My husband also composed a soundtrack for 
the 1903 Alice movie. He played it on our first 



Alice Day last year. There were many instruments, 
but the special attraction was his theremin, a cult 
Russian vintage electronic instrument which is 
played without physically touching it. The movie 
with his soundtrack is also available online, 
http://www.youtube.com/watch?v=9KOW- 
lNh9dQ&feature=player_embedded. 

KL: Would you ever be interested in doing the Snark or 
Sylvie and Bruno ? Your Snark would be very good, 
we suspect! 

ap: Yes, I would like to illustrate these two works, 
but with a commission in hand. I can no longer 
spend so much time (I spent more than two years 
on Alice) working for pleasure without a more 
commercial, publishing-oriented perspective. I 
say that, but in fact I'm illustrating Edward Lear's 
The Ozvl and the Pussycat on my own. But die Snark 
is a longer and deeper journey. 

When I went to do my MA in England, my 
plan was to illustrate the Snark as my main proj- 
ect. It changed a lot during the process, and I did 
something totally different. In fact, I had written 
a bizarre project making hermetic correlations 
between the Snark and other artworks, such as 
Duchamp's Large Glass (The Bride Stripped Bare by 
Her Bachelors, Even), making certain connections 
between the Snark and the Bride and between 
the B characters and the Bachelors, all of them 




Portal page of the SLCdB 



10 



engaged in impossible tasks. I want to read it 
again, but I suspect I will find it total nonsense. 
As for Sylvie and Bruno, I would love to illus- 
trate the Gardener's Song and some other scenes. 
The Fortunatus purse, for example, could be 
a huge art installation, influenced by Escher's 
impossible spaces. 

KL: Let's move on to your organizing activities. What 
made you decide to start a Brazil-based Carroll society ? 
Was it one particular thing, or a combination of needs? 

ap: When I began my deeper research into Alice 
13 years ago, many people around me believed I 
was crazy for being so obsessed with such a child- 
ish and crazy book. When I finished the project, 
I went to the centenary year of Lewis Carroll in 
Oxford, where I realized I was not crazy. There 
were people much more "alicinated" than I was! 
It made me feel that I was not as alone in the 
world as I thought. 

For a while I became less attached to Carroll 
and Alice, since my connection with them dur- 
ing my project was a kind of disturbing overdose! 
The core of the project lasted a bit more than 
two years. It happened, among other astonishing 
coincidences, that people began to arrive at my 
house to have dinner with Alice, and I was also 
receiving letters for Alice. Then I discovered that 
there was an Alice restaurant on the opposite 
side of the city but with the exact same address 
as mine. Brasilia is a symmetrical city, so I was the 
Alice of the Looking Glass! The old owner of my 
new apartment was called "Branca Regina," which 
literally means White Queen. Well, these are just 
two examples of the vertiginous way I was becom- 
ing involved with the subject. I can still see Alice 
everywhere. 

When I heard about Tim Burton's movie ver- 
sion, I realized that the subject would acquire a 
new importance for a broader audience. To be 
honest, now I think that it was the best aspect of 
that horrible movie: at least it stimulated curi- 
osity and research about the book. This made 
me decide to create the Society, to find other 
people to share mutual interests and to make 
my obsessions less selfish. Now I give workshops, 
help students, publish books, arrange art exhibi- 
tions, give lectures on the history of Alice illus- 
trations with special attention to contemporary 
work, and also maintain blogs offering research 
material for people around the world. In fact, 
I've created a sort of artistic nest in which our 
love for Alice and Carroll can grow. I'm very 
happy with all of this. It was one of the better 
ideas I've had in my life. 

Of course, the main influence for our 
Society was the international Societies. I met 
many Carrollians at Oxford in 1998, and now 



I'm a member of the Lewis Carroll Societies of 
England, North America, and Japan. We also 
have members from all these Societies in ours. 

KL: Are you self-appointed or elected, and how did that 
come about? Are there other officers, and are there term 
limits? 

ap: I created the Society alone and decided that 
I would be a Queen (laughs), since that is an 
impossible dream I have had since I was a child. 
In the beginning it was just me and my husband, 
who is a great artist, very loving, and always avail- 
able to help me with everything I need. He is 
a different kind of White Horse (as we call the 
Knight in Brazil). Then I met the White Rabbit 
(and current president of the LCSNA) , Mark 
Burstein, who has been the best Royal Advisor 
I could imagine since the beginning. Thanks, 
Mark! 

Step by step I began to find other amazing 
people to participate. But there are no official 
functions; the members of the Society are invited 
for specific tasks in specific projects, such as orga- 
nizing and participating in events. Some are also 
invited to translate specific texts or to find mate- 
rial for our Society's blogs (http://alicenations. 
blogspot.com/ and http://brasillewiscarroll. 
blogspot.com/). There are no rules, everything 
can change many times since breakfast, but in the 
end it all works very well. 

I confess I do most of the work, but the coop- 
eration of others is growing. Most of the time 
I have challenging and impossible ideas, and I 
then somehow multiply myself to manage them 
with a lot of work and passion. 

I also found many other international 
Carrollians who have helped and advised me with 
various research materials. They are so friendly 
and cooperative: Tania Ianovskaia in Canada, 
Andrew Sellon in the USA, Mark Richards and 
Michael O'Connor in England, Yuriko Kobata 
and Yoshiyuki Momma in Japan, and in Australia, 
Doug Howick, our Snark counselor. If I've forgot- 
ten anyone, please forgive me! 

At the same time our Brazilian members have 
been working on their own Carrollian activities, 
including multimedia events in different cities, 
theater plays, lectures, translations, academic 
dissertations, illustrations, etc. The international 
members also have important roles in the other 
Lewis Carroll Societies. Our site will make avail- 
able the Carrollian productions and activities of 
all our members. 

kl: How has the organization changed and grown over its 

first year in existence? 
ap: Basically, I take care of the blogs, do research, 

and post the material. I also collect subscrip- 



1 1 



tions and create the cards of the Carrollian deck 
for our members' gallery, which gives people a 
chance to know each other 

I decided recendy that members shouldn't 
pay; they can just buy specific items we offer, such 
as the book I published with Kada Canton and 
some other collages I've created. Since I put so 
many texts on the blog, I prefer to offer visual 
material (which can be originals) for our mem- 
bers. Also, internadonal members are assisting 
with researching academic material. 

I also had a nice team that helped to create 
our first event. It was a great success with around 
300 people and 4 hours of activities. 

Now we are organizing our next exhibition. 
It will be a big one, and we are looking for spon- 
sorship. I'm not sure when we will be ready. As 
a coincidence, I realized that 2012 will be the 
bicentenary of Edward Lear's birth. My idea is to 
create a cabinet of wonders connecting various 
creatures from both Carroll and Lear. 

KL: How many members do you have currently, in Brazil 

and the world ? 
ap: Forty-two Brazilians and seven international 

members from the USA, UK, Holland, and Japan. 

KL: What are the terms and benefits of membership? Hoiv 
do people join? 

ap: The greatest benefit of participating in the 

Society is to want to participate and have fun with 
it. Of course we want to meet intelligent, creative 
and absurd people to have incredible and impos- 
sible ideas and realize them. So the most impor- 
tant tiling is have ideas and invite others to mate- 
rialize them together, to try to materialize a land 
of wonders where the boundaries between dream 
and reality are diluted. 

Members don't need to pay. Just send me a 
picture of yourself, a headshot, then choose one 
Alice character and send me a statement answer- 
ing die Caterpillar's question: "Who are you?" 
With this material, I create a card for the person, 
a collage based on die Alice Tarot. This card goes 
into our deck, a gallery of members. Each mem- 
ber becomes both an Alice character and a tarot 
character in the deck created by Christopher and 
Morgana Abbey. 

It is important to create a network, since we're 
becoming a reference source for the general 
public. I gave several interviews this year, thanks 
to Tim Burton's movie. When people write with 
specific questions it's important to have people 
to help with the answers. It is a kind of volun- 
teer work, a way to share our knowledge about 
Carroll's works and life and the Alice books. At 
the moment, I am more interested in connect- 
ing people with similar interests to work for 



the broader public than in ourselves as a select 
group. It would work here, I suppose. 

Members can access our blog, and send 
material to be posted; they are invited to 
participate in or organize our events. They can 
buy our books and artwork at special prices. 
I wouldn't ask for fees, since all these items 
together are more expensive than people can 
afford on a regular basis. Also we don't have 
enough members to create a publication. At the 
same time, the interesting things that I find are 
posted on the blogs which are becoming really big 
Carrollian — and mosdy Alician — archives 

KL: How does your blog activity fit into the Society 's 
picture ? 

ap: At die moment, the blog is our most con- 
stant, strongest activity. It is not a blog in the 
usual sense, but an archive for research. The 
"Alicenations" blog is more imagist, providing 
popular cultural references, pointing to interest- 
ing illustrators (my focus of research), Carrollian 
events, toys, movies, video clips, etc. The 
Brasillewiscarroll blog presents articles, literary 
tales, and deeper content. We also have a website 
under construction, http://www.lewiscarroll 
brasil.com.br/. It will organize the basic stuff of 
the Society, tilings like the constitution, instruc- 
tions for applications, explanations, and a space 
for the literary, theoretical, and artistic produc- 
tions of our members. It will appear soon. 

I believe the blogs are very beautiful and 
artistic and present my conception of Alice 
as a metamorphic girl that travels through many 
artistic and literary works. In fact, die blogs are 
creative places and not just informative. 

One of the main aspects of these blogs is the 
cataloguing of Brazilian Carrollian productions, 
both theoretical and artistic: visual arts, theater, 
illustrations, art exhibitions, commercial prod- 
ucts, etc. It has never been done before. My plan 
is that our members assist by sending suggestions 
and original material for the blogs. It is an amaz- 
ingly cheap way to share our knowledge and 
research with die whole world. My grandfather 
used to say that we need to work by thinking how 
to help the world — that's what I want. 

KL: Do you do any outreach to schools and children, or 
have plans to do any ? 

ap: Last year I was invited to a literary fair to talk 
to a group of needy children about Carroll and 
Alice. It was a wonderful experience. It worked 
well, since I'm a novice storyteller who used to 
play with children at birthday parties, for which 
I also provided decorations. I was a bit afraid 
of doing it, since my approach is very adult and 



12 



maybe too complex for many children; it was a 
big challenge but worked well. 

Our next big project, the art exhibition on 
Carroll and Lear, will be aimed at children, with 
educadonal activities of art and storytelling. I 
would love to do more of these activities, but at 
the moment I don't have enough money and 
people to help. 

Another educational project of mine is the 
workshop for adults to create new contemporary 
Alices through collage. The result is at http:// 
alicequem.blogspot.com/. 

I'm also planning to do some Carrollian things 
for blind children. I would like to donate Alice 
books in Braille to them and read the story aloud 
in institutions for blind people, perhaps even 
have the story recorded with a special soundtrack. 
These Braille books are very expensive, and I 
intend to look for sponsorship. It could come 
with special tactile illustrations intended for blind 
people. I think this is an exciting way to help otii- 
ers and to get closer to people who can then have 
a direct contact with the text, people without the 
whole environment of images we live in, people 
who need stimulus to enrich their minds and 
imagination. 

KL: What unique things, if any, do you think the Brazil 

society contributes to global appreciation of Carroll? 
ap: We are very new, but I think we did a lot in 
just two years. I have published the book with 
Katia Caton which I've already talked about. The 
manuscript of Alice's Adventures under Ground in 
Portuguese that I am publishing is also an inter- 
esting contribution. This book was created with 
input from Myriam Avila, an important scholar 
of nonsense, who has written about Carroll and 
Lear. 

The blog also has strong potential, since it is 
visited by people from all over the world. We've 
had more than 30,000 visits so far. 

On one occasion, Alice Day, we presented a 
limited edition of a Carrollian tale created by one 
of our members, Wilson Bueno, a very important 
Brazilian writer who died last year, unfortunately. 
In this tale, Alice became so small that she could 
only be seen with a microscope. The tale was 
printed at a tiny size, and it came with a magnify- 
ing glass to read it. 

I also gave a series of lectures on the story 
of Alice's illustrations and also some workshops 
where people answered the question "Who is 
Alice for you?" with collages made from a kalei- 
doscope of artistic and visual references. Apart 
from that, other members of the Society have cre- 
ated events in other parts of the country, such as 
the cities of Belo Horizonte and Natal. 



I also contributed to a collective art exhibition 
inspired by Alice called "Alicities," a Bloomsday 
connecting Carroll and Joyce (where I gave a 
lecture and exhibited my A lice illustrations), and 
a seminar on Alice and Pinocchio, where I pre- 
sented a Carrollian tale I wrote and illustrated 
with collages, using Carroll's and Tenniel's illus- 
trations and photographs. It was a multimedia 
performance. I also did the poster for the event 
and borrowed some Alice books for display. 

I'm also beginning another project, open to all 
Carrollians' participation, where I'm asking for 
readers' reactions to the relationships between 
Alice and the characters she meets in her adven- 
tures. [Adriana's call for entries can be read in our 
Letters section. - Ed.} 

KL: Where would you like the Brazil society to be by 2015, 
in terms of activities and accomplishments'? 

ap: My husband and I are preparing to travel to 
attend activities in the USA. I'm planning with 
the curator Katia Canton to organize a collective 
art exhibition with interpretations of Alice by 
Brazilian artists. She has contacts in New York, 
since she did her PhD there, and we will try to 
travel with the exhibition. I had some crazy ideas 
like gathering 150 girls dressed as Alice to stroll 
around in certain parts of the town. In fact, the 
other night I dreamed of an army of Alices riding 
butterflies and wearing unicorn helmets. 

Another idea we have is to publish previ- 
ously unpublished experimental Brazilian Alice 
illustrations, including mine. We have also some 
multimedia performances and an art exhibi- 
tion of mine based on a tale I wrote. It mixes 
Wonderland with the universe of the Brazilian 
writer Clarice Lispector. 

Well, we have so many artists and plenty of 
ideas to create exhibitions; art books; perfor- 
mances with video, images, and sound; and what- 
ever else comes out of the magical mad hat. 

KL: Is there any chance the society ivill publish and sell 
copies of a coffee-table book of your magnificent surreal- 
ist Alice images? (I still display and cherish my Gnat 
from the 1 998 Centenary Conference in England!) 

ap: I have no idea what is a coffee-table book! I 
would love to publish my illustrations. The only 
problem is money. I haven't found a publisher, 
and it would be very expensive to print just a few 
copies; people wouldn't be able to afford the 
price. As soon I finish the site, I will put single 
prints up for sale. I'm glad you kept your Gnat, 
Andrew — it is one of my favorites. 

Editors Note: To purchase any of the books or items 
mentioned for sale here, or to directly contact Adriana, 
email her at alicemaravilha@gmail.com. 



13 






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Butcher in the Puff: Pendering the Snark 

(A Work in Progress) 



OLEG LIPCHENKO 



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Okg has kindly consented to allow us to print the text of the 
illustrated talk he presented to our Society in New York last 
fall. 

PREFACE 

I am currently working on illustrating my new project, 
The Hunting of the Snark, and I have some thoughts 
that I would like to share with you. I remember my 
first experience of working for a publisher. It was a 
cover for a poetry book. I was new in the field. The 
art director gave me a piece of paper with the order 
description and asked me, "What?" when seeing my 
indecision. I said, "Shouldn't I read the manuscript?" 
"What?" said he again. "I gave you the title and de- 
scription; professionals do not need anything else 
to draw bloody pictures!" Then I became famil- 
iar with publishing customs, and ignorance 
of the text was one of them. An illustra 
tor doesn't need to go deep — a brief 
description is more than enough 
So they say. 

Well, ever since then, I've 
become convinced that a me- 
ticulous reading of the text 
is necessary. The principle is 
simple — to be honest and sin- 
cere. Draw what you see, what 
you feel, and what you know. In 
application to the illustrator's 
work, it means to keep and to 
preserve the first impression you 
get from the first reading. The 
ideal way is to read the plain text, 
a text without illustrations. I was 
relatively lucky — the first time I read 
the Snark, it was supplied with pictures 
that were so different from the text that I 
couldn't even associate one with the other. 
The illustrator was too busy to express himself, so 
he just didn't bother with the text. Because of this, 
my own vision of the story was not affected, and I am 
grateful. 

My remarks are not a scholar's study; I analyze the 
poem with the purpose of a better visual translation. 
"The ripples in a pond" around the Snark spread so 
widely and interfere with each other so incomprehen- 




sibly that often they don't clarify our understanding. 
Many thoughts and ideas that I've found in literature 
about the Snark are simply left out of the scene if they 
don't give me any hint or direction for my illustra- 
tions. Now some words about my understanding of 
the Snark. 

SNARK, ACTUALLY 
The Hunting of the Snark is a mysterious story, but it is 
not told in "mysterious" language. Nothing like, for 
instance: 

Resignedly beneath the sky 

The melancholy waters lie. 
So blend the turrets and shadows there 

That all seem pendulous in air. . . .' 

Contrariwise — it is told simply and 
comprehensibly. And this seemingly 
ordinary language works better, be- 
cause suddenly we feel that "the 
mystery is around the corner." 
We're not misled by the serious- 
ness of the author's work, nor 
by his accuracy in description 
of details, characters, and 
their actions. A dream is still 
a dream, even when it is re- 
told by a man who is used to 
expressing himself logically 
and clearly, as good scientific 
speech shotdd be expressed. 
On the other hand, using scien- 
tific terms excessively sometimes 
obscures the topic. Characters are 
more symbolic than real, and the 
surroundings are flexible, changeable, 
and, in most cases, impossible. Things ap- 
pear and disappear without logic (like a ruff 
or a chair) simply because of the author's will, just 
as if in a dream — but a dream that is vivid and clear. 
The entire poem is a dream to me. And the Banister's 
Dream is a dream within a dream. 

The meaning of the poem is obscure, so the read- 
er has to apply some cultural references and differ- 
ent analogies, thus becoming even more confused. If 
nuclear energy were substituted for the Snark, then 



H 



the Boojum would be an A-bomb. Or let us consider 
the computer. We desired to obtain a universal infor- 
matics assistant, and now we're enslaved by it. 

Many of those comparisons work, because Lewis 
Carroll "invented" a kind of universal pattern. We can 
play with it — we can replace a Snark with something 
else and get its (the something else's) dark embodi- 
ment in the place where the Boojum stands. The 
game is called "Could Be." If die Snark could be Dr. 
Henry Jekyll, then the Boojum would be Mr. Hyde. 

"Could Be" is a game illustrators play very often 
when working with fictional characters. The Bellman, 
for instance, is a captain, but he could also be a. school 
principal with a bell in his hand, or a shepherd. He is 
a Chief in the general sense of the word — maybe even 
the Lord Almighty. 

Such a carriage, such ease and such grace! 
Such solemnity, too! One could see he was wise, 
The moment one looked in his face! 

He moves in mysterious ways, his intentions are 
inscrutable: 

He had bought a large map representing the 
sea, . . . 
A perfect and absolute blank! 

. . . Had only one notion for crossing the ocean, 
And that was to tingle his bell. 

... he cried "Steer to starboard, but keep her 
head larboard!" 
What on earth was the helmsman to do? 



He is larger than anybody else in every way, and 
so I drew him as a man physically higher (taller) than 
the rest of the crew. He is wise and pleasant, and he 
usually wears a mysterious smile, as if he knows some- 
thing that nobody else could understand. In each 
picture he is dressed differently. I gave him Dali's 
mustache, because Salvador Dali also used to behave 
inscrutably. Another tiling needs mentioning. I be- 
lieve that the purpose of church bells is not to call to 
God, but to the people — to wake up their conscious- 
ness. God himself might ring a bell to call to us. 

The Banker — a typical Victorian creature, a capi- 
talist with whiskers. Generally, almost every man at 
the time had a mustache or whiskers. Chekhov once 
joked in his diaries: a man that does not have a mus- 
tache is the same as a woman that has one. It was a 
sign of the epoch. The Banker is a man in his fifties, 
with a steady reputation. He only had a vague idea of 
the Snark, but he decided to do something remark- 
able in his life; that's why he joined the expedition. 

The Barrister is a sort of sneaky beast; he pro- 
vides a certain advantage to the illustrator, thanks 
to his professional attributes — gown and wig. I drew 
him wearing his uniform — sometimes partially, only 
a wig — even though it would be pretty silly, since he 
should be wearing a traveling costume. I'm not sure 
of die Barrister's intentions in joining the hunt; he 
probably wanted to increase his popularity and status. 

The Broker seemed to me a sort of "young man 
in spats," an Oxford or Cambridge graduate, a bou- 
levardier, just busy enough in the financial field to 




1 5 



spend most of his time playing tennis and cricket, and 
going to a club. He is the younger son of an influen- 
tial person, which means he gets no legacy, and so the 
sea adventure seems to be a way for him to improve 
his social standing and obtain some wealth. 

The Billiard-marker is a round-shouldered fig- 
ure who spent his lifetime under billiard lamps. 
He is sharp-eyed, though he recently needs to wear 
glasses. He is a quite unusual creature to be met with 
outdoors. 

The Bonnet and Hoods Maker. Since he is a man, 
I'd prefer to see him dressed not in a bonnet but in 
a hood. (No mustache.) However, after finding his 
character, I came to the conclusion that he could 
be a woman (which is probably more likely) . Carroll 
didn't mention the gender of this person. The only 
sign of him being a male character was a drawing by 
Henry Holiday, which was approved by Carroll. 

The Beaver is a bit shortsighted, because of his 
meticulous hobby, and wears collar and cuffs of his 
own production. While lacemaking, the Beaver might 
have been mumbling something, and those unclear 
words could have been interpreted by the Bellman 
as advice in navigation. Since the Bellman was always 
wrong anyway, the Beaver obtained a reputation as a 
naval specialist. 

The Boots. A mysterious person, seen by nobody, 
who wears a handkerchief in the manner of bandits 
from the American Old West. Looks dangerous, but 
is harmless. 

The Butcher. The assumption that "It's a Boo- 
..." applies to the Boots' 2 seems to be plausible, but 
is based on the written word "Boots." Vocally, "OO" 
means a long "u" and therefore, in this case, "Boots" 
has no priority over "Butcher." It probably was in- 
deed: "It's a Bo-o-o-o-o-o-o-tcher!" I would rather 
believe in this interpretation, because in the poem, 
the Butcher was described in great detail and acted 
as one of the main characters, unlike the Boots, who 
was just a "chorus member." Actually, we don't even 
know who the Boots is at all. But, if we dig deeper, 
we see the Butcher, who was described in the begin- 
ning as a desperate Beaver-killer, appears to be a very 
intelligent and friendly person in Fit the Fifth, which 
is quite the opposite of the Snark-Boojum metamor- 
phosis! Everything that I've just mentioned makes the 
Butcher a kind of complicated character. 

The Baker. I have nothing against treating die 
Baker as a portrait of Lewis Carroll himself, but if we 
remember the tragic story of Mr. Dodgson's nephew, 
I'd rather consider Lewis Carroll as die Baker's uncle. 



So the Baker might look (a bit) like his uncle. I gave 
him a mustache in addition to his whiskers. 

We're all informed about Carroll's wish not to 
show the Boojum in illustrations, because it is "un- 
imaginable." This is the rule, and I'm not going to 
break it. What do we do with the Snark that is de- 
scribed in Fit the Sixth, "The Barrister's Dream"? It 
looks like an anthropomorphic figure, ". . . dressed in 
a gown, bands, and wig . . . with the glass in its eye . . ." 
It is able to read and speak, and is thus an intelligent 
creature. Moreover, the Snark is presented in Holi- 
day's illustrations, which means that Lewis Carroll did 
allow its visual representation. In that regard, I feel 
free to proceed with illustrating the Snark, but I still 
won't draw it with anything more than a wig, gown, 
and glass in its eye. 

These are only brief remarks about the charac- 
ters, but there is a lot more material in the poem that 
needs to be studied carefully and transcribed visually. 
My thought is that the illustrator has to read the text 
attentively and give readers the most enlightening 
visuals. 

One last important tiling to point out is the fact 
that Lewis Carroll dedicated his poem to a child, and 
considered it children's literature. So I think of my 
project as I would a picture book, which should be 
picturesque, attractive, and entertaining. I believe 
Carroll's message to children was meant to be for 
those who are "young at heart," no matter their bio- 
logical age. 

CONCLUSION 

In conclusion, I'd like to bring across a very impor- 
tant point to you. A variable is an unknown. A variable 
is something that is universal, and can be replaced 
with a variety of possible values. The Snark is such a 
variable — its interpretations can range from religious 
ideals, to philosophical mindsets, to scientific and 
social approaches. However, when one illustrates or 
translates this text, one needs a static reference point, 
and so the variable is replaced with a single interpre- 
tation. When the variable becomes static, when it be- 
comes a single interpretation, it cannot be changed 
back — it cannot become anything other than what it 
is. It becomes a final product — it becomes an instance. 
My goal is to create a visual world, the universality of 
which minors die variable that is die original text. 

1 Edgar Allan Poe, "The City in the Sea." 

2 Larry Shaw, "The Baker Murder Case," cit. in The 
Annotated Snark by Martin Gardner. 



16 






^^ 



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That Badcock Girl 



MARK BURSTEIN 



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^*™^^ number of demonstrably false myths seem 
Z^^V to accrue like barnacles around Carroll and 
X Vhis works; I need not name them all here. 

A particularly persistent one concerns a photograph 
of young Mary Hilton Badcock (1860-1949), lady-in- 
waiting to HRH Princess Louise, Duchess of Argyll, 
from 1905 to 1911. The legend, totally specious, in- 
volves her being the model for Tenniel's Alice, al- 
though it is well known that he never drew from a 
live model or a photograph. As C. S. Lewis once said 
about J. R. R. Tolkien, "you might as well try to 
influence a bandersnatch 

On January 25, 1864, Charles 
L. Dodgson, bearing a letter of 
introduction from their mu 
tual friend Tom Taylor, 2 vis- 
ited John Tenniel to com- 
mission him to make the 
illustrations for Alice's Ad- 
ventures in Wonderland, 
and his diary entry for 
April 5 notes that he 
"heard from Tenniell 
[sic] that he consents 
to draw the pictures." 3 
Around December 16 of 
that year, Dodgson received 
the first twelve proofs from 
Tenniel and the engravers, the 
Brothers Dalziel. 4 Tenniel, how- 
ever, had already published his pro 
totype for Alice in Punch a full six months 
before that: in June of that year, a half-hidden Alice 
had appeared on the title page for the first semian- 
nual Punch collection, volume 46 (see front cover). 

In January of 1865, a full half-year after Alice's 
first Punch appearance, and one month after receiv- 
ing the dozen engravings, Dodgson happened to 
see a photograph of a young, somewhat pudgy Miss 
Badcock, in the window of a shop near Ripon. Seated 
on a stuffed chair, she is gazing rather dourly at the 
camera, with crossed arms. He asked to purchase a 
copy but was told that her father, Rev. Canon Edward 
Baynes Badcock, would have to give his permission. 




A letter to Canon Badcock from Rev. John 
Fisher MacMichael, headmaster of Ripon Gram- 
mar School, dated January 17, 1865, says, in 
part, "When knocking at your door Mr Dodgson 
(the Archdeacon's eldest son) came up. His mis- 
sion was to have your authority to enable him to 
buy a Photograph of your little girl at Mr. Ham- 
mond's, who had declined to sell him one with- 
out your sanction. It appears he fell in love with 
it at Mr. Gray's of Sharow. 5 Will you kindly say in 
your reply whether he has your leave?" 6 

Dodgson wrote to Canon Badcock on 
February 2, 1865, saying, "I had not an 
opportunity when in Ripon of thank- 
ing you in person for kindly allow- 
ing me to have a photograph 
of your little girl, so beg to do 
so by letter." Canon Badcock 
replied a few days later, "Ac- 
cept my thanks for your kind 
offer to take a large photo- 
graph of my little girl. I shall 
be pleased to have it done 
whensoever you have your 
apparatus in Ripon. I am very 
proud that you think her like- 
ness worthy of notice." 7 As far 
as is known, Dodgson never took 
him up on his offer. 
We can be certain of one thing: 
Dodgson did not see the photograph of 
Mary Hilton Badock until Tenniel's Alice was a 
well-established figure. Further, there is no evi- 
dence that Dodgson ever actually sent the pho- 
to to Tenniel, who would not have used it even 
if he had seen it. As Dodgson said in a letter to 
E. Gertrude Thomson on March 31, 1892, "Mr. 
Tenniel is the only artist, who has drawn for me, 
who has resolutely refused to use a model, and 
declared he no more needed one than I should 
need a multiplication-table to work a mathemat- 
ical problem!" 8 

The Badcock ('n' bull) story is simply a 
myth put about by Mary's husband, Col. William 



17 



Geoffrey Carwardine-Probert, JP, OBE (1864-1938), 
Comptroller of the Household to HRH Princess Lou- 
ise, Duchess of Argyll, in the late 1920s/early 1930s. 
His motive was undoubtedly to secure a thoroughly 
undeserved place for his wife in the annals of Alice's 
Adventures in Wonderland? 

Sadly, the Colonel has pretty much gotten his 
wish. Williams and Madan included the photo of 
Mary in their first Handbook in 1931, but even they 
expressed doubts about the dates. 10 Regardless, many 
biographies, starting with Florence Becker Lennon's 
Victoria through the Looking-Glass in 1945, have taken 
it as fact, and the canard is repeated ad nauseam in 
print, on the Web, and in the popular mind. 

Yes, she looks a trifle more like Tenniel's Alice 
than either Carroll's Alice or Miss Liddell does, but 
unless she possessed a way of motoring through time 
and influencing a bandersnatch, her immortality is 
based on wishful thinking, nothing more. 

1 Letter of May 15, 1959, to Charles Moorman, printed 
in The Collected Letters of C. S. Lewis: Volume HI: Namia, 
Cambridge, and Joy 1950-1963, Walter Hooper, ed. 
(HarperOne, 2007): 287. 

2 Tom Taylor (1817-1880) was an English dramatist and 
editor of Punch. He is primarily remembered for penning 
Our American Cousin, the play President Lincoln was 
watching when he was assassinated on April 15, 1865. 



Leuiis Carroll's Diaries: The Private Journals of Charles 

Lutwidge Dodgson, Vol. 4, Edward Wakeling, ed. (The 

Lewis Carroll Society [UK], 1997): 284. 

Diaries, Vol. 5: 9. 

A village about a mile northeast of Ripon. 

Letter in the collection of the Harry Ransom Humanities 

Research Center (HRHRC) of the University of Texas at 

Austin, partially quoted in Sidney Herbert Williams and 

Falconer Madan's A Handbook of the Literature of the Rev. 

C. L. Dodgson (Lervis Carroll). London: Oxford University 

Press, 1931. 

Both letters are in the HRHRC collection. 

Leuns Carroll and His Illustrators: Collaborations & 

Correspondence, 1865-1898, Morton N. Cohen and Edward 

Wakeling, eds. (Cornell University Press, 2003): 246-47. 

The HRHRC has correspondence from Mr. Probert to 

various people about this claim. 

Handbook: 22 n. 1. 

The author wishes to thank Edward Wakeling for his valuable 
input to this article, particularly for his transcriptions of letters 
in the HRHRC. 



Lio Mark Tatulli 




18 



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**► 



It Isn 't "Christ Church College "! 



EDWARD WAKELING 



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■fr 



It isn't "Christ Church College," but you will find 
that this attribution is very common. "Christ 
Church" is neither a college nor a cathedral; it is 
a combination of both. Although it is one of the col- 
leges of Oxford University, it has the distinction of 
not using the term "college" in order to recognize 
its double function. The cathedral of Christ Church 
serves the diocese of Oxford and also functions as die 
college chapel. No one who attends Christ Church 
would ever use the word "college," and most under- 
graduates and graduates alike would simply describe 
their place of residence as "The House." 

It isn't the "Mad Hatter"! Why did this one char- 
acter attain this description, when all the attendees of 
the Mad Tea-Party were mad? We rarely hear about 
the Mad March Hare or the Mad Dormouse, so why 
should the Hatter be singled out? In the book, the 
author just calls him the Hatter. He may well be mad, 
but if so, he would be termed the mad Hatter, recog- 
nising that the prefix is merely an adjective, not part 
of his name. 

It isn't Alice in Wonderland when describing the 
book! The title is Alice's Adventures in Wonderland. 
Many writers think this is a bit of a mouthful and 
shorten it to Alice in Wonderland, but this is usually the 
name we give to the dramatized version of the book. 
Even the author, in his diaries, used the shortened 
version (when he forgot himself), but he has more 
claim than most for using this title for the book that 
made him internationally famous. And while we are 
on the topic of titles, the second book is Through the 
Looking-Glass. This book has a subtitle, written in a 
smaller font size on the tide page, which says "And 
What Alice Found There." This is not printed on die 
spine, and is unnecessary when giving the tide of the 
book. 

It isn't "Alice Liddell Hargreaves"! As a child, 
Alice's full name was Alice Pleasance Liddell. When 
she married Reginald Hargreaves, she became Alice 
Pleasance Hargreaves. If writers wish to acknowledge 
her maiden name, the usual way is to follow this with 
"nee Liddell" or "formerly Liddell." And perhaps 
we should remember how to pronounce her fam- 
ily name — not "Liddelle" as many say, but "Liddell," 
which rhymes with "fiddle." While on the subject of 



pronunciation, a litde reminder that for "Dodgson" 
we say "Dodson" and not "Dodgeson." 

It isn't "Rev. Dodgson"! This is a matter of bad 
form. When a person takes Holy Orders, he (there 
were no women taking Holy Orders in Dodgson 's day) 
is entided to use the prefix "Reverend" shortened to 
"Rev." But we never call a member of the church sim- 
ply by this term followed by his family name. If you 
insert his first name or initials, the attribution is ac- 
cepted. Otherwise, we revert to "Mr." Hence the cor- 
rect way is to say "the Rev. Charles L. Dodgson" or 
"Mr. Dodgson." An additional small point that creeps 
in from time to time is the inclusion of the tide "Pro- 
fessor" or "Prof." when describing Dodgson. He was 
never a professor at Oxford; he became a lecturer, 
and this was the highest rank he attained within the 
university. He was awarded a studentship in 1852, 
which he held for the rest of his life. This was a Christ 
Church equivalent to a fellowship, initially a junior 
fellowship and progressing to a senior fellowship over 
time and experience. 

It isn't true that the Isis is a tributary of the 
Thames — it is the same river. As the river flows 
through Oxford, it changes its name from the Thames 
to the Isis, and then back again as it leaves Oxford 
and heads for London and the North Sea. The Cher- 
well (pronounced Charwell) is a tributary of the Isis 
that borders part of Christ Church meadow, a popu- 
lar course for rowers and punters at Oxford. 

These are just a few of the common errors that 
occur when people write introductions to the works 
of Lewis Carroll or submit articles to magazines and 
journals. They are listed here with an intention to be 
helpful, not critical. 




19 






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AUCE 15 

CELEBRATING WONDERLAND 

A Call for Support 



-*► 



■^^^^^"s we announced in KL 84, we will be celebrating the sesqui- 
^^^A centennial of the first publication of Alice's Adventures in Won- 
JL \.derland with special exhibits and conferences at various venues 

in New York City. Although the event is in 2015, planning and prepara- 
tion have already started, and we are actively seeking volunteers to assist 
us and other institutions in various activities. If you want to be part of 
this special event, contact Joel Birenbaum: Alice 150@thebirenbaums. 
net. There's also a Facebook group, Alicel50: Celebrating Wonderland, 
which you can join to receive prompt updates on the entire project. 

One of the activities will be a two-month-long exhibition of Alice 
translations at The Grolier Club, in conjunction with the publication of 
a multivolume book based on Warren Weaver's Alice in Many Tongues, 
which involves translations and back-translations in 109 languages, 120 
writers and essayists, and 25 editors, all spearheaded by Jon Lindseth. 

In addition, the LCSNA will be having an auction at the upcoming 
fall meeting in New York to raise funds for Alice 150. In order for this to 
be a success, we rely on your generosity. Please notifyjoel Birenbaum of 
any items that you would be willing to donate for auction: 
joel@thebirenbaums.net or 630-637-8530. 



20 





BRYON SEWELL 

nhrouab a Carrotthn Lens 





I suspect that many American Carrollians would 
be somewhat reluctant to admit that their first 
memory of anything having to do with Lewis Car- 
roll is watching Disney's film version of Alice in Won- 
derland. Well, at least I can say that I saw it when it 
was first released in 1951. Unfortunately, I didn't have 
enough sense to keep the ticket stub, but in my de- 
fense I was only 9 years old, and the idea of collecting 
Lewis Carroll hadn't yet occurred 
to me. Sadly, my parents were not 
lifelong Carrollian collectors who 
bequeathed me a fabulous collec- 
tion and had read the classic tale to 
me at bedtime. If we had a Tenniel- 
illustrated edition of either of the 
Alice books in our home, I have no 
recollection of it. As I recall, we had 
Uncle Wiggily and Bible stories. 

It wasn't until 1970 that I got in- 
terested in Carroll. I'm a chemical 
engineer, and I was assigned to Lon- 
don for a year to assist in the design 
of a polyethylene plant that would 
be built in Sweden. A few days be- 
fore our departure, I was in a bookstore looking for 
something to read during our flight and found a copy 
of Martin Gardner's The Annotated Alice. This looked 
interesting, and I thought it would be appropriate 
reading for people going to live in England. My wife 
and I decided that it would be fun to buy a bunch of 
old Alices while we were there. I imagined that they 
would be as common as dust and mildew in English 
used bookstores. 

Our first attempt at buying Lewis Carroll books 
was a bit of a shock. I had read enough to know that 
Blackwell's in Oxford was a famous antiquarian book- 
shop, and since Carroll had lived right down the street 
(so to speak) , they would be sure to have shelves full 
of his old books. So we went by train to Lewis Carroll 
country. When we went into the bookshop and told 
the clerk that we wanted to buy a bunch of old edi- 
tions of Alice, he literally laughed. What a pair of igno- 
rant post-colonials! He produced a list of about fifty 




names. "See all of these names?" he asked. "Everyone 
on this list wants to be the first person contacted when 
a Carroll book comes in. When one shows up, I start 
phoning people. If the first person on the list doesn't 
want it, then I call the next one, and so on. I can add 
your name to the bottom, but don't get your hopes 
up." Disappointment fell like a headsman's axe on 
a paint-smeared playing card. With bowed heads we 
traipsed back outside and went 
on a self-guided tour around 
Tom Quad. On the train back to 
London, we decided that what 
Blackwell's had said could not 
possibly be correct. We resolved 
to track down old Carroll books 
in London. 

To make a long story short, 
we serendipitously located a 
book dealer who had been set- 
ting aside Carroll books in a back 
room for years. When we asked, 
"Do you have any Carroll?" he of- 
fered to sell his collection on the 
cheap, because he needed imme- 
diate cash to pay some back taxes! Included in this 
collection were a good many very nice books, includ- 
ing a first edition Hunting of the Snark. So, we had an 
unexpected jump-start on our way to building what 
would one day be a significant (though hardly world- 
class) collection. That copy of the Snark was my first 
reading of the poem (a clear indication of my infe- 
rior education), and I was hooked. I have had a fas- 
cination with things Snarkian ever since. The almost 
immediate result of that addiction was a set of draw- 
ings after Holiday that would eventually appear as the 
Catalpa Press edition, with an introduction by Martin 
Gardner. As far as the illustrations go, I should have 
waited until I had gone to art school, but with my typi- 
cal enthusiasm I just jumped right in. I did eventually 
study art at The University of Texas at Austin in an 
attempt to improve my skills a bit. 

Those early years of Carrollian enthusiasm and 
my inability to properly restrain myself resulted in the 



21 



"Pain tin' the Den- 
drons Pink " by Byron 
Seidell (after Tenniel) 
for Alice's Adven- 
tures in an Appala- 
chian Wonderland, 
translated into Ap- 
palachian English 
and adapted to 1880s 
West Virginia by 
Byron and Victoria 
Sewell. Forthcoming 
in 201 1 from Irish 
publish er Evertype. 




creation of a number of curiosities that some of you 
may even have in your personal collections. However, 
there can't be very many of you, since most of these 
pamphlets were in very small editions sent to a few 
collectors who actually liked the kind of stuff that I 
generated (as I recall, that was about a dozen of you). 
In 2002, August A. Imholtz, Jr. — a man of otherwise 
high intellect and marvelous wit whom I gready ad- 
mire, and who shares my delight in things strange 
and weird — actually wrote a bibliography of these 
early bits and pieces for the LCSNA, with the grand 
tide Enough of a Muchness/ An Interim Bibliography of the 
Carrollian Publications, Drawings, and Ephemera of Byron 
W. Seivell/1973 through August 2000. One of the first of 
these pieces was a complete failure, an early parody, 



K A. V.E.N., or the Dormouse Who Came in from the Cold. It 
was published in an edition of about 100 copies. I sold 
perhaps 15 and shredded the rest. 

Learning my lesson, I severely reduced the num- 
ber of copies, and for many years my editions have 
typically been in the 10-20 copies range; sometimes 
even fewer, rarely more. Some early efforts were actu- 
ally well received (especially the free ones) . For exam- 
ple, I got a few nice reviews for a two-volume edition 
of Scientific Alician (done in honor of my new friend 
Martin Gardner). And I also enjoyed mixed reviews 
with the eventual publication ofAlitji in the Dreamtime. 

About the mid-70s, I had the dumb idea of writ- 
ing a bibliography of the American editions of Alice. 
I won't bore you here with that long and sad tale, ex- 
cept to mention that I spent most of my spare time 
researching and writing it, with the result that my wife 
decided that I loved my books and Lewis Carroll more 
than I loved her. This was not true, and I told her that 
to prove it I would give away the entire collection. She 
told me to go ahead, which wasn't exactly the reaction 
I was looking for. I phoned the Harry Ransom Hu- 
manities Research Center at the University of Texas 
at Austin, asked them if they wanted it, and told them 
to come and get it if they did. They showed up a few 
days later with a small truck and carted almost all of 
it away (I kept a few things, including my inscribed 
copy of the fifth Chinese edition). My wife divorced 
me anyway. However, there is a happy ending to that 
otherwise sad story. I got to marry Victoria, and as a 
bonus, I am now an official "Friend of the University." 
There's glory for you! If you would like to learn more 
about that first collection of mine, see Adventures in 
Collecting Lewis Carroll, published by The Detering 



From Scientific Alician 



22 




Book Gallery in Houston (often seen on eBay for 
about $10). 

Shortly after giving away my collection, I became 
engaged to Victoria, and we hightailed it out of West 
Virginia to Seoul via Albuquerque, where we got mar- 
ried. As luck would have it, Victoria also likes Lewis 
Carroll (who doesn't?), and she immediately started 
a collection of Korean Alices. Later, for something 
to entertain ourselves with, we adapted Alice into 
the Korean culture (as we perceived it). Needless 
to say, someone else did the translating. That book 
eventually appeared as An, Sun Hee's Adventures Under 
the Land of Morning Calm (1990). On our return to 
the States, Victoria encouraged me to go ahead and 
publish Much of a Muchness, the bibliography of the 
American editions of Alice that I had shelved after my 
divorce. With this bit of encouragement, I sent out a 
prospectus, which resulted in orders for 15 copies, so 
we printed 17. 

The point of mentioning the above is to indi- 
cate that, ever since my Carrollian addiction began, 
I have viewed almost everything through a Carrollian 
lens. What is astonishing about Carroll's works is that 
they are so readily parodied and quoted. At various 
intervals I have managed to quit creating Carrollian 
things, but then I succumb to it and off I go again. 

At this point, you might reasonably ask what I've 
been up to over the last decade. Well, the short an- 
swer is "lots," and much of it with the help of my wife, 
Victoria, and an assortment of famous Carrollians, 
including August A. Imholtz, Jr., Clare Imholtz, Ed- 
ward Wakeling, Alan Tannenbaum, Mark Burstein, 
and Mark Richards. The results of these efforts have 
been good or bad, funny or irreverent, depending 
upon whether you approve of anyone messing with 
the sacred texts, as I am wont to do. However, in the 
midst of my laughter and glee, I have actually tried 
to create a few things in a more serious Carrollian 
vein as well. Those include: Pictures and Conversations/ 
Lewis Carroll in the Comics /An Annotated Bibliography 
(2003 and revised 2005), with Mark Burstein and 
Alan Tannenbaum; An Annotated International Bibliog- 
raphy of Lewis Carroll's Sylvie and Bruno Books (2008), 
with co-editor Clare Imholtz, an introduction by Ann 
Clarke, and a listing of inscribed editions by Edward 
Wakeling; and Carrolling with John/ A Decade of Corre- 
spondence between John N. S. Davis, Byron W. Seiuell and 
Dr. Sandor G. Burstein (2010) , with immense help from 
Edward Wakeling. 

On the more ephemeral side lurks a rather omi- 
nous group of comic, sci-fi, fantasy, mystery, and ghost 
stories, too numerous to list here. One parody that I 
am proud of is Another Alice, Ehf/ Alice's Adventures in 
an Alberta Wonderland (2002), published by the LCS 
of Canada. Other titles include: Snarkmaster (2000), 
the final story in the "Centennial Snark Trilogy"; "He 
Thought He Saw" and "Darkling Light, Starless Night" 




"The Cottontail takes 
a big gold engineer's 
pocketwalch aula his 
coveralls " by Byron 
Seuiell (after Tenniel) 
for Alice's Adven- 
tures in an Appala- 
chian Wonderland. 



(2001 ) , two S&B fantasies with August A. Imholtz, Jr.; 
Lewis Carroll's Nightmare/ Alex's Adventures in Wonder- 
land (2002) , a parody suggested by Victoria and with a 
wonderful essay by Edward Wakeling, "Did Lewis Car- 
roll Like Boys?"; a violent and bloody trilogy starring 
the Carrollian antihero "Fish" O'Fiesh and his two 
huge mastiffs, set in various locations, including West 
Virginia and my old Houston neighborhood; Skinny 
Alice (2002), Comic Alice (2004), and Fish Head Soup 
(2005) , the latter involving an LCSNA meeting at The 
Greenbrier Resort in which Alan Tannenbaum gets 
shot in the leg; "Jon/A Jabberwock Story" (2003); In- 
terview with tlie Jabberwock (2003) , starring cub reporter 
Bruno for The Outlandish Neivs; and Alice's Adventures 
in an Appalachian Wonderland (2004), a parody told in 
the Southern Mountain dialect of Appalachia, written 
with Victoria. 

There are numerous stories based upon ideas 
suggested by August A. Imholtz, Jr. and sometimes 
co-authored by him, including: "The Hunting of the 
Sarx/A Revisionist Satire" (2004); "Still She Haunts 
Me Phantomwise" (2004); "The Oxfordic Oracle/An 
Inspector Ian Spectre Tale" (2004), which purports 
to explain the source of the "He thought he saw . . ." 
poems as hallucinations exerienced under the influ- 
ence of ethylene gas; "A Strange Story of How Mel- 
vina and Bill Became Sylvie and Bruno" (2004); Bruno 
and Uggug Cursed, or Sylvie and Bruno sans Baby Talk/A 
Burlesque of Lewis Carroll's Failed Novel (2004); "Far- 
ringford" (2005), an imagined weekend meeting be- 
tween Dodgson and Edward Lear at Tennyson's home 
on the Isle of Wight; "Celtic-Scottish Nonsense/ 
An Ogham Jabberwocky' Parody/The Balloon of 
Scone and Lewis Carroll's Lost 1874 College Pam- 
phlet" (2007), the latter being a parody of Carroll's 
The Vision of the Three Ts"; Snark Soup (2007), a listing 
of Snark references (later expanded in an illustrated 
edition); and "A Bermuda Triangle" (2007), another 
Revisionist tale, starring Carolina Peach and one of 



23 



Dodgson's brothers. As you can readily see, August 
has been something of a muse for me over the years. 
On my own, I created an even longer list of stuff, 
too long to list completely, but here are a few examples: 
"Dead Deer Dreams/A Christmas Story" (2000), star- 
ring Alys Pahng, modeled after Alison Tannenbaum, 
a well-known, true-life roadkill taxidermist; sniwT/ 
Twins: A Dark Fairy Tale (2004); "Saint George and die 
Dragon" (2004), inspired by a Dodgson photograph; 
"Southern Fried Snark" (2005), in which Snark (per 
LCSNA style guide) is comically retold in a strong 
southern American accent; "Blue Boojum/An End 
Times Tale " (2005), involving a nuclear terrorist strike 
in Louisiana that diverts the Mississippi River (Snark- 
ian sci-fi); "Cheshire Cat Moon" (2006), a Carrollian 
fantasy, including the discovery of the Snark in the 
Moon; The Three Littell Sisters/An Ohio Sylvie and Bruno 
Fantasy (2006), a very dark and violent tale about the 
descendants of an imagined branch of Dean Liddell's 
family who setded in America in the eighteenth centu- 
ry, involving a main character named Edward Waxwing 
(there was also a sequel widi Carolina Peach and Samu- 
el Clemens) ; "Feeding the Boojum" (2006) , a Snarkian 
fantasy about a cursed copy of Snark owned by R. L. Ste- 
venson that led to his untimely death; "In die Boojum 
Forest/A Dark Christmas Story" (2006), a Snarkian 
sci-fi set in die Sonoran Desert of Mexico; "Makuhari 
Sunaku/Makuhari Snark" (2006), a Carrollian fantasy 
set in Tokyo, based upon a weekend that I spent with 
Yoshiyuki Momma (translated into Japanese by Kimie 
Kusimoto and reprinted in Mischmasch); and R. I. P./ 



(Restless in Pieces)/ An Alice Sesquicentennial Tale (2010), a 
ghost story involving the robbing of Dodgson's grave. 
I'll let it go at that. I'm sure that you get the picture of 
what I mean by "through the Carrollian lens." No mat- 
ter where I am or what I look at, I somehow manage to 
see Carroll in it. 

At this point you might reasonably ask (as my 
teenage daughter demanded of Victoria in a recent 
argument), "So what have you done for me today?" 
Well, the latest thing was Close Encounters of the Snark- 
ian Kind, a Snarkian sci-fi tale issued in five separate 
parts (fits) in the manner of a Victorian novelist. 
There are also a few things in the works for 2011. 
One is a darkly funny piece about lunacy by August 
A. Imholtz, Jr. Another is a parody of Alice set in an 
imaginary desert clime, entided Alotk 's Adventures in 
Goatland, to be illustrated by Mahendra Singh. And 
finally, there is a litde piece about a secretive Snark 
Club in West Virginia. 

I suspect that, having waded through the above 
wabe, you have come to the realization that I have 
had 40+ years of great fun collecting Lewis Carroll 
and messing widi die Dodgson/Carroll bibliography. 
In our entryway here in Hurricane, West Virginia is a 
child's bench painted in a primitive American style 
tiiat has a quote that sums up my Carrollian adven- 
tures quite well (tombstone material, perhaps): 

/ almost luish I hadn 't gone down that rabbit hole 

and yet — 
it's rather curious, you know, this sort of life! 



From Scientific Alician 







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24 



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leaves j:rom 
rbe Deaneny Ganden 




I'm die founder of the Lewis Car- 
roll Society of Brazil, and I am 
looking for people engaged in 
the Carrollian world to contribute 
dieir thoughts to an art piece I am 
creadng. 

The concept is that, since both 
of Alice's adventures are one per- 
son's dreams, the characters she 
meets are aspects of her own per- 
sonality. 

I would like to know how you 
see them: which characters em- 
body which aspects — or symptoms 
if you prefer — of Alice's own psy- 
chology or personality? 

You can answer in any way you 
want, about any number of char- 
acters. This work will be published 
in book form, endded That's the 
Big Puzzle — Who in the World Am 
I? Your contribudon will be fully 
credited. Please send your answer, 
along with your full name, your 
profession, and the country where 
you live, via e-mail to alicemara 
vilha@gmail.com. 

Thanks! 

Adriana Peliano 



* 



I have just received my copy of KL 
85, and I notice a mistake that is 
repeated more than once in this 
issue. There is a suggestion that 
Charlie Wilcox was Dodgson's 
nephew. He was not. Dodgson's 
aunt, Mary Wilcox (the Archdea- 
con's half-sister), was the mother 
of Charlie Wilcox, and that makes 
him Dodgson's cousin. It so hap- 
pens that he was also his godson. 

Sincerely, 

Edward Wakeling 



n 

I enjoyed reading Mark Burstein's 
article "Am I Blue?". I have a re- 
production of The Looking-glass 
Biscuit Tin, which was produced 
in 1892 by Jacob and Son, under 
Lewis Carroll's supervision, and 
decorated in color with characters 
from TTLG. On it, Alice wears a 
blue dress, which makes it the first 
time she was depicted wearing 
that color. 

Best wishes, 

Yoshiyuki Momma 

LCS-Japan 



Excellent point, Yoshi. I suppose xve 
may conclude from authorized issues 
that she was wearing a yellow dress in 
Wonderland, and a nearly identical 
blue one six months later in Looking- 
glass Land. 

Mark Burstein 



H»h 



As a high school art teacher, I 
choose a theme each year for stu- 
dents to visually study. This year, I 
have chosen Alice and her various 
adventures, and this process will 
culminate in the spring with a big 
exhibidon endded "Alice, a Visual 
Adventure into Wonderland." 

Students began by listening to 
the book-on-tape of AA/Wread 
by Sir John Gielgud, and then, 
with no other references, they 
drew dieir own idea of one of the 
characters. Teaching pen-and-ink 
techniques also involved copying 
Tenniel's original drawings. The 
children are also doing direct 
observational drawings of still-lifes 
containing objects from different 
scenes. After studying some of the 

25 



works of other artists who have in- 
terpreted the stories, the students 
will then paint their own interpre- 
tations. Finally, I will turn the art 
room into a large Alice scene, in 
which more direct observational 
drawing will be done. 

While researching the Alice 
books, the name of your Society 
has kept surfacing, and I felt com- 
pelled to contact you to tell you of 
all these projects. Perhaps some of 
your members might even be able 
to recommend a local speaker who 
could give a Carrollian presenta- 
tion to my students? 

Yours sincerely, 

John Bramble 

Head of the Art Department, The 

International School of Minnesota, 

Eden Prairie, MN 



& 

Dear Sir, 

I am an 11-year-old student at 
Wilkes-Barre Academy. I am writ- 
ing a term paper on Lewis Carroll 
and I was wondering if you could 
answer a question for me. Who 
was Mr. Carroll's favorite author 
(besides himself) and did he leave 
unfinished work? 

Sincerely, 

Natasha (via email) 

Dear Natasha, 

Although my standard response to 
assisting with homework is to refer 
students to books or possibly websites, 
your questions were intelligent, intrigu- 
ing, and not so easily answered. I had 
to ask a few experts myself! No less an 
authority than Morton Cohen, the 
premier Carroll scholar and biographer 
of our age, replied that Carroll had 
at least three favorite authors: Shake- 
speare, S. T. Coleridge, and Tennyson. 



Charlie Lovett, who wrote Lewis Car- 
roll Among His Books, suggested 
adding Dickens to the authors list. 
Edward Wakeling who edited the 
10-volume edition of Carroll s Diaries 
said, "This is not a question that has a 
straightforward answer. I list, in Diary 
10, all the books mentioned by Dodgson 
in his diaries, and there are over 100 
of them. I suspect that Shakespeare 
would be high on his list, but Dodgson 
enjoyed some of the modern novels of 
his day. He bought sets of Dickens for 
his three brothers. His main unfinished 
work luas, of course, Symbolic Logic, 
parts 2 and 3. The puzzle book he in- 
tended to write did not see light of day, 
although much survived in galleys and 
manuscript. Shakespeare for Girls, 
fortunately, never made it. And I'm 
sure this list could be extended by going 
through his diaries and picking out his 
'intention ' lists — work in progress, and 
work he would like to write given time. " 
Mark Burstein 



brother Wilfred not once but twice 
in KL 85 (pp. 11 and 51). The 
abridgement was actually done by 
brother Edwin. The Parrish collec- 
tion at Princeton owns a copy of 
the book in which Louisa Dodgson 
has written on the half-title, "It oc- 
cured [sic] to my brother, the Rev. 
Edwin H. Dodgson, (when he was 
living with us at "the Chestnuts" 
after being invalided home after 
years of missionary work at Tristan 
& elsewhere), that those portions 
of my eldest brother Lewis Car- 
roll's 'Sylvie & Bruno,' which re- 
ferred only to Sylvie & Bruno them- 
selves, would make a very delightful 
book for children, and he spent 
much time & thought over the ar- 
rangement of this little volume." 
Clare Imholtz 



Dear Knight Letter Editor, 
To my horror, I now realize I 
misattributed the preparation of 
The Story of Sylvie and Bruno, the 
abridged version of the two Sylvie 
and Bruno books, to Dodgson's 



A LADY'S LETTER. 




26 



-*- 






te* 



?« 



The reader of Alice's Adventures in 
Wonderland' is in the position of 
an explorer: the landscape is strik- 
ingly new . . . and a new species is 
encountered at every turn, each 
more exotic than the one before. 
Nonsense is full of fabulous beasts, 
mock turdes and garrulous eggs. 
Jean-Jacques Lecercle, Philosophy 

of Nonsense, Routledge, London, 

1994. 




The Wombat slept in a silver 
epergne in the middle of the din- 
ing-table — a good-sized epernge, 
I should think, as Wombats often 
run to a length of forty inches. 
The Revered Charles Lutwidge 
Dodgson used to call and diere 
is a possibility that he turned 
the drowsy creature into the 
Dormouse of the Mad Tea Party, 
though I should think that if he 
wanted a model for a Dormouse 
he might have used a Dormouse. 
Will Cuppy, How to Attract the 
Wombat, Rinehart & Company, 
New York, 1949. 



3K 



. . . waking up from an al fresco 
nap to find that a gigantic condor 
had mistaken them for cadavers, 
it must have seemed even to them 
that they had traveled through the 
looking glass. 

Richard Coniff "The Brittle Stars 
Danced, The Stingray Smoked 
a Pipe," Opinionator, The New 
York Times, January 30, 2011. 



*K 



A large chart entitled The Descent 
of Man demonstrated this in the 
form a tree from whose branches 
burst forth one creature after 
another, flourishes of Alice-in- 
Wonderland invention whose basic 
wrongness became apparent as 
their particular branch came to an 
abrupt end with some bizarre and 
extinct animal. 

From A Stitch in Time, by Penelope 
Lively, Dutton, New York, 1 976. 



% 

[Jacques D'Amboise's] grin — 
once likened by Arlene Croce to 
that of the Cheshire Cat — was cel- 
ebrated, and is captured here in a 
a marvelous David Levine cartoon. 
The smile is wider than the torso. 
Alastair Macauley, revieivingl Was 
a Dancer, A Memoir, by Jacques 
d'Amboise, The New York Times, 
March 6, 2011. 



Tess the chambermaid had been 
left behind in the bedchamber, 
curled up with Alice in Wonderland, 
murmuring "Blimey!" each time 
an amazing thing happened, 
which was every other paragraph. 
Lois Lowry, The Birthday Ball, 
Houghton Mifflin Harcourt, New 
York, 2010. 



-W 



Like Alice, men mysteriously 
shrink and grow in Milan. 
From Guy Trebay, "Designer 
Anonymous, "The New York 
Times, January 20, 2011. 



Most of them was [sic\ missing their 
front teeth. I started to feel bigger 
and bigger, like Alice in Wonder- 
land after she eats the cake." 
Jeanine Cummins,The Outside 

Boy, Neiu American Library, New 

York, 2010. 



Alice-in-Wonderland sensory warp- 
ing is common after a stroke, as 
the damaged brain struggles to 
make sense of its surroundings. 
Diane Ackerman, "Lives: The 
Husband's Speech, "The New 
York Times Magazine, February 
13, 2011. 



. . . the meeting with Lewis Carroll 
("'He was the stillest and shyest 
full-grown man I have ever met 
except 'Uncle Remus'") 

The Autobiography of Mark 
Twain, Volume I, by Samuel 
Clemens, edited by Harriet Elinor 
Smith. University of California 
Press, Berkeley, 2010. 



1m 
"Not expelled?" 
"No. At the end of the term my 
father had a row over die extras. 
His mind was incapable of condon- 
ing or even facing extras . . . That is 
why I can neither read Homer nor 
Horace in the original, or enter into 
conversation with die French: priva- 
tions I shall never cease to regret." 
E. V. Lucas, The Barber's Clock 
by J. B. Lippincott Company, 
Philadelphia, 1932. 



HT 



She was wrapped and swathed 
in shawls and she had on a hat 
which reminded him of the White 
Queen in Alice, only it was bigger. 
Walter R Brooks, Freddy the Pilot, 
Alfred A. Knopf New York, 1952. 



Often [Paul] Taylor frames a work 
with a single quotation, be it from 
Spinoza, Whitman, Jug or whom- 
ever. For "Phantasmagoria," . . . 
the tag comes from Lewis Carroll: 
"Life, what is it but a dream?" 
Alastair Macauley, The New York 
Times, February 28, 2011. 



27 






^K*Sr 



-*■ 



... he perked up after comparing 
himself to a character in Alice in 
Wonderland. "The Red Queen 
cried before she got a piece of dirt 
in her eye," [Bobby] Fischer wrote. 
"I am in a good mood before I win 
all of my games." 

From a review in The New 
York Times, February 13, 
2011, by Dylan Loeb McClain, 
o/Endgame, Bobby Fischer's 
Remarkable Rise and Fall 
— From America's Brightest 
Prodigy to the Edge of Madness 
by Frank Brady, Croivri Publishers, 
NeivYork, 2011. 




K 

On the front of die hide-a-bar, 
for instance, a kangaroo stands 
with its forepaws up, as if in 
prayer, before a huge "Alice in 
Wonderland" toadstool. A rat-like 
marsupial sits upright on a tuber, 
as if yearning for a hookah . . . 
Richard Con iff, excerpt from "Life 
Studies, " nytimes.com/opinionator, 
January 16, 2011. 



Then Bangkok. I tried as I stood 
watching your Alice Through the 
Looking-Glass roses, Joan, each on 
its dark and snappable stalk, to 
smell the East, the hot spicy blast 
that hits you as you step from the 
plane. 

Jane Gardam, The Queen of die 
Tambourine, St. Martin's Press, 
Neiu York, 1995. First published 
in Britain by Sinclair-Stevenson 
Limited, 1991. 



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^ 



KNIGHT LeTTGRS ONLIN6! 

Thanks to the unending generosity of the Internet Archive, the enure run of 

the Knight Letter, from issue 1 to 85, is online, searchable, and available in eight 

downloadable formats. However, in order to give primacy to our members, new 

issues will not be posted there until the next one has been published, in other 

words, about six months after the printed version is in your hands. 

See http://www.archive.org/details/knighdetters. 



-SSI 



r~<r 






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Donald Bump 

Jonathan Cannon 

Fran Durako 

Hedy Hustedde 

Natasha Kurtonina 

Patricia La Rose 

Lisa Luca 




*gE_ *t£_ *|S. 

Pamela Mayer 

Nancy Miller 

Michele Regnery 

La Jan Sanford 

Lauren Schubert 

Charles Sanson 

Tiemen van Weerden 



Melissa Manlove 



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28 



ft - ibe vfnm De 4 

* ' IL\jS (" f^ OF MARK BURSTEIN 



//#« </^ conversation dropped, and the party sat silent for 

a minute, while Alice thought over all she could remember 

about ravens and writing-desks, which wasn't much. 

Yet try I shall. First a shout out to all who 
were of such great help at our spring meet- 
ing: our wonderful speakers, especially 
Selwyn Goodacre, who flew five thousand miles 
across the pond to be here, even if he didn't believe 
me that Kate Middleton, now HRH the Duchess of 
Cambridge, wrote her undergraduate thesis on 
Dodgson's photography (he now does); 
our host, Brewster Kahle, for providing 
such a fine facility and videotaping 
the entire meeting and posting it 
on the Internet Archive site, where 



you, dear reader, can experience it in its full 
glory anytime you like; Joshua Brody, who 
took the time and had the talent to learn 
to play Alice's flutina; Cindy Watter, who 
valiantly coordinated transportation among 
the many venues, and was such a delight- 
ful partner at the Maxine Schaefer reading; 
Denise Reyes, the teacher with whom I arranged the 
reading, and who so well prepped the kids; Vanessa 
Humes of the Walt Disney Family Museum and Betsy 
Flack of the Garden Conservancy, who arranged with 
us for Bob Hornback's delightful talk; and to all our 
attendees, many of whom traveled untold miles to get 
here, including Ray, Sarah, Niall Alexander, and El- 
speth Louise Kiddy, the two last-named being but six 
weeks old and covered in pepper. 

This is the first issue under the capable editorial 
hands of Mahendra Singh, who most valiantly stepped 
up to the proverbial plate when Sarah became the 
mother of twins. He is a delight to work with, even 
if we have to do it somewhat under cover (he told 
his wife we're the Oscar Wilde Society, an author she 
much prefers) . 

As we speak, we are in the final stages of produc- 
tion so that the long-awaited A Bouquet for the Gardener: 
Martin Gardner Remembered will be in your hands as 
soon as possible. It has taken a lot longer than we 
thought. 




There is much excitement in the air about the 
Alicel50 celebrations, discussed on page 20. Pulling 
this off will result in a very large, phoenix fowl-sized 
feather in our cap, 1 due to the especially Herculean 
efforts of Joel Birenbaum and Jon Lindseth. 

The next meeting under my "presidentistry" (as 
Pogo called it) will be this fall in New York City, with 
a stellar lineup of speakers. That's all I can say at the 
moment. In the spring of 2012, we will meet at Har- 
vard and environs, then that fall, or possibly spring 
'13, in North Carolina. 

It has been a bit of a challenge running 

the show singlehandedly — in a literal sense, 

as I broke a finger a week before the 

meeting, and my left hand is still in a 

cast — so I am even more grateful to 

all those stalwart souls who have been 

so supportive. 

Excelsior! 




The phoenix fowl or Yokohama chicken, a strain of the 
red junglefowl Gallus, is bred in Japan for ornamental 
purposes. A rooster widi a 34 ft. 9 ] A in. tail feather was 
reported in 1972. 



29 



^t 






THE MAD SNARKERS 



MATTHEW DEMAKOS 



-^ 



^ 



5?*T 



He thought he saw a patched-eye Snark 

That pirated the seas. 
He looked again and found it was 

His nephew with a wheeze. 
"And now I know the source," he said, 

"Of this unpleasant breeze." 

He thought he saw a doleful Snark 

Intone a lonesome song. 
He looked again and found it was 

His uncle's nutty throng. 
"And now I understand," he said, 

"Where men like me belong." 

He thought he saw a speckled Snark 
Who drew the Bellman's plans. 

He looked again and found it was 

A crown with purple bands. 
"When squeezing crayons up," he said, 
"It sounds a bit like krans." 

He thought he saw a drowning Snark 

Who signaled in distress. 
He looked again and found it was 

The pin in happiness. 
"I have a method now," he said, 

"To wake my sister Bess." 

He thought he saw the Bandersnatch 

Perform a somersault. 
He looked again and found it was 

The Bank of England's vault. 
"And now I can account," he said, 

"For everybody's fault." 



He thought he saw a Baker in 

His triple pair of boots. 
He looked again and found it was 

The search for Absolutes. 
"Such high and mighty proofs," he said, 
"Will setde all disputes." 

He thought he saw the Bellman walk 

Within a vellum mist. 
He looked again and found it was 

An Existentialist. 
"Well-rounded spectacles," he said, 
"Improve my theory's gist." 

He thought he saw the Butcher de 

His apron to his toe. 
He looked again and Found it was 

A painting of his hoe. 
"But people claim I am," he said, 
"The roughest rake they know." 

He thought he saw a nonsense tale 

That splattered from his quill. 
He looked again and found it was 

A nonsense tale ... still! 
"A perfect thing to make," he said, 
"A scholar write his will." 




30 



<*- 






*?■ 



ALL MUST HAVE PRIZES: 
GO FIGURE 



JOEL BIRENBAUM 



^ 



I have been thinking of writing an article 
about articulated wooden carved figural 
toys for a while. My reason for holding off 
was that I don't have all the information about them, 
but I have come to the conclusion that I never will, 
so why wait? My confusion in regard to this topic will 
soon become clear. The figures I am referring to are 
made of flat, painted pieces held together by metal 
clips that allow the head, legs, arms, tails, and ears to 
pivot. The unintended result of this construction is to 
make it difficult to display them freestanding. 

The first group of these sets purportedly came out 
in the 1890s. I don't have much information on these, 
except that their design is a precursor to the sets that 
came out afterwards. There are similarities that make it 
difficult to attribute a photo of 
a piece to one set or another 
without making assumptions. 
A Sotheby's catalog from June 
6, 2001, lists item 154 as a set 
containing 31 characters (cir- 
ca 1900s) and has a photo of 
some of them. In a Toovey's 
auction catalog of December 
2007, there is a photo of a set 
of 24 figures, which is stated to 
have been made in the 1930s 
by Talfourd Toys, Reigate, Sur- 
rey. Among the distinguish- 
ing traits of this set are that it has two Jabberwocks 
(one of which is definitely a fire-breathing dragon), 
oysters, a White Knight on horseback, Bill the Lizard, 
and Tweedledee and Tweedledum, dressed for battle. 
Alice is three inches tall and has a slotted wooden 
stand. I concluded that the Sotheby's item is probably 
the Talfourd set, as it is the only one I know of with a 
Jabberwock and a White Knight. The Sotheby's photo 
shows Tweedles not in battle garb, while the other fig- 
ures seem the same as the Talfourd set. It is possible 
that the Talfourd set had two pairs of Tweedles. 

I have amassed, over the years, many images that 
were intended to help me clear up ambiguities in 
identifying the various sets. Apparently they are all 
pictures of partial sets, and I'm convinced that some 
may even be mixed sets. I have individual pictures of 
an Ugly Duchess and a Carpenter that were alleged to 




Js*£i 




A photo of part of the Talfourd 
Note the appropriate size of the 



If^r 



be from the 1890s set. They have differences 
from the Talfourd set; the Duchess has a dif- 
ferently shaped sleeve and has no hands in the 
older one, while the carpenter has a less pronounced 
nose. I think that some characters in the same set may 
have been painted in multiple ways, which also makes 
identification difficult. It would help if I had the height 
of the figures in the 1890s set, but only if they differed 
from the other sets. 

In the 1960s, a set with the signature IEF was pro- 
duced (probably made in New England). The set that 
I have has 20 figures, but I can't be sure that this is a 
full set. I was told that the set was originally bought 
in Cape Cod. This set is larger in size, and Alice is five 
and one-quarter inches tall. In the 1980s, what I be- 
lieve to be a reproduction 
of a subset of the Talfourd 
figures was produced in 
England. These can be 
easily identified, as they 
have England stamped on 
their feet. There are thir- 
teen characters in the set, 
but oddly the Mad Hatter 
has a smaller hat than the 
original. Alice in this set 
is three inches tall. Also 
in the 1980s or 1990s, an 
eight-figure set was made 
in Romania and later made in Sri Lanka. These fig- 
ures are larger than the English set, and Alice is four 
and one-eighth inches tall. Last year, or perhaps the 
year before, a reproduction of the 1980s English set 
was issued by Shackman. Lastly, I have a listing in my 
database of an eight-figure set made in Scotland and 
signed George Boreham. I have lost the image, but as 
I remember it, they were larger than four inches, and 
it was not clear if they were "one off' or not. 

While researching for this article, I received a re- 
quest to identify a Dodo. Of course it did not match 
any I have previously seen. It had a walking stick in one 
hand and a thimble in the other. The more you see, 
the more you know. Contrariwise, the more you see, 
the more you realize how much you don't know. I am 
sure you will recognize this article as a desperate cry 
for help. 



set (source unknown). 
White Rribbit. 



31 



A BRANDY AND WATER WITH 
LEWIS CARROLL 

Robert Mitchell 

Many people are unaware that 
Charles Lutwidge Dodgson made 
serious contributions to math- 
ematics, and especially to math- 
ematical logic. When I taught 
the history of mathematics or 
mathematical logic at Rowan Uni- 
versity [NJ], I always covered some 
of these topics. I perhaps spent 
more time on them than I should 
have, but I thought that they were 
very interesting, and so did my 
students. I had prepared a few 
lectures on "Lewis Carroll and His 
Contributions to Mathematics and 
Logic" that I presented to many 
high school groups, colleges, uni- 
versities, and mathematics conven- 
tions over the years. They were not 
all on the same level, of course. 

On two occasions, the British 
Society of the History of Math- 
ematics invited me to speak at 
their meetings. The first was 
held at King Alfred's College in 
Winchester, and the second was 
held at St. Martin's College in 
Lancaster. Actually, I offered to 
speak at the first meeting and they 
accepted my offer, and a year later 
they invited me to return. That 
was a very enjoyable and interest- 
ing experience. It was also a curi- 
ous one. Imagine inviting a Yankee 
to go all the way to England to 
talk about Lewis Carroll, when the 
country has a plethora of experts 
who know much more about him 
than I ever will. 

If time permitted, I often dis- 
cussed some of the puzzles and 
problems that Carroll devised. 
The one that caused the most 
controversy and arguments was a 
slight variation of his Brandy and 
Water Mixture Problem: 

Suppose there is an eight- 
ounce cup of tea and an 
eight-ounce cup of coffee. 
Remove an ounce of coffee 
from the second cup and 
stir it into the first cup, then 
remove an ounce from the 




Carrollian Notes 




first cup and stir it into the 
second cup. Is there more 
tea in the coffee or more 
coffee in the tea? 

Carroll used water and brandy 
in this problem; in the United 
States it's almost always tea and 
coffee, but it's essentially the same 
problem. 

The problem can be solved by 
using ratios and proportions, but 
that's not necessary since it does 
not make any difference how the 
tea and coffee are mixed together 
as long as there are eight ounces 
in each cup after mixing. If, for 
instance, the first cup contains 
one ounce of coffee, the remain- 
ing seven ounces must be seven 
ounces of tea. Since there are 
eight ounces of coffee and eight 
ounces of tea altogether, the re- 
maining seven ounces of coffee 
and one ounce of tea must be in 
the second cup, as shown in the 
following diagram: 

CUP 1 CUP 2 

Coffee 1 7 

Tea 7 1 

There is as much coffee in the 
tea as there is tea in the coffee, 




and the result is the same for any 
amount of coffee in the tea. 

It's interesting to note that if 
the amounts of tea and coffee are 
not identical, the result is still the 
same! E.g., let container #1 con- 
tain 30 oz. of tea and let container 
#2 contain 80 oz. of coffee. Mix 
them together any way whatsoever, 
as long as container #1 contains 30 
oz. and container #2 contains 80 
oz. after mixing. If, for instance, 
container #1 contains 10 oz. of 
coffee, the remaining 20 oz. in the 
container must be 20 oz. of tea, 
and the remaining 70 oz. of coffee 
and 10 oz. of tea must be in the 
second container, as in the follow- 
ing diagram: 

CUP 1 CUP 2 

Coffee 10 70 
Tea 20 10 

Once again, there is as much 
coffee in container #1 as there is 
tea in container #2, and the result 
will be the same for any amount of 
coffee in the tea. 

I am well aware that I have used 
only an example throughout, but 
proofs in general will go exactly 
the same way. 

Wonderland 
There's magic almost everywhere 
With a hatter, dormouse and 
a hare 
Who at tea-time will dine 

Though it's tea-time all the 
time 
And a cat that will vanish right in 
the thin air. 



x 

BOOJUMS FROM DOWN UNDER 

Joel Birenbaum 

I had the pleasure of seeing the 
Chicago production of Boojum! 
Nonsense, Truth, and Leiuis Carroll 
(script and lyrics by Peter Wesley- 
Smith, script and music by Martin 
Wesley-Smith) this November. I 
met with the twin brothers before 
attending the musical, and I have 
to admit I was a litde nervous. 
Musicals are not my forte, and it 
was hard to imagine the subject at 
hand presented in this format. As 



32 



it is not polite to eat something 
that you have been introduced to, 
it is probably equally impolite to 
disparage a show after you've had 
dinner with the authors. Luckily, 
I had nothing to worry about in 
this regard. For a Carrollian it was 
like drinking from a fire hose; the 
Snark, Wonderland, Looking-Glass, 
and diary quotes came fast and 
frumious from every direction. 
What follows is an e-mail inter- 
view with Peter. 

JOEL: The reviews in Chicago were 
fantastic. Can you give us a bit of 
the history 0/ Boojum! and com- 
pare it to previous productions ? 

peter: We first conceived the idea 
when visiting New York in 1979 
and attending a Sondheim 
musical, and the writing, at 
first desultory, took place over 
the next few years — often 
long-distance, as I was living 
in Hong Kong and Martin in 
Sydney. The show premiered 
in Adelaide in 1986 as part of 
the Adelaide Festival of Arts. 
The production wasn't optimal, 
so far as we were concerned. 
The reviews, nevertheless, 
were in the main favorable. 
We rewrote the show as more 
of a concert for choir, and this 
was the version recorded by 
the Motet Choir of the Sydney 
Philharmonia (and available on 
CD from Vox Australis, VAST 
010-2), and presented in other 
Australian cities and in the U.S. 
A production mounted by the 
Lajolla Symphony Chorus in 
San Diego (1992) may have 
been the best of these, semi- 
staged with a hundred-voice 
choir sitting in tiers on the 
stage, the costumed princi- 
pals performing in front and 
around them and with stage 
lighting effects. Reception 
was always good, though it's 
not a "popular" work, and it 
demands some input from 
audiences. I think the last pro- 
duction before Chicago was 
in 1998, so we had assumed it 
had expired, but Eric Reda had 



purchased the CD many years 
ago and vowed to put it on one 
day; when he became artistic 
director of Chicago Opera 
Vanguard, he seized the oppor- 
tunity to do just that. This was a 
fully staged show, the first one 
since 1986; fortunately, he had 
the resources, in terms of cast, 
production, and musical direc- 
tion, to carry it off brilliantly. 
I'd like to add that the generos- 
ity of the Chicago media and 
critics seems extraordinary to 
us, in terms of the number and 
quality of reviews. 

JOEL: This could be viewed as a sequel 
to The Hunting of the Snark; 
can you tell us why you chose this 
as the vehicle to examine the psyche 
of Lewis Carroll'? 

peter: I actually wrote a sequel 
to Snark in book form, a long 
verse on the same scheme 
as Carroll's. Boojum! doesn't 
seem to me a sequel: it uses 
the framework — a hunt for 
something we're not sure what, 
drenched in the fear that it 
might turn out to be a malevo- 
lent illusion — as a device to 
explore Carroll's own life and 
personality, through his own 
characters and literary manner- 
isms. There have been many 
musical retellings of the Alice 
books; The Hunting of the Snark 
has been less exploited yet 
offered a structure which suited 
our purposes very well. The 
notion that the Snark might be 
a Boojum seems particularly 
apt for Dodgson's subliminal, if 
you like, fear that his religious 
beliefs might in the end turn 
out to be illusory — I wonder if 
all religious people allow them- 
selves that level of doubt? — and 
that the termination of life is 
merely a sudden vanishing into 
the existential void. 

JOEL: Hoxu would you describe your 
use of the Alice (from Wonderland) 
and Alice Liddell characters'? 

peter: They were, of course, 
principal characters in Carroll's 



life and literature. We wanted 
to look at his relationship with 
Alice Liddell, whom we identi- 
fied with both the Wonderland 
Alice and, later in life, old Mrs. 
Hargreaves. They represent, 
perhaps, a fusion of real per- 
sons and their literary equiva- 
lents, just as Dodgson and the 
Baker, or Dodgson and Carroll, 
do in the play. 

JOEL: Lewis Carroll and Charles 
Dodgson are both characters in 
the show. Was this done to show 
Dodgson as a split personality, or 
for another purpose? 

peter: It was an attempt to 
contrast the shy, stammering 
Oxford deacon and don with 
the charming self-confident 
author of successful children's 
books — but we wouldn't claim a 
huge amount of verisimilitude 
in this characterization: it was 
a device by which to explore 
the whole man. Obviously, in a 
musical you cannot present a 
biography, and using two char- 
acters for the same individual 
is a dramatic and symbolic way 
of indicating a broad approach. 
I don't think of Dodgson as a 
split personality, though, like 
most people, he had contrast- 
ing and perhaps contradictory 
impulses; he was a complex 
man, though if you read the 
standard account of his life 
as mathematics lecturer and 
deacon he seems very conven- 
tional. His Carrollian side is in 
such stark contrast that present- 
ing him as a separate character 
is readily justified. 

JOEL: The show was informative, 
but was also entertaining to non- 
Carrollian viewers. The scene with 
the Tweedles analyzing the yin and 
yang of being twins was particu- 
larly amusing. Where on Earth did 
that come from? 

PETER: Bi-polarity was a theme 
of the play (Dodgson/Carroll, 
Alice/Mrs. Hargreaves, Snark/ 
Boojum), and the Tweedles, 
particularly engaging Carrollian 



33 



characters, clearly had to be 
included. They reinforce the 
idea that similarity of situation 
doesn't mean an identity of 
view. Martin and I are twins, so 
there was a natural inclination 
to use Dum and Dee. 

JOEL: The music covered a broad spec- 
trum of styles. Like the Carroll refer- 
ences, this certainly kept the vieiuers 
on their toes. What luas the basis 
used to determine the style chosen 
for a given song? 

peter: This is really Martin's 
bailiwick. I think he would say 
he chose a musical style to suit 
each lyric and that a diversity of 
styles makes musical sense, at 
least from an audience's point 
of view. It's perhaps a post- 
modern approach, though it 
was generally pre-post-modern 
at the time it was composed. 

JOEL: There ivas one song that was 
a poem based on a single rhyme. 
Did Carroll ever write a poem like 
this? The single rhyme added much 
humor to this song. 

peter: I don't know of a Carrol- 
lian example. Incidentally, 
my recollection is that Martin 
wrote this lyric, whereas he 
always thought that I did. I 
remember being annoyed that 
a mere musician could write 
such good words but sup- 
pressed the urge to strike the 
song out for its obvious imper- 
tinence. 

JOEL: This script was written some 
time ago. Is there anything that you 
would change? 

peter: It survives pretty well, even 
in the post-Karoline Leach 
age. There is at least one sec- 
tion (no doubt others as well!) 
which would have Karoline 
gnashing her teeth, but it's a 
defensible approach. 

JOEL: There ivas one aspect of the 
shoiu that I did have an issue with. 
Throughout the show, there were 
vignettes betiueen Dodgson and 



Alice and Carroll and Alice, and 
the last of these shoived Carroll leer- 
ing at Alice, which intimated some 
sort of sexual suggestion. Was I 
correct in my interpretation of this 
scene? 
peter: The view we took right 
from the start was that Dodgson 
had no sexual interest in his 
child friends; he thought they 
were "safe" and pure because 
pre-pubescent, and his friend- 
ship with Alice was not moti- 
vated by sexual interest. The 
whole question of his sexuality, 
on which there is no direct 
evidence, is nevertheless one of 
enormous interest to the gener- 
al public, and it's not surprising 
that a director might allude to 
it in such a way. Directors have 
to be permitted some degree 
of interpretation of the mate- 
rial. In the Adelaide produc- 
tion, the director exploited the 
sexual angle, but in what we 
thought was an unsubtle, inap- 
propriate, and rather crass way. 
Jimmy McDermott, who direct- 
ed in Chicago, did not consult 
with us on this aspect, and we 
didn't wish to interfere with his 
artistic choices; he did a won- 
derful job overall, as indeed 
did the whole company. Alice 
did keep baring a shoulder and 
simpering, but that was a re- 
creation of Dodgson 's famous 
"little beggar-girl" photograph 
of her. And when she discreetly 
removes some clothing, it was 
an allusion to the "nudities." 
The audience is invited to pon- 
der these tilings; certainly the 
writers did not wish to suggest 
any sexual improprieties on 
Dodgson 's behalf. 

JOEL: The second act was much 

darker than the first. Wfiat was the 
reasoning behind separating the 
lighter, more comedic scenes from 
tfie darker; more dramatic ones? 

peter: The only answer, I sup- 
pose, is the demands of drama: 
we needed to get serious about 
the meanings we wished to 
establish. Any play or story 



needs a sense of development 
towards some sort of climax 
(or so the play-writing books 
tell us) , and the Snark itself 
provides a gripping conclu- 
sion. Tension and release is an 
orthodox aspect of structure, 
and that's what we relied on in 
the second act. 

JOEL: In xvhat ways did the writings 
of Lewis Carroll contribute to the 
creation of the show? 

peter: Most directly, of course, 
we used Carrollian charac- 
ters (Alice, the Tweedles, the 
Caterpillar, the Jubjub bird, 
the Bellman, and the Baker). 
Some script devices were from 
Carroll, such as the song "For 
More than Sixty Years," which 
was developed from a frag- 
ment of childhood verse, or 
"The Question Is" (extend- 
ing Humpty Dumpty's atti- 
tude towards words) , or "The 
Knight's Gambit," placing 
Dodgson and Carroll in a chess 
game. Carroll loved to compose 
acrostics, and we extended that 
idea by inventing (we suspect!) 
an "acroustic" (acoustic acros- 
tic) , which opens the show. 
Martin found some of the tunes 
by playing nursery rhymes back- 
wards and/or upside down, 
as Dodgson did by tinkering 
with music boxes. Thus "The 
Question Is" was created by 
reversing the tune of "Humpty 
Dumpty," and "What Is the 
Snark?" is "Rock-a-Bye-Baby" 
backwards and upside-down. 
That's the sort of thing Carroll 
would have done had he been 
a composer. 

JOEL: Are there plans for further pro- 
ductions ? 

Peter: No current plans. We would 
love to see the show performed 
again, and it may be diat, after 
the Chicago success, there 
will be further interest in the 
U.S. Its natural home ought 
surely to be England, but we've 



34 



had no traction when we've 
attempted to promote it there. 
Perhaps the LCSNA could 
commission a production to 
coincide with its next annual 
conference? 



THE ETERNAL JABBER WOCK 

The February 2011 issue of 
The Believer has an entertaining 
and worthwhile article on the 
perils and pleasures of translat- 
ing Lewis Carroll into Chinese 
(http://www.believennag.com/ 
issues/201 102/?read=article_ 
levinovitz) . The essay by Alan Levi- 
novitz, a PhD candidate in religion 
and literature at the University of 
Chicago, focuses on the Carrollian 
translations of Y. R. Chao, a twenti- 
eth-century polymath who taught 
physics, Chinese, philosophy, and 
linguistics at Harvard, Berkeley, 
and Cornell in the United States 
and at Tsinghua University in 
China. Professor Chao possessed 
a linguistic dexterity that at times 
bordered on the inhuman; he was 
fond of beginning his lectures with 
several minutes of incomprehen- 
sible gibberish and then stopping 
to play a recording of his speech — 
and backwards, no less, so that it 
revealed his nonsense mutterings 
to be a perfectly normal, intelli- 
gible talk introducing the students 
to the course. 

Prof. Chao translated both Alice 
books into Chinese, AAIWin 1928 
and TTLGin 1938. The first trans- 
lation enjoyed a solid commercial 
success and remains a standard 
to this day. The latter translation 
fared far worse; it has slipped 
into obscurity and is now a biblio- 
graphic rarity. 

The reason for this disparity is 
ascribed by Levinovitz to the dif- 
fering nature of the two books. 
Alice's foray into Looking-Glass 
Land was far more complex lin- 
guistically and logically than her 
earlier adventures into Wonder- 
land, and hence far trickier to 
translate. 



Levinovitz focuses on Chao's 
translation of "Jabberwocky" as 
an example of this dilemma and 
gives us a lucid simulation and 
transliteration of the mental gyra- 
tions that the average Chinese 
reader would endure in trying to 
understand Chao's translation of 
Humpty Dumpty's "translation" 
of the poem's portmanteaux. The 
author should also be commended 
for this elegant homage to the 
recursive nature of Carrollian non- 
sense; just as Carroll's word games 
double upon and enfold the 
reality they spring from, we, the 
readers of his article, move with 
Levinovitz through tiiese multiple 
layers of translation nested within 
one another. 

Carroll's portmanteaux nicely 
sum up the ultimate problem of 
all conscientious translators; they 
are not only synergistic distortions 
of meaning, but also neologisms, 
entirely made-up words which 
possess a certain novelty to the 
ears and eyes of the reader, a 
novelty that cannot be translated 
without sacrificing in some way 
the embedded layers of mean- 
ing. The closest non-nonsensical 
example of this lurks in science- 
fiction translations, where a 
French translator, for example, 
will throw up his hands in despair 
and rename Chewbacca and Darth 
Vader as Chico and Dark Vador. 
What is being translated here is 
the emotional and aural flavor of 
pure sound; the meaning becomes 
secondary and very reliant upon 
unique cultural connotations. 

The valiant Dr. Chao tackled 
"Jabberwocky" by grouping to- 
gether bits of word particles that 
approximated the basic sense of 
die source words whilst also pro- 
viding that novelty of word flavor 
that is so much of the pleasure 
of the poem. For example, brillig 
became a two-character word, 
"bye-lee." The character for "bye" 
combined part of the character for 
daytime with part of the character 
for evening time, and apparently 
the "lee" character was tacked on 



for aesthetic reasons, to furnish a 
rough approximation of the An- 
glophone sensation of hearing the 
word "brillig." 

However, despite the Duchess's 
dictum, taking care of the sense 
does not mean that die sounds will 
take care of themselves. Chao's 
translation retained enough asso- 
nance with the original that when 
he recited it during a talk he gave 
to the West Coast Chapter of our 
Society in 1980, as Mark Burstein 
relates, when he stumbled over his 
place, his non-Chinese-speaking 
audience immediately prompted 
him, and he soldiered on. 

But as Levinovitz notes, cer- 
tain orthographical Jubjubs still 
threatened the indomitable Dr. 
Chao's ingenious efforts. Levino- 
vitz showed his version of "Jabber- 
wocky" to a native-Chinese-speak- 
ing acquaintance, and the results 
were instructive. The woman, a 
professor of Chinese literature, 
found the poem frustrating and 
unappealing. Although she per- 
fecdy understood the strategy 
employed by Dr. Chao and Carroll, 
she objected strenuously to the 
made-up words on the grounds 
diat their constituent characters 
and fragments of characters were 
inadmissible to Chinese readers. 
The novelty of the spoken words 
was acceptable, but in essence Dr. 
Chao was inventing completely 
new characters to represent those 
sounds, and this situation was 
untenable. As Levinovitz remarked 
to die Knight Letter, we should 
understand diat "the translator's 
making up of characters is sort of 
like making up letters, with the as- 
sociated problems of 'How do we 
type these new letters?' or 'How 
do we pronounce them?' For the 
Chinese, the problem is that mak- 
ing up words appears to entail 
inventing characters, unless they 
can come up with new, innovative 
forms of nonsense." 

The entire project of Carrollian 
translation into Chinese, and simi- 
lar logosyllabic writing systems, 
seems stymied by certain struc- 



35 



tural problems relating spoken 
words to written words. In essence, 
Carrollian nonsense translated 
into Chinese runs the genuine 
risk of moving beyond nonsense 
into total illegibility, at least until 
enough Chinese decide they'd 
prefer a bit more illegibility in 
their reading material — a genu- 
inely Carrollian sentiment! 

In summation, a highly recom- 
mended essay by Levinovitz and 
further proof of Lewis Carroll's 
nonsensical ability to flummox 
even the most ingenious and well- 
meaning intentions. Perhaps this 
is why Dr. Chao translated the 
Carrollian concept of "portman- 
teau" into the Chinese words for 
"poached egg," a warning to any 
futtire Humpty Dumptys amongst 
us, those cocky fellows who think 
they know how to manage the 
whole wordsy lot in Chinese or 
English. 



K 

THE ANIMATING OF A SNARK 

The Hunting oftfw Snark seems to 
be attracting more cinematic inter- 
est recently, and now comes the 
welcome news that an animated 
version of the poem is being pro- 
duced in the United Kingdom, a 
stop-motion adaptation produced 
and directed by Saranne Bensusan 
in conjunction with 3 rd Story Pro- 
ductions and Lawrence Mallinson 
Productions. LCSNA members will 
be pleased to learn that our very 
own President Emeritus Andrew 
Sellon has participated in this 
adaptation; his will be the voice of 
the Judge in the Barrister's Dream. 

Saranne was first exposed to 
the Snark by a benevolent aunt 
and uncle, who gave it to her as 
a Christmas gift when she was a 
child. She and Lawrence Mallin- 
son, both of them animators based 
in London, conceived of doing it 
as a stop-motion film in lite spring 
of 2010. Saranne decided to play 
up the comic aspects of the story, 
and also decided to add extra 
scenes and characters to the story. 
The relative brevity of the story 



has always been an impediment 
to a full-fledged feature film treat- 
ment, and this production aims to 
be the first one of that kind. 

Saranne Bensusan finished the 
script by Christmas of 2010, and 
the tragic epic has been amplified 
and modified in several ways. The 
Snark-hunting crew will be guided 
by a mischievous Satnav (an au- 
tomatic navigational system) with 
a mind of its own. The crew will 
disembark and meet Hope (as 
in Forks and Hope), who seems 
to know more about the Snark 
than she is letting on. The plot 
will thicken during the Bellman's 
Speech, which will be peppered 
with more visual clues as to the 
identity of the Snark. 

Although the chief animators, 
Chris Wright and producer Law- 
rence Mallinson, have consider- 
able stop-motion animation expe- 
rience, this Snark has presented 
several technical challenges. 

The choice of armatures upon 
which the characters would be 
molded was critical. Any difficult- 
to-move arms or legs could ruin 
the sequence if the animators 
were too heavy-handed. Initially 
opting for foam latex applied over 



prefabricated armature kits, they 
encountered problems when the 
alginate molds for the sculpted 
characters started to shrink, mak- 
ing the two halves of the moulds 
misalign during assembly. This was 
overcome by keeping them moist, 
a condition that also encouraged 
mold (the fungus, not the cast). 
Another complication was the 
difficulty in allowing enough time 
for the air-drying latex inside the 
sealed molds to dry, which the 
team discovered were two incom- 
patible things. 

This led to a reappraisal of the 
whole system, and the animators 
opted instead to build custom 
armatures out of doubled lengths 
of 3mm armature wire twisted 
together and covered in shrink 
wrap. The characters' bodies were 
modeled directly upon that, with 
foam and cotton-wool. Latex was 
still used for the hands, as this is 
flexible and has a nicely familiar 
look to it. As can be seen in the 
photographs, the hands are very 
realistic and are very bendable so 
that they can be used to hold pens, 
saucepans, etc. 

The set building was also fun. 
Real sets were constructed, and 




The Bellman 's Speech, with its reference to the Stunk 's passion for bathing machines, is shown 
here in a storyboard shut. 



36 



using green screen backdrops al- 
lowed the illusion of depth to be 
created by adding background ac- 
tivity, weather, and location. Some 
of the backdrop footage was shot 
in Brighton and Hove in 2010. 

All of the props for the sets were 
on a 1:12 scale. The animators fash- 
ioned scale replicas of everything 
from food, a TV set, and newspa- 
pers to even the kitchen sink (yes, 
there really is a kitchen sink!). 
There's even a 1:12 scale fishing 
boat (named with another aptly 
Carrollian reference), looking very 
realistic down to the rivets in the 
wood and the shape of the boat. 
Some of the storyboarding was 
done using the actual sets, which 
will be useful when animation be- 
gins filming on August 1, 2011. 

Casting began in January 2011, 
and the response was large and tal- 
ented. Andrew Sellon was chosen 
as the Judge. He was quite gener- 
ous with his time on the project. 
Other voice talent includes Joerg 
Stadler as the Bellman; he may 
be remembered by readers as the 
German soldier Steamboat Willie 
from the film Saving Private Ryan. 
Award-winning actress Hannah 
Raehse-Felstead plays the part 



of the Boots, Kevin Potton is the 
Barrister, Nigel Osner the Billiard 
Marker, Simon Fox the Baker, An- 
drew McDonald the Butcher, Maia 
Krall-Fry plays Hope, and Rowena 
Lennon is the Beaver. 

The animation will be shot 
using 2x DSLR cameras attached 
to two laptops that are running 
Stop Motion Pro. The team is 
planning to shoot at 16 frames 
per second, which means that for 
every second of film the audience 
sees, everything on set will have 
been moved 16 times! To make 
sure that the animating fits the 
dialogue, something called a Dope 
Sheet is used. 

Twelve different mouth shapes 
have been created for each char- 
acter, and to assure that the voice- 
over is in sync with the picture, 
the team must carefully count 
the number of frames that each 
mouth shape is needed, for each 
word being spoken. The film will 
be shot in HD, and Adobe Pre- 
miere will be used to do the pic- 
ture editing, lip sync, and sound 
editing, as well as the main credits, 
the chroma-keying, and the color 
grade. Adobe After Effects will be 
used for the title sequences and 



to add any special effects. The 
talented Texas-based musician 
Guthrie Lowe will score the music. 
Guthrie is an expert in orchestra- 
tion, and his style fits in nicely with 
the Snark. 

This Snark will most likely be re- 
leased in the summer of 2012 and 
will enter the film festival circuit 
in 2012-2013. Also, as part of the 
DVD release, the producers are 
planning to put together an extras 
DVD that will include a "making 
of documentary, plus a couple of 
short films that Saranne has made 
in the last year, films with a Snark- 
ish flavor — although greens are 
optional, of course! 

Further information about the 
film can be found here: 

http://www.facebook.com/ 
pages/The-Hunting-of-the- 
Snark/105387206175380 

http://www.thehunting 
ofthesnark.co.uk/ 

Hopefully, we'll be seeing and 
reading more about this latest ani- 
mated Snark in the near future! 




Another storyboard shot fur the Bellman 's 
Speech, depicting the will-o-t he-wisp 
nature ofSnarks. In both this and the 
other photo, the porcelain doll is used 
solely for storyboarding purposes and 
will be replaced with a character during 
animation. 



37 



TRANSFORMING ALICE INTO A 
MUSEUM WONDERLAND 

Hilary Winiger 

Floridian Carrollians will be 
intrigued to learn that a new 
museum with a significant AATW 
exhibit is being designed and 
constructed in Broward County 
and hopes to open by Spring 2012. 
Young At Art Museum in Davie, 
Florida, is constructing a 3,500 sq. 
ft. early-childhood exhibit gallery 
called Alice's Wonderscapes within 
a larger 55,000 sq. ft., $21 million 
art museum for children. 

Alices Wonderscapes was con- 
ceived by the museum's exhibit 
design firm, Architecture Is Fun, of 
Chicago, and visually informed by 
artist and illustrator DeLoss Mc- 
Graw, whose version of Alice won 
the Illustrator's Society Book of the 
Year Award for 2002. Using Car- 
roll's story and McGraw's images 
as both art and architecture, YAA's 
designers are creating a beautiful, 
dreamlike gallery diat encourages 
children from birth to age 4 to 
cross artistic domains using words, 
gestures, drawings, paintings, 
sculpture, music, singing, dramatic 
play, movement, and dance — all of 
which contribute to literacy. 

The imaginative journey 
through Alices Wonderscapes will 



Tlie March Hare's house has been 

constructed at a sufficient scale 

to impress eiien the mast digitally 

jaded child with the nonsensical 

possibilities of Wonderland. 



take children and parents through 
immersive and sensorial portals 
based upon the most recognizable 
elements of Carroll's story. Down 
the Rabbit Hole is a tactile tunnel 
that challenges a child's under- 
standing of sense of scale. Alices 
Pool of Tears is a watery environ- 
ment in which water becomes a 
learning tool for stimulating fan- 
tasy play, discussing emotions (it's 
OK to be sad or cry), and gaining 
new perspectives on concepts such 
as empty/ full, under/ over, and 
shallow/deep. 

The Mad Hatters Tea Party is 
an adventure of scale, sights, and 
sounds. Giant elements capture 
the imagination, while miniature 
elements encourage dexterity. The 
Giant Teacup provides the perfect 
place to read one of tire many 
versions of Alice. The Giant Teapot 
is a place of changing light and 
color, delightful songs and sounds, 
a fiber-optic spray of tea, and an 
upholstered spoon big enough to 
lounge in. The Giant Slice of Cake 
forms a nook for wood block play. 
The beautiful life-sized table and 
chairs designed with McGraw's 
imagery provide a place for imagi- 
native play. 

The March Hare's House with 
giant ears is designed for early 
childhood discovery, including 




role-play and health/nutrition 
activities, trunks filled with cos- 
tumes, and a magnetic wall of 
words, allowing children to create 
their own puns as Carroll did for 
his friends and readers. 

Alice's Reading Forest and Pup- 
pet Theater provides a venue for 
children to sit and read or create 
impromptu puppet shows based 
on Alice's animal friends, ideal for 
encouraging adult-to-child social- 
ization as well as an adult-to-adult 
collegial environment. Alice's Infant 
Garden, filled with flowering topi- 
aries, tiger lily speaker tubes, and 
soft-sculpture plants and insects, 
stimulates an infant's brain devel- 
opment through gestures, sounds, 
colors, and movement. Alice's 
Games, like Carroll's story, is filled 
with rules, fun, and consequences. 
Children can manipulate latches 
and doors on a series of Discov- 
ery Boxes, participate in vibrant, 
colorful art games in the House of 
Cards, or play on a 3D game board 
that references animal body parts 
within the Alice story, from the 
Lory's head to the Mouse-tail. 

Alice's Art provides diverse art- 
making experiences inspired by 
McGraw's work, enabling young 
artists to use high-quality art mate- 
rials to express their creativity. 

Alice's Wonderscapes is one of 
four main exhibition galleries 
that constitute Young At Art's new 
museum, a public/private partner- 
ship with Broward County. For the 
past 22 years, YAA has been at the 
forefront of arts education, and 
they've been recognized as the 
Best Children's Art Museum in 
the Nation by Child magazine. YAA 
has been a recipient of National 
Leadership and Promising Prac- 
tice Awards from the Institute of 
Museum and Library Services and 
Association of Children's Muse- 
ums, and a recipient of a Knight 
Foundation challenge award. 

For additional information on 
the new Young At Art Museum 
and Alice's Wonderscapes, please 
visit die museum's website at www. 
youngatarunuseum.org. 



38 



The Alice Behind Wonderland 

Simon Winchester 

Oxford UP, 2011 

ISBN 978-0-19-539619-5 

Cindy Claymore Watter 

This is not the worst book about 
Lewis Carroll ever written.* How- 
ever, what I anticipated to be a 
leisurely and enjoyable three-hour 
reading experience led to an ex- 
pedition of several more hours 
through many other biographies, 
diaries, memoirs, and the odd auc- 
tion catalogue — not to mention a 
few e-mails — to confirm that The 
Alice Behind Wonderland is, indeed, 
riddled with error. These mistakes 
are factual and interpretive, many 
and various. 

The Alice Behind Wonderland is 
a book that aims to show how the 
"Alice as Beggar Maid" photograph 
was the inspirational spark that led 
to Alice's Adventures under Ground. 
It does not. The photograph was 
taken in 1 858; die tale was first told 
in 1862. The friendship was the 
inspiration, not the photograph. 
Winchester also states that there 
are only two extant images of this 
subject, and both are at Princeton, 
locked away in a vault. He points 
out the Carrollian paradox of not 
actually being able to see the origi- 
nal image about which he writes — 
he had to work from a digital 
copy — but in fact there are other 
examples of this photograph. One 
is in the Berol Collection at the 
New York Public Library — it is a 
version that Carroll had hand-col- 
ored — and anodier is at die Metro- 
politan Museum of Art. Both were 
exhibited in the years surrounding 
the Lewis Carroll centenary. Alice 
Hargreaves's own hand-colored 
copy of the print was auctioned 
by Sotheby's in 2001. According 
to that catalogue, there are ten 
known first-generation copies of 
the print. Since the rarity of the 
picture is used as a framing device 



The worst book about Lewis Carroll 
ever written was the one in which the 
author claimed that CLD/LC was 
really Jack the Ripper. 




for Winchester's narrative, this is a 
serious error. 

Winchester's opening pages, 
with the romantic description of 
Princeton's Firestone Library and 
its vintage 1948 yet "prematurely 
ancient" design and tucked-away 
Parrish collection, are delightful, 
and so is the account of a reader's 
experience as she diumbs dirough 
the album of photographs once 
owned by the library's generous 
benefactor, bibliophile Morris 
Longs treth Parrish. However, this 
reader was brought up short by 
Winchester's confidence that the 
viewer "might cry out, startled" at 
the image of Alice in rags. Most 
viewers these days are pretty hard- 
ened. I couldn't even frighten a 
friend's children with a terrifying 
picture from Slovenly Betsy. But I 
digress. 

What I found startling was Win- 
chester's mention that Alice's left 
nipple was exposed. That seemed 
unnecessary (in the colored ver- 
sions, it is covered). He also in- 
dulges in empurpled prose, de- 
scribing the photographic session 
in highly imaginative detail — there 
is no such lengthy account to use 
as reference. Winchester quotes 
the Tennyson poem about King 
Cophetua, and mentions that it 
inspired several pre-Raphaelite art- 
ists. However, poor children, fallen 
women, and the suffering laboring 
class were stock subjects for artists 
of the day and were a reflection of 
the Victorian zeal for social reform. 

Winchester's discussion of the 
mechanics of the camera shoot is 
inaccurate — the glass plate is re- 
moved for development — and he 
doesn't understand that the black 
knee in the famous photograph 
is there because the glass plate is 



cracked. In addition, Carroll was 
not living in the top floor of Tom 
Quad when the picture was taken. 
He moved several times in his two 
score and more years' sojourn at 
Christ Church. There is only one 
photograph in the book, by the 
way — on the cover — and so many 
are mentioned that it would have 
been helpful to the average reader 
to have a few included. 

Winchester's commentary on 
the unmarried state of most of 
Carroll's brothers and sisters — he 
said it was "worth noting" — is 
odd. Carroll's one brother who 
remained a bachelor was also a 
missionary on Tristan de Cunha. 
Today it is described as the most 
remote island in die world; I am 
not surprised Edwin Dodgson 
remained single. The majority 
of Carroll's sisters did not marry, 
but they had even less opportu- 
nity than Edwin: the lady must 
be asked. They were also limited 
by the Victorian class system: as 
daughters of a distinguished 
churchman, they could hardly 
rush out and snatch the first man 
on the street. It should also be 
noted that unlike the Liddell 
sisters, the Dodgson girls had a 
mother who died young and thus 
was not available to set courtships 
in motion through skillful social- 
izing. 

Carroll's bachelorhood is also 
noted more than once. The first 
time, Winchester follows up with 
an unintentionally hilarious com- 
ment about how Carroll rejected 
the hearty boy's life at Rugby: 
"This was the time in his life when 
he was first tempted to seek sanc- 
tuary in the comfort of the crino- 
line, when lace and gay bonnets 
and fair young skin and idle chat- 
ter would start to mean far more 
to him than mud and muscle, 
sweat and sawdust." 

Of course Winchester sim- 
ply means that the young CLD 
learned to prefer the company of 
females at a young age, but it does 
conjure up an image of the poor 
litde thing in Victorian drag, and is 



39 



an example of Winchester's florid 
prose style detracting from his 
meaning. The image of the young 
CLD in drag is too much for this 
reader — and anyone who thinks a 
crinoline is comfortable has never 
worn one. 

Winchester also discusses the 
marriage of Henry Liddell and 
Lorina Reeve, Alice's parents. 
He states that Henry Liddell for- 
feited his studentship when he 
married, which was "something 
that Dodgson could have done, 
of course, had he ever decided to 
become betrothed." Even Henry 
Liddell, with a baron and an earl 
festooning his family tree, waited, 
for economic reasons, until he 
was well into middle age before 
marrying a much younger woman 
and founding an enormous fam- 
ily. (His Greek lexicon was a great 
help in the support of said family. 
It is still in print.) Carroll, though a 
gendeman's son, did not have such 
resources. Did Winchester not un- 
derstand that if Lewis Carroll had 
given up his studentship, he would 
have been giving up a very good 
living, with salary, room, board, 
and servants? He also had to help 
support his unmarried sisters. By 
the time the Alice books made him 
more prosperous, he was probably 
very set in his ways. 

The old Oxford gossip is re- 
peated. There is no evidence 
that Alice's governess had been 
"charmed" by Dodgson or that 
he had favored treatment from 
Liddell about taking Holy Orders. 
There is no evidence that Alice's 
governess had been "charmed" 
by Dodgson. Winchester states 
that CLD was "breaking the 
rules" — with the knowledge of 
Dean Liddell — by not taking Holy 
Orders, a requirement for the 
studentship at Oxford. However, 
Dodgson did at least partially fulfill 
those requirements, and became 
a Deacon. He also was known to 
preach a sermon now and then. 

To me, the oddest statement 
of all in the book was the sugges- 
tion that the Dean's wife, Lorina 



Reeve Liddell, was "achingly bored" 
at times and possibly found sol- 
ace in the company of Our Hero. 
From what I have read about Mrs. 
Liddell, she reveled in her posi- 
tion as the handsome wife of an 
important Oxford man, and she 
did not have time to be bored, ach- 
ingly or otherwise. She efficiently 
ran her household and was an ex- 
cellent hostess. Ill-natured people 
remarked on her social ambition, 
but she was living proof of the ben- 
efits of marrying up, and I doubt 
she cared about gossip. 

Which brings me to the final 
criticism: It is unfair to say Alice 
was about to enjoy "an affair . . . 
with (Queen Victoria's son) Leo- 
pold, Duke of Albany." The word 
"affair" had a very different con- 
notation then, and I suspect Mrs. 
Liddell's daughters were heavily 
chaperoned when they reached 
their teenage years. This is not to 
say the two were not in love — and 
that their love would be doomed, 
given Queen Victoria's mania for 
marrying her children into royal 
families, so that future historians 
would marvel at the identical phys- 
iognomies of George, Wilhelm, 
and Nicholas. 

The errors mount, and this 
book is not helped by its over- 
wrought prose style. The carefully 
worded authorial thanks to Edward 
Wakeling for devoting "such time 



and thought as he did to this small 
volume" must translate to "none at 
all." However, Simon Winchester's 
advice to read Lewis Carroll: A Biog- 
raphy, by Morton Cohen, is excel- 
lent, and he should take it himself. 



* 

Livres d 'artiste 
Contemporary book artist Didier 
Mutel of Paris has produced a 
handsome and highly unusual 
set of the classics, an example of 
which was shown at the 44th Cali- 
fornia International Antiquarian 
Book Fair in February. Wonderland 
(2002) contains 42 original copper 
engravings that often incorporate 
Tenniel's originals and generally 
involve a nude figure, ofttimes 
louche or lugubrious, printed 
on hand-painted sheets of velin 
d'Arches and Sekishu-Shi paper. 
Looking-Glass (2004) is printed, 
appropriately, in mirror text and 
is illustrated with 50 plates. Each 
is in an edition of 40 limited and 
10 deluxe, the latter containing 
an extra volume of plates. A set of 
the two limited editions sells for 
$15,500, and can be purchased 
from Ian J. Kahn at Lux Mentis, 
110 Marginal Way #777, Pordand, 
ME 04101; (207) 329-1469; ian@ 
luxmentis.com 



The Mutel Looking-glass 

m 




40 



■» 



Under the Influence of Alice: Music 

Inspired by the Classic Tale 

(Rhino Records R2-523567, 2010) 

Dr. Greg Bowers 

Whatever one may think of the 
entertainment industry's recent 
spate of new Alice-themed produc- 
tions, it is clear that Lewis Carroll's 
unlikely heroine has reasserted 
her place in popular culture. Am- 
bitious projects for film, television, 
and stage, although often critically 
lacking, have proven their com- 
mercial value, prompting chain 
stores to stock old, sometimes 
obscure, Alice in Wonderland films 
in addition to new Alice-inspired 
CDs adorned with top hats, mush- 
rooms, and white rabbits. 

Under the Influence of Alice is one 
such collection, a consequence of 
what Will Brooker describes in his 
book Alice's Adventures as modes of 
shared meaning derived from the 
Alice stories, such as "dark fable, 
innocent children's fantasy, Freud- 
ian dreamwork, English heritage 
treasure, and drug hallucination." 
Described as "Music Inspired by 
the Classic Tale," Rhino Records 
has scoured its vault in an attempt 
to join the Alice revival around 
the loosely drug-tinged theme of 
psychedelia. 

Part retrospective and part pro- 
motion, the collection includes a 
market-sawy mix of famous and 
unknown artists. While there is 
plenty of good music, only a few 
of the songs were clearly written 
with Alice in mind. Other songs 
are loosely plausible, bearing a 
connection by title alone. Rob- 
ert Smith's "Looking Glass Girl" 
(1983), performed by The Glove, 
and especially "The Caterpillar" 
(1984), performed by The Cure, 
with atonal improvisations and 
quick left-to-right panning, are 
effective, as is actress Scarlett Jo- 
hansson's uncompromising vocals 
on her cover of Tom Waits' "Fall- 
ing Down" (2009). Other songs 
bear virtually no relation to the 
story beyond those conjured in 



the listener's imagination. Elvis 
Costello's "Deep Dark Truthful 
Mirror" (1989) and The Flaming 
Lips' "What Is the Light" (1999), 
while respectable, don't belong. 
French artists Emilie Simon's elec- 
tronic tango "Flowers" (2006) and 
Clare and the Reasons' dirge-lul- 
laby "Wake Up (You Sleepy Head)" 
(2010) are trite and forgettable. 

The two most noteworthy 
tracks are also the oldest: Grace 
Slick's "White Rabbit" and "The 
Mad Hatter's Song" by the In- 
credible String Band, both from 
1967. "White Rabbit," originally 
recorded by Jefferson Airplane 
for the album Surrealistic Pillow, is 
an iconic and perhaps the most 
famous Alice-themed recording. 
Despite explicit references to drug 
use relating to Alice's changing of 
size, the song is widely referenced, 
including in the new Broadway 
production Wonderland the Musi- 
cal. Beyond recreational drug 
use, though, the song depicts an 
expansion of temporal reality that 
speaks to the most basic instincts 
of human imagination, synthesiz- 
ing the myth of Alice with modern 
psychedelia. The Spanish-style 
harmonies repeated throughout 
only resolve at the utterance "Go 
ask Alice. . .", culminating in the 
emancipating refrain, "Feed your 
head." This famous line, despite 
the mention of some Wonderland 
characters, is not accurate to the 
original story, reminding listeners 
that creative depictions of Alice 
need not be literal to be successful. 

"The Mad Hatter's Song" is a 
free-form, "pre-psychedelic" fan- 
tasia. The Hatter is referenced, 
along with figures such as Jesus 
and Prometheus. Originally from 
Scotland, the Incredible String 
Band gained notoriety by inte- 
grating world folk traditions into 
their work, paralleling the rise 
of "world music" in the 1960s and 
1970s. This song integrates ele- 
ments of folk and classical styles 
and includes sitar, played by Nazir 
Jairazbhoy, to create a hybrid style 



that expands the boundaries of 
popular music, reminiscent of The 
Beatles' work. The opening blend 
of sitar and guitar, playing in at- 
tunement while each instrument 
maintains its authenticity, is intoxi- 
cating. This style is reminiscent of 
Jonathan Miller's 1966 BBC Alice 
production with music by Ravi 
Shankar. A through-composed 
series of meandering sections 
creates a sense of journey and 
personal reflection. Midway, the 
song surprisingly transitions into 
a blues style, leading to the lyric, 
"Since the city has took you, mad 
Hatter is on my mind." At times, 
this stream-of-consciousness man- 
ner may become too lofty; how- 
ever, the integration of elements 
evokes a sense of wonder and 
meditation on the seamless space 
between truth and fantasy: 

"Oh seekers of spring how could 

you not find contentment 
In a time of riddling reasons in 

this land of the blind? 
By the joke of fate alone 
It's sure that as the loved hand 

leaves you, 
You clutch for the slip-stream, the 

realness to find." 

The remaining songs bear a 
relation to Alice that is, while 
abstract, worthy of consideration. 
Two grim selections demonstrate 
the ubiquity of the name "Alice" 
in alternative rock: "Here Comes 
Alice" (1989) by The Jesus and 
Mary Chain and "Alice" (1981) by 
Sisters of Mercy. Neither song de- 
picts Carroll's Alice, though those 
familiar with darker interpreta- 
tions of Wonderland won't be able 
to resist further comparisons. For 
The Jesus and Mary Chain, "Alice" 
is no child, but rather an ambigu- 
ous metaphor for drugs, sex, or 
possibly consumerism. The mix- 
ture of Velvet Underground-style 
distortion with Beach Boys har- 
monies creates a sense of ironic 
innocence. Sisters of Mercy carries 
this ominous theme further, crea- 
timg a deeply naive, tragic figure, 
mentally ill and addicted to medi- 



4 1 



cation. Andrew Eldritch's creepy 
vocals over a relentlessly repeating 
chord progression augment the 
feeling of psychosis. 

Of final note is bluegrass singer 
David Moore's Tom Waits-style 
cover of the Tom Petty classic 
"Don't Come Around Here No 
More" (1985), co-written by Dave 
Stewart of the Eurythmics. The 
dde is essendally a break-up line 
uttered by singer Stevie Nicks 
whilst trying on Victorian clothes 
in the aftermath of a wild party, 
an experience which Dave Stew- 
art described as being like Alice 
in Wonderland. Of course, many 
listeners will more readily associ- 
ate this song to its famous video in 
which Alice turns into a cake and 
is eaten. 

Through the use of colorful 
drones, distortion, and a generally 
bleary atdtude, the psychedelic 
mood of the album is mosdy con- 
sistent and often successful. The 
theme of recreadonal drug use is 
downplayed, emphasizing instead 
the disdncdon between creadvity 
and escapism, which allows listen- 
ers to focus not on how inhibidons 
are freed, but on their freedom. 
Regarding the Alice books, the 
subdde might better read, "Music 
That Could Be Considered in 
the Context of die Classic Tale, 
with Varying Degrees of Success." 
While this album is primarily 
intended to provoke interest in 
odier albums, it does succeed 
somewhat as a survey of psychede- 
lia and invites listeners to consider 
Alice through the ever-transform- 
ing lens of popular mythology 
surrounding Carroll's works. 

Dr. Greg Boiuers is assistant professor 
of music theory and composition at 
the College of William and Mary. He 
has urritten two Alice-related works: a 
multimedia performance, Cabaret 
Wonderland, and a musical Lewis 
and Alice: A Story of Wonderland, 
which is receiving its second production 
in Oregon in June. 



Alice in Wonderland 

A Classic Story Pop-up 

Book with Sounds 

Lewis Carroll & Pochard Johnson 

Silver Dolphin, San 

Diego, CA 2010 

Andrew Ogus 

Aren't pictures and conversations 
enough any more? According to 
diis publisher's claims "Magical il- 
lustrations, stunning pop-ups, and 
atmospheric sounds bring Lewis 
Carroll's classic tale to life in your 
hands." That happens whenever I 
read AAIW. 

While I'm all for ingenuity, and 
I have rejoiced in many pop-up 
books, this Alice in Wonderland 
explodes audibly as well as visually. 
Not every spread has a soundtrack, 
but any attempt to read the flady 
adapted text (which does hit most 
of the high points of die original) 
whether aloud or silendy, would be 
defeated by the blare of looping 
sound effects. The illustrations 
are very faindy reminiscent of 
Etienne Delessert (no disrespect 
to Mr. Delessert intended) . One of 
the pop-ups came apart after three 
or four times of turning the pages. 
We are not amused, and wonder if 
any children will be, eidier. 



Alisa dlya Malishei 

A Russian Nursery Alice 

Translated by Nina Demurova, 

illustrated by John Tenniel 

Moscow TriMag 201 1 

66+ [6] p. hardback 

ISBN 978-5-901666-27-2 

August A. Imholtz, Jr. 

Although Alice's Adventures in Won- 
derland had to wait only 14 years 
for a Russian translation to appear 
(i.e., the 1879 St. Petersburg ver- 
sion, sometimes ascribed to a Miss 
Timaraseva) , The Nursery Alice had 
to wait nearly nine times diat long 
for its translation into Russian. 
The wait was wordi it. The publish- 
ing house TriMag has produced a 
brilliandy accurate edition of The 
Nursery Alice in a splendid transla- 



tion by Prof. Nina M. Demurova. 
The book's famous E. Gertrude 
Thomson cover, with a sleeping 
Alice overseen by a small chorus of 
Wonderland characters perched 
on a dreamy cloud, is faidifully 
reproduced, as are the colored 
Tenniel illustrations, which were 
originally printed by Edmund 
Evans. Nor do the full color illus- 
trations appear, at least to this 
reader, to be too gaudy for us 
Americans. The font used for the 
text resembles, mutatis mutandis, 
at least in size and feel, the font 
used in the original. In addition, 
the book's cover, which is nearly 
exacdy the size of the original 
English edition, has a deliberately 
designed, slighdy worn or weath- 
ered look, much reminiscent 
of the condition of some of The 
Nursery Alice books one sees today, 
often commanding high prices at 
book fairs and in dealer catalogs. 

Here are just a few observa- 
tions on the translation, and first 
a rather mechanical one. The full 
text pages of The Nursery Alice, i.e., 
those without an illustration or a 
chapter heading, regularly num- 
ber 23 lines per page, but in Nina 
Demurova 's version the number 
of lines per text pageis two fewer, 
and that is perhaps just a bit sur- 
prising. In her 1994-95 Harvard 
Library Bulletin article "Alice 
Speaks Russian," Nina commented 
on the "context length" of her sen- 
tences translated from Alices Ad- 
ventures in Wonderland, which were 
often longer than diose in the 
original text. That has a lot to do 
with Russian grammar and syntax, 
but in the case of The Nursery Alice, 
the original text, written in simple 
style especially for litde children, 
may indeed accommodate a Rus- 
sian translation more comparable 
in terms of die context lengdi. 

Where Carroll repeated lines 
or phrases almost verbatim from 
his original Alice book in The 
Nursery Alice, so does Demurova, 
drawing on her earlier full uansla- 
tion, as, for example, in the case 
of die White Rabbit's exclamation 



42 



in Chapter I in Wonderland, "Oh 
dear! Oh dear! I shall be too late," 
which in its Nursery version reads, 

"Oh dear, oh dear! Said the Rabbit, 

"I shall be too late!" So in Russian 
the Wonderland version reads, "Ax, 
bozhe moi, bozhe moil Ya opazdivaiu," 
and the Nursery Alice has "Ax, bozhe 
moi, bozhe moi! — bormotal Krolik — Ya 
opazdivaiu.'" 

One crux for the translator, 
which of course was not present 
in die original Alices Adventures in 
Wonderland, occurs in the last para- 
graph of Carroll's preface to The 
Nursery Alice, in fact the last word 
of that paragraph. Carroll diere 
is talking about a litde girl who, if 
she asked for two oranges or two 
of anything, would run the risk of 
being charged with being "greedy." 
This same litde girl reportedly 

"was found one morning sitting up 
in bed solemnly regarding her two 
litde naked feet, and murmuring 
to herself, softly and penitendy, 

'deedy!'" So the problem is how to 
render "deedy" in Russian. (There 
is a rare and now obsolete English 
word meaning "industrious" or 

"earnest" — quite a different sense 
from Carroll's usage.) Nina De- 
murova chose the word zhadina, 
which is, according to two friends 
and members of LCSNA who 
grew up speaking Russian, a real 
children's word derived from the 
noun zhadnost, meaning "greed." 
Hence both the linguistic sense 
of "deedy" and the nursery con- 
notation of "deedy" are indeed 
preserved by zhadina). 

And lasdy, the book's tide in 
Russian reads Alice for Little Chil- 
dren, thus capturing the sense 
rather than literally translating the 
word "nursery." 

And if in spite of Carroll's clear 
statements in his preface to The 
Nursery Alice on the audience for 
die book, any further question 
about that audience should arise, 
perhaps the following may serve as 
a final answer. Carroll wrote to E. 
Gertrude Thomson, Oct. 27, 1893, 

"I have just promised to give the 
litde girl, of the porter who always 



carries my luggage, a book: and 
had intended it to be The Nursery 
"Alice," as the child is 10, and I con- 
sider children of the lower orders 
to be 2 or 3 years behind the 
upper orders." One might wonder 
whether such a view still obtains 
today, regardless of whether the 
children are American, English, or 
Russian. 

Russian readers of this book, 
whether children or adults, surely 
would have benefited from a brief 
note by Prof. Demurova on die 
history of The Nursery Alice and 
the challenges a simplified book 
poses for a translator who has 
already translated its classic origi- 
nal. Nonetheless, TriMag is to be 
congratulated for bringing out an 
important book in the growing 
Russian Carrollian canon. 



H*h 



SLITHY TOVE 

Tovejansson (1914 - 2001) was a 
Swedish-speaking Finnish novel- 
ist, painter, illustrator, and comic 
strip author, primarily known here 
for her Moomin books, which 
feature a family of hippopotamoid 
trolls, and for which she won the 
Hans Christian Andersen Award 
for her contributions to children's 
literature. Her illustrations to 
Alices Adventures in Wonderland 
were published (first printings) in 
1966 by Bonniers Junior (Swed- 
ish), Werner Soderstrom (Finn- 
ish), and Delacorte (English); in 
1971 by BIGZ/ Prosveta (Serbian); 
in 2006 by Media Factory (Japa- 
nese); and in 2009 by Ripol Clas- 
sic (Russian). Jansson's charming, 
stylized drawings also graced a 
Snark published in 1959 in paral- 
lel editions, both in Swedish, by 
Bonniers (Sweden) and Holger 
Schildts (Finland). Fortunately for 
us all, her Snark was recendy re- 
published by Tate, in English, in a 
handsome, albeit smaller than the 
original, hardcover volume. ISBN 
9781854379566. 



Trevor Brown 's Alice 

Editions Treville for 

Pan-Exotica, 2010 

ISBN-10: 4309908683 

ISBN-13: 978-4309908687 

Reviewed by Mark Burstein 

Trevor Brown is an undoubtedly 
capable artist, rhyparographer to 
be precise, yet, one would imag- 
ine, a deeply disturbed individual. 
I first reviewed his work — at the 
time only the cover to the "Cre- 
ation Classic Portable" paperback 
edition by Creation Books of the 
U.K— in KL 65:20, in an article 
tided "Lithe and Slimy," in which I 
called the edition itself "fescinnine 
pudendous sludge" and added, 

"Trevor Brown's maltalented and 
anapologetical exspuitation on 
the cover portrays a tutmoudied, 
concupiscible Alice with legs 
akimbo and unsuitable underwear 
on exhibitionistic display." How 
very kindly and naive I was; had I 
but known of his body of work! 

His ageustia has lately resulted 
in an emunctory blennorrhea of 
a louche, engleimous Grand Gui- 
gnol of pedophilia, sadism, fetish- 
ism, dismemberment, disease, 
toxicity, and epater le bourgeois sensi- 
bility. London-born but now dwell- 
ing in Japan, Brown has produced 
a body of work (oil paintings) 
melding elements of the Japanese 

"Goth Lolita" and "Kawaii" (cute- 
ness) cultures, amid quadruma- 
nous carnage, perversion, inso- 
lence, and insult directed at a way 
inappropriately young Alice. 

The book itself is handsomely 
printed and contains a few 
essays in Japanese and English, 
along with 32 color plates of his 
paintings, all in a blue hardcover 
($58), or as a special edition in a 
pink cover with a ribbon binding 
it to a second "book" containing 
a DIY pop-up kit ($78) . Be that as 
it may, as Alice observed, "If you 
drink much from a bottle marked 

'poison,' it is almost certain to 
disagree with you, sooner or later." 



43 



.1,1 



ART (^ILLUSTRATION 

Hundreds of artists world- 
wide are working to illustrate 
every single paragraph of 
Alice 's Adventures in Wonder- 
land in a mass collabora- 
tion called What Is the Use 
of a Book Without Pictures? 
Their aim is to create a 
"500-1000+ piece collec- 
tion which will cover the 
entire story without a single 
word of text," probably to 
be released as an eBook 
upon completion. A Facebook 
page has been launched, now that 
they have more than one hundred 
illustrations. Neoflux Productions 
has previously done video mass 
collaborations, such as Night of the 
Living Dead: Reanimated. All the 
art for their AAIWis 6" x 9" and 
in black-and-white/grey tones. 
Further guidelines and submission 
information can be acquired by 
e-mailing Mike Schneider at 
shenlon@hotmail.com. See the 
inside back cover of this issue for 
some examples. 

Oleg Lipchenko, the excellent 
illustrator whose 2009 AAIWwon 
the Elizabeth Mrazik-Cleaver 
Award, last fall published an illus- 
trated compilation called Humpty 
Dumpty and Friends: Nursery Rhymes 
for the Young at Heart ($1 7.95) . 
There's a nice interview with 
Lipchenko at Open Book Toronto: 
"Nursery rhymes were a source of 
inspiration for Lewis Carroll, and 
many other artists and writers. . . . 
The importance of nursery rhymes 
for children's education also 
needs to be mentioned." 

Last year, political cartoonage saw 
Sarah Palin and others as Alice. 
Now Canadian artist Michael 
Caines has Karl Rove in Dorothy's 
dress and ruby slippers with Alice's 
fawn, painted with beautifully 
absurd realism. (Rove was political 
strategist for George W. Bush and 
is now a pundit for Fox News.) 
A show of Gaines's work, named 
Perfect Happiness, after the Rove 
painting, ran through December 




2010 at the Mulherin Pollard Proj- 
ects in Manhattan. There's some 
disagreement between the Bloom- 
berg News and LCSNA members 
as to what exactly Karl Rove is sup- 
posed to be (not to mention why) 
in that painting. Bloomberg writer 
Katya Kazakina refers to Rove as 
"dressed as Dorothy from 'The 
Wizard of Oz,'" and the image cap- 
tion says he "wears a dress while 
embracing a Bambi-like deer." 
Cindy Watter differs: "The scene 
isn't Bambi-like; it is clearly taken 
from TTLG." Another painting, 
"Tea Party," has U.S. Senator Jesse 
Helms as the Hare and Dr. Laura 
Schlessinger as the Hatter. The art- 
ist statement explains that "Caines 
considers the fate of now obsolete 
political figures, and those who 
will someday, in turn, fall into the 
shadow of history." 

Artist and scholar Maria Antonia 
Jardim displayed seven oil paint- 
ings "about the Wonders of Alice 
and the beautiful gardens and a 



All URLs (links) 

in "Far-Flung" are 

implicit, and clickable at JS 

www.delicious.com/ 

lcsna/kl86. 



picture transformed into 
a Jewel" at the Soares 
dos Reis Museum in 
Oporto, Portugal, last 
December. Jardim is 
author of the 2010 book 
Psicologia da Arte - A 
Imaginacao como Pedago- 
gia Alternativa e a Funqao 
Terapeutica da Literatura 
in Alice no Pais das Mara- 
vilhas. 



Disney and MINDstyle 
have announced a 201 1 
release of their Mad Hatter Proj- 
ect, a series of weird toys designed 
by artists to celebrate the sixti- 
eth anniversary of Disney's 1951 
movie. Mike Shinoda is the rap- 
per and songwriter from the rock 
group Linkin Park, and he has de- 
signed an Alice and White Rabbit 
who are connected by gas masks. 
The vinyl figurine was sculpted by 
Dave Cortes from Inu Art Studio. 
Artist Gary Baseman has designed 
the Tweedles, and Ron English has 
done the Hatter. 

Fantasy artist Robert Walker and 
Walt Disney have some pretty 
divergent views. View Walker's 
bleak, bloody, and psychotic 
imaginings at Epilogue, an online 
community and gallery special- 
izing in fantasy art. Elsewhere, 
in other fantasies, some artists 
continue to imagine very sexy 
adult Alices. J. Scott Campbell, a 
graphic-novel-esque artist whose 
one-line bio on deviantart.com is 
"I like drawing girls," has a pin- 
up 36-24-36 Alice in his series of 
"Fairytale Fantasies." 

On March 24, there was a special 
Alice art exhibit at the Interna- 
tional School of Minnesota in 
Eden Prairie. Advanced-placement 
students, encouraged by instruc- 
tor John Bramble, created a whole 
show's worth of Alice-themed art 
and a special still-life installation. 
Attendees could "buy and enjoy 
delicious 'Alice'-themed food 
while watching a rare 1933 movie 
of the storv." Mr. Bramble's letter 



44 



requesting assistance from our 
members can be read on page 25. 

Comic artist Isabelle Melancon 
(Isa) , who has been serializing her 
Carrollian graphic novel Namesake 
online for the past year, went to 
the Toronto Comic Arts Festival in 
May to debut a new comic called 
Jabberiuocky, published by TRIP 
Publishing ($12). Inspired by the 
Carroll poem, it is 32 pages in 
beautiful black-and-white. 

Illustrator Meg Hunt has some 
cool Wonderland illustradons on 
her website. "For 2010, I decided 
to curate a big narradve project 
with several friends entided Picture 
Book Report" she writes. "Every 
month we will create a new il- 
lustration in a series devoted to 
favorite books of ours." There's 
some quasi-related merchandise 
on her site: a groovy notebook 
with a "Live the Love in Wonder- 
land" cover for $18. Also, it looks 
as if she did an illustration of Alice 
going through the looking-glass 
for for "Desperately Seeking Sym- 
metry," a live show of the WNYC 
radio program Radiolab, now avail- 
able also as a video podcast. 

Look for Issue #3 of die new 
comic series The All-New Batman: 
The Brave and the Bold, which was 
launched after die success of the 
Cartoon Network show Batman: 
The Brave and the Bold. Bob Kass 
writes to us: "The cover shows 
the Alice in Wonderland characters 
but the story has the Looking-glass 
characters. In the story, the Mir- 
ror Master, a classic Flash villain, 
sends Batman and the Flash to the 
Looking-glass World with the help 
of Mad Hatter. The story includes 
the White Knight, the Tweedles, 
Jabberwock, Humpty Dumpty, etc. 
There is a clever touch where the 
Flash's costume insignia reverses 
in the Looking-glass world." 

Artist Cormac McEvoy has some 
cool sketches of "Science Fiction 
renditions" of Wonderland charac- 
ters on his blog. The playing cards 
are robots witii cartoonishly im- 
plausible weaponry. 



X 

ARTICLES 6f ACADEMIA 

Riddle: What kind of cat can grin? 
Answer: A catenary. This joke was 
in the Canadian magazine Queen 's 
Quarterly, in their Fall 2010 issue 
(Vol. 117). (The QQ magazine, we 
assume, is like GQbut for a much 
smaller demographic.) The 22- 
page article by Canadian author 
David Day was called "Oxford in 
Wonderland." "It was fairly obvious 
that the characters and places in 
Wonderland had a counterpart in 
Oxford," writes Day, and then pro- 
ceeds to match up the characters 
with likely historical persons. There 
is also a podcast of an interview 
with Day on a program called The 
Spirit of Things, from the national 
Australian radio station, ABC. 

Cryptozoology, according to the 
OED, is "the study of extinct, 
unknown, or legendary animals 
whose existence or survival is not 
(or has not yet been) recognized 
by mainstream zoology." Dr. Karl 
Shuker, according to his own bio, 
is "one of the best known crypto- 
zoologists in the world." / Thought 
I Sazv the Strangest Cat. .., his second 
book on "mysterious and mydiical 
cats" (die first was the "seminal" 
Mystery Cats of the World from 1989, 
unfortunately out of print) is cur- 
rently in the works. Dr. Shuker 
gave us a sneak peek of this forth- 
coming book on his blog Shuker 
Nature, in die form of a lengdiy 
excerpt about the Cheshire Cat, 
with a meticulously detailed his- 
tory of the phenomenon. 




Author Richard Conniff wrote an 
entertaining post for the Neiu York 
Times blog Opinionator on Janu- 
ary 30, called "The Brittle-Stars 
Danced. The Stingray Smoked a 
Pipe." It starts off at sea in a sieve 
with the Jumblies and ends in the 
Tulgey Wood, all to discuss the 
relation between the Nonsense 
poets' zoology and the age of nine- 
teenth-century scientific explora- 
tion, which turned up many fanci- 
ful new creatures. "Charles Darwin 
himself could sound as whimsical 
as Lewis Carroll," writes Conniff. 

There was a KaTu symposium on 
translation and interpreting stud- 
ies in Helsinki in April 2010, fea- 
turing scholar Alice Martin. Her 
article "Translatingjabberwocky: 
Quotability with a Vengeance" was 
published in volume 4 of MikaEL, 
the electronic proceedings of the 
symposium. 

The January 201 1 issue of Writing 
Magazine featured a long article 
called "How to Write Like Lewis 
Carroll." Mark Richards of the 
Lewis Carroll Society (UK) says he 
was told, "it is moderately interest- 
ing if not particularly profound!" 
Back issues can be ordered online. 

Dame Gillian Beer, King Edward 
VII Professor of English Litera- 
ture Emeritus at the University of 
Cambridge, delivered a lecture 
entitled "Alice in Time" on March 
24, 201 1, at the Radcliffe Institute 
for Advanced Study at Harvard 
University. The event was free and 
open to the public. 

Any six-year-old girl obsessed with 
Disney Princess merchandise will 
tell you that Alice was not one of 
the princesses ("princi"?). How- 
ever, it turns out a real princess 
seems to have been interested in 
Alice. At the center of the media 
spodight for the last year was the 
world's most famous new princess, 
Kate Middleton, and guess what? 
She did her thesis on Lewis Car- 
roll. The Daily Kate, a blog about 
a breadth and depth of topics, as 



45 



long as each topic is related to 
Kate Middleton, posted in June 
2009 "Kate's Lewis Carroll Dis- 
sertation Revealed." "The website 
of the School of Art History at the 
University of St. Andrews lists an 
honors dissertation by Catherine 
Middleton, titled '"Angels from 
Heaven": Lewis Carroll's Photo- 
graphic Interpretation of Child- 
hood.' Kate completed the paper 
as a part of her master's program 
in art history at the university." I 
don't believe the text of the dis- 
sertation is available to the public, 
which is all well and good. 



& 

BOOKS 

Thanks to Evertype Publishing 
(KL 85:45), it has been an excel- 
lent season for Alice in continen- 
tal Europe: November saw Alices 
Aventyr i Sagolanded, a. new edition 
of the first Swedish translation by 
Emily Nonnen. Next up was Le Av- 
venture di Alice net Paese delle Meravi- 
glie, a new edition of Teodorico 
Pietrocola Rossetti's translation, 
previously out of print since 1872. 
Then came Alice ehr Event uurn in't 
Wunnerland, a new Low German 
translation by Reinhold E Hahn 
and Ailice's Aventurs in Wunnerland, 
a Scots translation by Sandy Flee- 
min. Finally, just to keep you on 
your toes, a new edition of Davy 
and the Goblin, or, What Followed 
Reading Alice's Adventures in Won- 
derland, 'written in 1884 by Charles 
Edward Carryl and illustrated by 
Edmund Birckhead Bensell. In 
a storyline straight out of mirror 
land, Davy is transported on non- 
sensical adventures after dozing 
off while reading Alices Adventures 
in Wonderland. All these titles and 
dozens of others are $10.95 to 
$15.95 from Evertype's dedicated 
AATWU.S. online store. 

The October 2010 issue of Blue 
Unicorn magazine (22 Avon Rd., 
Kensington, CA 94707) included 
an Alice-themed sonnet, "Hatteras 
Time," by Gregory Perry, with a 
quotation from the Mad Tea Party 
conversation on time as epigram. 



The poem begins "We're mad as 
hatters down in Hatteras," and 
draws on imagery of teatime, the 
Queen of Hearts, a lack of "'much 
of muchness' to pursue," and hav- 
ing "buttery time to kill." Single 
copies of issues are $7.00 ($9.00 
from outside the U.S.). 

Anyone with a soft spot for Mauri- 
tius's famous extinct birds might 
like to check out A Dodo at Oxford 
(Oxgarth Press, 2010), purport- 
edly the facsimile of the diary 
of an Oxford student who, in 
1683, discovers that his pet dodo 
might just be the last in existence. 
Editors Philip Atkins and Michael 
Johnson claim to have faithfully 
reproduced both the diary and the 
items found between its pages, up 
to and including a fishmonger's 
receipt and a squashed spider. 

If you want to pretend you own 
an 1876 copy of The Hunting of the 
Snark but can only spend $19.95, 
note that the British Library pub- 
lished a handsome facsimile edi- 
tion in April this year. 

Broadview Press has released a 
second edition of their AAIW, 
edited by Richard Kelly ($14.95). 
Like the first edition, it includes 
Alice s Adventures Underground with 
Carroll's art, The Nursery Alice, 
"Alice on the Stage," and sections 
from Carroll's diaries and letters. 



The second edition adds several 
new appendixes: George MacDon- 
ald writing on the fantastic, the 
eighteenth-century children's story 
Goody Two-Shoes, a section on film 
and television adaptations of Alice, 
and new illustrations. 




EVENTS, EXHIBITS 
& PLACES 

Alice is still a la mode, according 
to British Fashion Week. UK news- 
paper The Independent reported 
that the event's venue had been 
transformed "with foliage, and 
stuffed birds, while guests were 
welcomed by giant inflatable toad- 
stools, somewhat incongruous on 
the windy, grey pavements. De- 
signer Vivienne Westwood [used] 
an Alice in Wonderland motif to 
highlight the importance of natu- 
ral, British materials." Westwood 
clearly has a passion for Alice (see 
page 50 for her "Naughty Alice" 
perfume released in October last 
year) . At the world premiere of 
Burton's film last year, attended by 
Prince Charles as well as the direc- 
tor and most of the stars of the 
movie, her gowns were worn by 
Charles's wife Camilla, the Duch- 
ess of Cornwall; Helena Bonham- 
Carter; Anne Hathaway; Mia Wa- 
sikowska (and herself, of course). 
Perhaps she would be willing to 
speak at the next LCSNA meeting? 

Rare books cataloguer Christy 
Hicks was thrown a well-deserved 
party when she finished catalog- 
ing more than 2,500 items of the 
Lewis Carroll Collection of The 
Arne Nixon Center for the Study 
of Children's Literature at the 
Henry Madden Library, Califor- 
nia State University, Fresno. Her 
achievement may be seen in the 
library's online catalog. The col- 
lection began with the purchase 
of Hilda Bohem's 1,800-item Car- 
roll collection in 2002. The Arne 
Nixon Center is planning two co- 
ordinating exhibitions from Sep- 
tember 14 to October 26, 2011, 
showcasing items from the collec- 
tion and art by Leonard Weisgard, 



46 



including the illustrations for his 
1949 Alice's Adventures in Wonder- 
land and Through the Looking-glass. 

Mission Viejo Arts Alive Festival 
featured vignettes from Lewis 
Carroll's ballad opera for mari- 
onette dieater, La Guida di Bragia, 
on April 30, presented by LCSNA 
member Diane Lewis and four of 
her puppetry students at Saddle- 
back College. The students cre- 
ated the endre cast of twelve rod 
marionettes of La Guida using tra- 
ditional materials such as papier 
mache, wood, metal, and natural 
fabric. Another LCSNA member, 
Jonatiian Dixon, provided a DVD 
of the May 2009 Santa Fe produc- 
tion of La Guida, along with CDs 
of the music, which is being re- 
corded by the Saddleback musical 
theater class. 

The little rural village of Dares- 
bury, England, birthplace of 
Charles Dodgson, is constructing 
a new Lewis Carroll Visitor Centre. 
Due to open fall 201 1, the center 
will be attached to the village 
church where Dodgson's father 
was curate and will focus on Car- 
roll's early life. 

A new Disney AIW-themed res- 
taurant in Tokyo's Ginza district 
seems almost worth the plane 
flight alone. The restaurant, de- 
signed by Fantastic Design Works, 
is divided into various scenes from 
the 1951 animated film with giant 
books, playing card dining tables, 
a magic forest, and heart-shaped 
chandeliers. 

Happily Ever After, a classic toy 
and doll shop on Antique Row in 
Philadelphia, is having an Alice 
Luncheon on October 15, featur- 
ing doll artist Nancy Wiley. The 
shop sells a selection of Alice dolls 
and tea things. 

Finally, Venus Williams caused a 
stir at the 201 1 Australian Open 
by wearing what was described by 
some fashionistas as "die worst 
outfit ever seen on a tennis court." 
Williams defended the dress, 



saying it was inspired by Alice in 
Wonderland: "It's kind of about a 
surprise, because when Alice goes 
down . . . the rabbit hole, she finds 
all these things that are so surpris- 
ing." Whether it was the canary 
yellow peek-a-boo lattice bodice 
and jazzy skirt that her opponent 
found surprising, or her 130-mph 
serve, Williams clearly had the ad- 
vantage and won the fourth-round 
match. 



US 

INTERNET ^TECHNOLOGY 

The marvelous LCSNA 201 1 
Spring Meeting is now available as 
a video download online. Relive 
the highlights or see what you 
missed! Thanks go to our host 
Brewster Kahle, our venue the 
Internet Archive, and their ambi- 
tious and inspiring mission to 
archive everything, including us! 

From die "performance art sub- 
culture burgeoning in Downtown 
LA," Jenka Gurfinkel is releasing a 
new Alice-inspired "fiction project" 
(formerly known as a "novel") in 
serialized installments online. The 
first two chapters of MirrorLAnd 
have been posted, with aspirations 
of one day becoming a full graphic 
novel — which will involve collabo- 
rating with other underground 
artists to further illustrate it. "The 
story is a new form of interactive 
storytelling, incorporating real art 
and artists in such a way that the 
reader will be able to viscerally ex- 
perience Alice's adventures, taking 
them along with her down a rabbit 
hole of LA. fashion, music, and 
culture." Indeed, what is the use of 
a fiction project without pictures 
or visceral experiences? The web- 
site also mentions a "White Rabbit 
Remix Contest." Warning: This 
is not for young readers; there's 
plenty of obscenity and adult situa- 
tions from the opening scene. 

On June 14, Electronic Arts re- 
leased Alice: Madness Returns, the 
sequel to the 2000 computer game 
American McGee's Alice. The new 
game runs on PlayStation 3 and 



Xbox 360 as well as PC. Judging 
from the trailer, the graphics are 
luscious and the scenarios violent. 
A dark-haired adult Alice at a 
psychotic tea party rams a knife 
through the giant eye of a cyclop- 
tic monster. 

Atomic Antelope's Alice's Adven- 
tures in Wonderland digital pop-up 
book for the iPad was not just a 
best-selling app for the new tab- 
let device, it was also one of the 
most innovative and celebrated 
eBooks on the market. Instead 
of a straightforward Looking-Glass 
sequel, AA has now released Alice 
in New York, which is basically 
the text of TTLG, but adapted to 
bring Alice's adventures to the Big 
Apple. "Take a tour of Manhat- 
tan with die Red Queen as your 
guide. Ride with Tweedledum and 
Tweedledee in their taxi." With 
"over 130 pages of story" and "27 
fully interactive illustrations," Alice 
in New York sells for $8.99 at the 
iStore. 

Though much of die famous 
first-first edition run of AA/Wwith 
the "light printing" of Tenniel's il- 
lustrations was destroyed, William 
D. Appleton of D. Appleton and 
Company of New York purchased 
some of the discarded copies and 
reissued them as the first Ameri- 
can edition in 1866. There was a 
nice article about this called "Oh 
Alice..." by Jackie Penny on the 
American Antiquarian Society's 
blog pastispresent.org. 

The fake news website NewBiscuit 
("The news before it happens") 
broke the story: "Literary historian 
discovers Lewis Carroll sequel, 
'Alice in Sunderland.'" The article 
was an opportunity to mock the 
track-suit wearing culture of north- 
ern England. But, interestingly, it's 
not the first Alice in Sunderland out 
there. Bryan Talbot has a fascinat- 
ing graphic novel by that tide (as 
reported in KL 78), and Carroll 
was said to have written "The Wal- 
rus and the Carpenter" and parts 
of "Jabberwocky" in Sunderland. 



47 



Mike Moore's blog, subtitled 
"Alice's Adventures in Washing- 
ton," runs regular political satire 
using Wonderland and Looking- 
Glass characters. He has cleverly 
photoshopped Nancy Pelosi's and 
Sarah Palin's faces onto the Red 
and White Queens. 

The Henry Altemus Company 
published editions of AA/Wand 
TTLG at the end of the nineteenth 
and beginning of the twendeth 
centuries. Cary Sternick's website 
has recendy added a page about 
these Alice editions, with valuable 
historical information and lots of 
scanned images! Sternick wrote an 
article on the subject in KL 80. 

There's an amusing website called 
"Better Book Tides," which is 
exacdy what it sounds like. This 
has been going on for years; some 
of our previous favorites include 
Horny Drunk Guys Invent Philosophy 
for Plato's Symposium, and One of 
My Best Friends Is Black for Huck- 
leberry Finn. They've finally done 
AAIW, drum roll please . . . Inside a 
Cat Lady 's Opium Nap. 

tt 



MOVIES & TELEVISION 

Released a year or so ago on D\T) 
was a low-budget documentary 
called Initiation of Alice in Won- 
derland: The Looking Glass of Lewis 
Carroll ($24.95), directed by Not 
Provided and starring Artist Not 
Provided. (Personally, I prefer 
their earlier work.) In lieu of a 
proper LCNSA review, we'll quote 
some Amazon.com reviewers: 
"Worse than just a boring, repeti- 
tive rip-off off old biographies, this 
film 'stars' the director's daughter 
mugging for the camera over and 
over." "The most awful part here is 
the terribly Photoshopped picture 
of Lewis Carroll embracing and 
kissing Alice Liddell?" 

Two different new movies of The 
Hunting of the Snark are being 
filmed to be released in 2012. The 
live-action version, directed by 
Michael McNeff, boasts die great 
Christopher Lee as the narrator. 



(This version has remained mosdy 
mysterious online.) In London, 
Saranne Bensusan is writing and 
directing a stop-motion animated 
version (think Wallace and Gromit) , 
boasting the voice talents of the 
great Andrew Sellon, as the Judge! 
We have more information con- 
cerning this latter Snark on page 
36, and the Internet savvy can 
follow its progress on Twitter (@ 
LetTheHuntBegin), Facebook, 
and the website www.thehuntin- 
gofthesnark.co.uk. 

James Fotopoulos's avant-garde 
film Alice in Wonderland was pre- 
miered at the Microscope Gallery 
in Brooklyn on May 7, followed 
by a post-screening discussion 
with the director. It claims to be 
an adaptation of the 1866 musical 
theater version of AAIW by Henry 
Saville Clark and Walter Slaughter, 
and is also inspired by a daguerre- 
otype exhibit the filmmaker saw in 
2003. "Using sculpture, drawing, 
text and original music, Fotopou- 
los also examines the relationship 
between Carroll and the writer/ art 
critic John Ruskin; plus, he incor- 
porates the stylings of other artists 
and photographers of the same 
era, including Thomas Eakins, 
Eadweard Muybridge and Etienne- 
Jules Marey. It's a trippy blend of 
modern digital filmmaking and 
classic art of the late 19th century." 
That's a lot to jam down one rab- 
bit hole. 

Correct us if we're wrong, but we 
think Tim Burton's 2010 Alice in 
Wonderland marks the first time an 
adaptation of Carroll's books has 
won an Academy Award. Colleen 
Atwood won one for Best Costume 
Design, and Robert Stromberg 
and Karen O'Hara won another 
for Best Art Direction. (It was also 
nominated for Best Visual Effects.) 
Congratulations! Frabjous day! In 
1951, Disney's first film version was 
nominated for Best Scoring of a 
Motion Picture, but lost out to An 
A merican in Paris. 



From the director of Snakes on a 
Plane comes . . . Hutnpty Dumpty? 
No, we're not joking, we're just 
not sure whether this improbable 
horror creature will ever see the 
light of day. The story is based on 
a graphic novel by Billy Majestic 
(also "coming soon"). The syn- 
opsis: "Two backwoods redneck 
brothers are confronted with a 
dangerous egg-shaped creature 
whose mother they torture and kill 
for fun. Half-human, half-alien, 
Humpty Dumpty exacts his bloody, 
murderous rage on the brothers in 
an unforgettable story of revenge." 
In addition to David R. Ellis, Mark 
Ordesky — the executive producer 
of Lord of the Rings — has also ap- 
parendy signed up. Unless it falls 
off a wall, this movie could actually 
come to theaters someday. 

If actress Kristine DeBell was hop- 
ing her embarrassing 1976 porn- 
musical-comedy ("pormusedy"?) 
Alice in Wonderland 'would die a 
quiet death, she's out of luck. Yet 
another DVD re-release is out 
from Code Red (different from 
the 2007 one), with a new transfer 
and a few new special features. 



& 

MUSIC 

The Pittsburgh Symphony per- 
formed die "rare" full version 
of Final Alice (1972) by David 
Del Tredici, die Pulizer-winning 
American composer who spent 
much of his earlier career being 
inspired by Carroll's writings. Final 
Alice is "an opera in concert form 
for soprano, folk ensemble, and 
orchestra." Leonard Slatkin con- 
ducted, and Hila Piuiiann sang die 
soprano (Alice) part at the Heinz 
Hall in Pittsburgh, May 7 and 9. 

The classic 1986 recording of 
Matt Batt's concept album The 
Hunting of the Snark has finally 
been re-released on a special 
double CD+D\T). It includes Art 
Garfunkel, Roger Daltrey, George 
Harrison, Stephane Grappelli, Sir 
John Gielgud.John Hurt, Captain 
Sensible, Deniece Williams, Julian 



48 



Lennon, Sir Cliff Richard, and a 
kitchen sink. The DVD is of the 
costumed live performance at the 
Royal Albert Hall in 1987. 

Sean Lee of the Hobo Goblins, 
a "Troglodyte Jug band ov thee 
Unseelie Court," has been honor- 
ing Lews Carroll's birthday on 
January 27 for eight years with an 
event called the Cheshire Rock 
Opera in Oakland, California. Lee 
grew up on Carroll, and began 
creating a funk rock version of 
"Jabberwocky" years ago, which he 
complements with other famous 
Carrollian rock songs. This project 
has synthesized into an annual 
costume party widi vaudeville-style 
suitcase puppet show and other 
"elaborate entertainments." 

The Belgian pop trio K3 starred in 
a 3D Alice in Wonderland, le Musical 
in Antwerp, April 9 through 25, 
2011. The three attracdve singers 
of K3 — Karen, Kristel andjosje — 
all played Alice, but in dresses of 
three different colors. "The musi- 
cal promises to be a unique experi- 
ence with a live orchestra, spectac- 
ular 3D scenery and breathtaking 
costumes." (I thought theater was 
in 3D already?) They also released 
an entertainingly bad music video 
called "Alice in Wonderland," 
which you can find on YouTube. 
"Alice, Alice, Alice in Wonderland 
/ Hopeloos nieuwsgierig / En ver- 
wondert over alles wat je ziet / Ik 
weet niet waar ik ben beland / Net 
als Alice in Wonderland." ("Alice 
in Wonderland / Hopelessly curi- 
ous / and amazed at what you see 
/ I don't know where I've landed 
/ like Alice in Wonderland.") 

If your record needle is busted, 
there's a website called Kiddie 
Records Weekly that puts up free 
mp3s of classic children's vinyl. 
They've made available Eva le Gal- 
liene's Alice in Wonderland (RCA 
Victor) from the 1950s (based on 
the American Repertory Theatre's 
musical production in New York) . 



PERFORMING ARTS 

At long last, Frank Wildhorn's 
Wonderland: A New Broadiuay Musi- 
cal (the musical formerly known 
as Wonderland: A Nexv Musical and 
Wonderland: A New Musical Adven- 
ture) finally opened on Broadway 
at the Marquis Theatre on April 
17. Janet Dacal stars as the mod- 
ern-day adult Alice. Cridc Charles 
Isherwood complained in the Neiu 
York Times that "the desire to cre- 
ate a tradidonal narrative arc from 
the unruly dreamscape of Carroll's 
original results in a convoluted 
story line pitdng the good guys 
against the bad." Kudos to Isher- 
wood for pointing out that Alice's 
"increasing exasperation to find 
her way home" is more Oz's Doro- 
thy than Alice: "a preoccupation 
that didn't seem particularly ur- 
gent to the polite, spirited young- 
ster in Carroll's original." Adam 
Feldman's proper panning for 
TimeOut New York was a spectacu- 
lar parody of "Jabberwocky." "Tis 
Wildhorn, and the hapless cast / 
Does direly gambol on the stage. 
/ All flimsy is the plot half-assed, 
/ Not right for any age. / Beware 
of Wonderland, I warn! / The jokes 
that cloy, the scenes that flop! / 
Beware the humdrum words and 
scorn / The spurious, bland rock- 
pop!" The show was scheduled to 
close on May 15. 

The departure of Wildhorn's Won- 
derland makes room for Disney 
to produce a huge new Broadway 
version of their recent Tim Bur- 
ton movie (apparently discon- 
tented with the billion-plus dol- 
lars they've already made off this 
franchise in the past year) . Burton 
himself has agreed to help with 
the design, and Linda Woolverton 
(who wrote the AIW screenplay as 
well as scripts for previous Disney 
Broadway ventures) is returning 
to write it. 

This was the Year of die Alice Bal- 
let. From die April 1 1 New Yorker. 
"Alice is all the rage these days; 
just last [March], both the Royal 



Ballet in London and the Royal 
Winnipeg Ballet put on major new 
productions. New York Theatre 
Ballet's staging may not be the 
most lavish or the most recent 
(it was created in 2001 ) , but it 
is not without its charms." The 
Alice-in-Wonderland Follies (a "bal- 
let vaudeville"), choreographed 
by Keith Michael, was performed 
April 8-9 at Florence Gould Hall 
in New York City. The Royal Bal- 
let's expensive new production of 
Alice's Adventures in Wonderland, 
created by Christopher Wheeldon, 
premiered at the Royal Opera 
House in London in early March. 
It was the company's first new full- 
length production in 16 years and 
first new full-length musical score 
in 20 years. (So, go for a familiar 
story if you're risking big in other 
ways.) Across the pond, The Royal 
Winnipeg Ballet's new Wonderland, 
choreographed by Shawn Houn- 
sell, was at Winnipeg's Centennial 
Concert Hall at the exact same 
time, followed by a worldwide tour 
of Canada and ending at Ottawa's 
National Arts Centre, April 28 to 
30. Hounsell also used the now 
familiarly novel plot device: Alice 
is an older woman looking back 
through die rabbit hole, but even- 
tually learning she can't escape 
into fantasy forever. One of these 
days, someone is going to radical- 
ize Alice productions by portraying 
her as a kid. 

There was an intriguing play at 
Hoxton Hall Theatre in London, 
May 7 through 21. The Trial of the 
Marinerwas "an interactive, mul- 
timedia performance looking at 
the future of our oceans," inspired 
by both The Hunting of the Snark 
and Coleridge's "The Rime of the 
Ancient Mariner." The show incor- 
porated "elements of dance, large- 
scale puppetry, circus arts, and 
live music by the Junk Orchestra, 
exploring the destruction of our 
oceans and its effect on climate 
change." 



49 



Ron Nicol's popular children's 
play Beiuare the Jabbenvock received 
several new productions last year. 
Biloxi High School's production 
of the play was a winner at the 
South Mississippi High School 
Drama Festival in December, and 
was consequently performed at 
the Mississippi Statewide Theater 
Festival at Mississippi State Univer- 
sity Riley Center in Meridian. 

Nathan Shreeve's play The Carroll 
Myth has apparently evolved since 
its sold-out premier in Manchester, 
England, a year ago. Look for it at 
the Buxton Fringe Festival this July 
and the Edinburgh Fringe Festival 
in August. "Exploring the period 
of his life leading up to an unex- 
plained rift with Alice's family, and 
based upon Carroll's own exten- 
sive diaries, 'The Carroll Myth' 
takes a unique look at the life and 
relationships of one of history's 
finest authors," say the producers. 



H*h 



THINGS 

Who knew anyone was still mak- 
ing classy 35mm cameras? Urban 
Outfitters is selling a stylish Lo- 
mography Diana F+ Mini Wonder- 
land Edition Camera in red-and- 
white retro chic with two adapted 
Tenniel illustrations. Perfect for 
diose complete Carrollians inter- 
ested in both Alice merchandise 
and photographing their child- 
friends. 

Smell me? Vivienne Westwood's 
new perfume Naughty Alice prom- 
ises "to transport you to a sensual 
dream world where everything 
is possible and your adventurous 
curiosity can be unleashed." The 
fragrance is described as "florien- 
tal," which, though a strange con- 
cept, is an excellent portmanteau. 
If that doesn't appeal, Black Phoe- 
nix Alchemy Lab has created three 
dozen Alice-inspired perfume oil 
blends for their Dodgson Collec- 



tion. Scents "inspired by the mad- 
ness of Alice's sojourns to Won- 
derland" include Imperious Tiger 
Lily ("tiger-lily, ginger root, neroli, 
purple fruits, and frankincense"), 
the slightly less plausible Bread- 
and-Butter-fly ("bread, lightly but- 
tered, with weak tea, cream, and a 
lump of white sugar"), and many 
more much stranger that that. 
$17.50 per 5ml bottle. 

"Lunatic Alice World" is the in- 
spirational landscape for a range 
of eccentric dolls made byjun 
Planning. "Melancholic" Alice 
wears a black dress, a playing card 
eye patch, and a huge scowl. The 
other characters are equally sulky 
and quite charming (around $35 
each). 

Florian Studios make hand-deco- 
rated ceramic wall tiles in Dorset, 
England. They create tiles, panels, 
and murals on commission, and 
their website features many AAIW 
and TTLG designs. 





And mi' OgUS 



Judith OgUS 



Opposite and above: illustrations from 
Mike Schneider's Neoflux Productions stie. See entry p. 44. 



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