No. 44, Wonderland (January 2012)

Please click on link to download the issue (No. 44, Wonderland)

Table of Contents

  1.           Reijlander, Lewis Carroll, Christ Church, Oxford (1863)


  2.           Steadman, The White Rabbit (1968)

  3.           Carroll, The Tale of Wonderland

  4.           Tenniel, Drink Me (1865)

  5.           Steadman, Eat Me (1968)

  6.           Carroll, Alice’s Lesson

  7.           Tenniel, The Mouse’s Tale (1865)

  8.           Carroll, The Mouse’s Tale

  9.           Tenniel, ‘Yet you stand on your head’ (1865)

10.           Tenniel, ‘Yet you turned a back-somersault’ (1865)

11.           Carroll, Father William

12.           Tenniel, ‘Yet you finished the goose’ (1865)

13.           Tenniel, ‘Yet you balanced an eel’ (1865)

14.           Rackham, Pig and Pepper (1907)

15.           Carroll, The Duchess’s Lullaby

16.           Tenniel, The Mad Hatter (1865)

17.           Carroll, The Mad Hatter’s Song

18.           Tenniel, The Lobster Quadrille (1865)

19.           Carroll, The Lobster Quadrille

20.           Rackham, The Mock Turtle and the Gryphon (1907)

21.           Tenniel, The Lobster (1865)

22.           Carroll, The Voice of the Lobster

23.           Tenniel, The Mock Turtle’s Story (1865)

24.           Carroll, Turtle Soup

25.           Rackham, Who Stole the Tarts? (1907)

26.           Mother Goose, The Queen of Hearts (1782)

27.           Steadman, The White Rabbit’s Letter (1968)

28.           Carroll, The Knave of Hearts’ Defence

                ALICE THROUGH THE LOOKING-GLASS (1871)

29.           Steadman, Looking-Glass House (1972)

30.           Carroll, A Fairy-tale

31.           Steadman, Through the Looking-Glass (1972)

32.           Tenniel, The Jabberwock (1871)

33.           Carroll, Jabberwocky

34.           Tenniel, The Wabe (1871)

35.           Steadman, Tweedledum and Tweedledee (1972)

36.           Mother Goose, Tweedledum and Tweedledee (1805)

37.           Steadman, ‘The sun was shining on the sea’ (1972)

38.           Carroll, The Walrus and the Carpenter

39.           Tenniel, ‘The Walrus and the Carpenter’ (1871)

40.           Steadman, ‘But four young oysters hurried up’ (1972)

41.           Tenniel, ‘Cut us another slice’ (1871)

42.           Steadman, They’d eaten every one’ (1972)

43.           Steadman, Humpty Dumpty (1972)

44.           Carroll, Humpty-Dumpty’s Song

45.           Steadman, ‘I filled the kettle at the pump’ (1972)

46.           Steadman, ‘Humpty Dumpty had a great fall’ (1972)

47.           Mother Goose, Humpty Dumpty (1803)

48.           Steadman, The Lion and the Unicorn (1972)

49.           Mother Goose, The Lion and the Unicorn (1708-10)

50.           Steadman, The White Knight (1972)

51.           Carroll, The White Knight’s Song

52.           Steadman, The Red Knight (1972)

53.           Tenniel, An Aged Man (1871)

54.           Tenniel, The White Knight (1871)

55.           Steadman, Sir Lewis Carroll (1972)

56.           Steadman, The Sleeping Queens (1972)

57.           Carroll, The Red Queen’s Lullaby

58.           Steadman, Queen Alice (1972)

59.           Carroll, Alice’s Coronation

60.           Steadman, Coronation Dinner (1972)

61.           Carroll, The White Queen’s Riddle

62.           Steadman, Wool and Water (1972)

63.           Carroll, A Dream

64.           Dodgson, Alice Liddell as a Beggar-girl (1859)

65.           Note

Whether these were the compensations of a sexuality repressed by social and religious interdictions, or the sublimated expression of his desires in socially acceptable form, the perversion of language, logic and social order Alice has to navigate, in her journey through an adult world of nonsense into puberty, has its origin in the conditions of British society under the reign of Queen Victoria and the possible identities she offered her subjects. Charles Dodgson, obedient son to his father, loyal subject to his Queen, faithful servant to his God, reeled and writhed like a Mock Turtle under the burden of his particular square on the chessboard of Victorian England – until, that is, he found a new name and a new identity, and entered, like his heroine, into Wonderland.


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