The story of Alice in Wonderland is over 150 years old, and the sequel, Through the Looking Glass, is now 150 years old, as of 2021. These books have been reprinted in many different languages and editions. The edition that I’m using for this review is actually a combined edition of the two from 1960 with added notes by Martin Gardner. (Although I used a cover image from a different edition above.) I like editions with added notes because there is quite a lot to explain about both Lewis Carroll and his stories.
I explained a lot of Lewis Carroll’s background and some of the controversies surrounding his life in my review of Alice in Wonderland. One important point about the Alice stories is that they are full of puzzles, riddles, word games, in-jokes, and parodies of poems that were popular in the author’s time. Lewis Carroll (real name Charles Dodgson) was a mathematician and scholar at Oxford, and he liked to play with logic puzzles and word games. Sometimes he would hide people’s names within poems or parts of the story by rearranging the letters of their names or using them as the beginning of lines in a poem, as an acrostic. There is an acrostic poem which is dedicated to Alice Liddell, the real girl who inspired Alice in Wonderland. This poem is printed as part of some editions of Through the Looking Glass, including the one that I’m using. The acrostic poem also references Row, Row, Row Your Boat, which is apparently older although its origins aren’t completely certain. If you read down the beginning letters of the poem, you find out that Alice’s middle name was Pleasance.
The chess game in Through the Looking Glass is meant to be part of an actual chess game with real moves that can be mapped out on a board. The game and the moves in the story are explained in the preface of my copy of the book. Alice begins as a white pawn in the game, but when she reaches the other side of the board, she becomes a queen, which is part of the rules of chess – pawns that successfully reach the opponent’s side may be exchanged for other pieces. The colors of the chess pieces in Alice’s game are red and white instead of black and white because red and white are old traditional colors. Although black and white are common today, many different color combinations have been used, and the red and white combination dates back to the Middle Ages.
The story begins on the day before Guy Fawkes’ Night. (Alice has been watching the bonfire preparations out the window.) Alice is trying to wind some yarn, and her pet cat Dinah’s little black kitten keeps playing with it. Alice chastises the kitten, and then begins talking to the kitten about the way it was watching her play chess earlier in the day. Alice likes to play games of pretend, and she starts to pretend that the kitten is the red queen from the chess game. The kitten doesn’t cooperate in posing like the chess queen, so Alice holds it up to a looking-glass.
As they look in the mirror, Alice gets the idea of a “Looking-glass House” – a house on the other side of the mirror that can be reached by stepping through it. Alice starts to imagine what it would be like to enter the world on the other side of the mirror. She gets up on the mantle over the fireplace and steps through the mirror into the looking-glass house to see what is there.
Things in the looking-glass house are very strange. The clock and the pictures seem to be alive, and so are the chess pieces. Alice helps the pieces back onto their table after they’ve been knocked off, but they don’t seem to understand what has happened and are alarmed. Alice then picks up a book on the table near the chess board and reads the poem Jabberwocky, which is about the defeat of a horrible monster. The poem is written in backwards writing, and Alice has to hold it up to a mirror to read it. The poem is a nonsense poem that contains many made-up words, which are explained later on in the story.
Alice decides to see what is outside the house. She discovers that the flowers can talk to her, but they are rude and insulting. Then, Alice encounters the Red Queen, who has grown taller than she was in the house. (The flowers say that it’s because of all the fresh air outside.) The Red Queen is both commanding and contradictory, but she gives Alice directions to other “squares”, addressing her as a chess pawn.
Pawns get to move two squares on their first turn, so Alice gets to go by train. In the train carriage, Alice meets many strange characters, including a gentleman dressed in white, a Goat, a Beetle, and a Gnat, who keeps whispering in her ear and suggesting that she make jokes based on puns. Through the Gnat, Alice meets other strange insects, like the snap-dragon-fly, the rocking-horse-fly, and the bread-and-butterfly. The Gnat tells Alice that the creatures in the woods don’t have names, and when Alice goes through the woods, she temporarily forgets her name, getting it back again on the other side.
Soon after, Alice meets Tweedledum and Tweedledee. (Lewis Carroll didn’t invent these characters. They are nursery rhyme characters.) They ask Alice if she likes poetry, and they tell her the tale of The Walrus and the Carpenter. (This is one of the most-quoted poems in the Alice stories – many people remember the part where they “talk of many things” – “Shoes and ships and sealing wax and cabbages and kings.”) At the end, Alice can’t decide which of the two characters she likes the best because both are sneaky and eat the oysters that trusted them, so she decides that she doesn’t like either of them. (Yeah, I can think of others stories where I’ve felt the same way.) Alice hears a strange sound, and they tell her that it’s the Red King snoring and that the Red King is actually dreaming about her right now. Tweedledum and Tweedledee insist that Alice isn’t a real person, only part of the Red King’s dream, and that she’d disappear if he were to wake up, which upsets Alice. Alice starts to cry, which she thinks is proof that she’s real, but they claim that those aren’t real tears. Finally, Alice decides that they’re just talking nonsense and that there’s no point in crying over it. Tweedledum and Tweedledee want to have a battle (as in their poem), but a large crow interrupts them and frightens them away by producing a great wind.
Alice catches hold of a shawl that was being blown away by the wind and returns it to its owner, the White Queen. The White Queen speaks very strangely, and she says that it’s an effect of living backwards. Because she lives backwards, her memory works both ways, and she can remember things that haven’t happened yet. The White Queen screams with pain before she pricks her finger, so she doesn’t have to do it again after her finger is hurt. Alice cries when she talks about how lonely she is in the woods, and the White Queen distracts her by telling her to consider things because no one can think of two things at once (which is true). The White Queen talks about considering and believing impossible things (sometimes she believes “six impossible things before breakfast” – one of the most famous lines that is often quoted from this story).
As Alice asks the White Queen if her finger is better, she suddenly and inexplicably finds herself in a shop and talking to a sheep, who asks her what she wants to buy. Alice tries to look around, and the Sheep asks her if she’s a child or a teetotum (a kind of spinning top used in old games, sometimes by itself and sometimes as a replacement for dice or a spinner – dreidels are a kind of teetotum) because of the way she’s turning around. The Sheep is knitting and keeps picking up more needles to knit with. For awhile, the shop disappears, and Alice finds herself in a boat with the Sheep, but then the shop returns, and the Sheep asks her again what she wants to buy.
Alice decides to buy an egg, and the egg that she buys turns into Humpty Dumpty when she approaches it. Humpty Dumpty is a bit rude and insults Alice’s name because he doesn’t think it means anything. Alice mistakes Humpty Dumpty’s cravat for a belt because he’s egg-shaped and doesn’t have a true neck for wearing a tie. Humpty Dumpty reveals that the cravat was an un-birthday (a concept that Lewis Carroll invented) present from the White King and Queen. All through the conversation, Humpty Dumpty uses words in unusual yet strangely nit-picky ways, making words mean only what he wants them to mean in the moment. Because he’s so particular about the meanings of words, Alice asks Humpty Dumpty about all the strange words in the Jabberwocky poem, and he explains what the made-up words mean. Humpty Dumpty recites another poem for Alice that doesn’t seem to have a true ending and then abruptly dismisses her.
As Alice leaves, she meets the king with all of his horses and men (from the Humpty Dumpty nursery rhyme) and is introduced to one of his messengers. Alice is amused by the name and description of the messenger and starts playing a game of “I Love My Love” out loud with the messenger’s name. (The two messengers are called Haigha and Hatta and are shown looking like the March Hare and Mad Hatter from Alice in Wonderland in the illustrations.) The messenger informs the king that the lion and the unicorn are fighting for the crown again (another nursery rhyme reference). The king says that it’s all a joke because the crown is his and neither one of them is going to get it no matter which of them wins the fight.
The unicorn is amazed to meet Alice because he never knew that children were real before. As at the end of the rhyme, they are given plum cake, and they hand the dish to Alice for her to cut the cake. However, Alice finds that she can’t cut it, so they ask her to hand the cake around first and then cut it afterward, which surprisingly works.
After the others are drummed out of town, also as part of the rhyme, the Red Knight attempts to capture Alice, but the White Knight shows up to save her. The White Knight tells Alice all about his inventions, none of which make any sense, and sings her a song which apparently has several names and is set to the tune of a song Alice recognizes as “I give thee all, I can no more” (which is another name and the first line of the song which is really titled My Heart and Lute, which is part of the on-going joke about the song’s real name).
Then, Alice reaches the final square of the board and becomes a queen, finding a crown suddenly on her head. The Red Queen and the White Queen appear suddenly, and the Red Queen tells her that she must pass an examination before she can truly become a queen. The queens ask her a series of questions that are supposed to be math questions but are actually a combination of riddles and nonsense. Their general knowledge questions are a combination of nonsense and puns. Eventually, the Red Queen and White Queen both fall asleep to a parody of “Rock-a-bye Baby.”
Alice finds herself in front of a door labelled “Queen Alice,” but the old frog who comes to the door doesn’t seem to want to let her in. Alice enters anyway and sits next to the Red Queen and White Queen. They introduce her to the food being served at the feast, but they don’t actually allow her to have any because it isn’t polite to cut and serve something you’ve been introduced to, and the plum cake verbally protests when Alice tries to serve it anyway.
The White Queen tells Alice a riddle in poem form about fish. The riddle is never answered, but everyone drinks to Alice’s health. The Red Queen tells Alice that she should make a speech, and as she gets up, many strange things begin happening in the room. Alice thinks that the Red Queen is responsible and grabs hold of her, threatening to “shake her into a kitten.” Alice suddenly wakes up, holding her little black kitten.
Like in Alice in Wonderland, everything that Alice experienced was a dream. However, the end of the book poses the question of whether the dream was Alice’s or the Red King’s. The question is never answered; it’s just something to make the readers think. That’s actually what I like most about the Alice stories, that they are partly meant to make the reader think. The stories are somewhat disjointed and constantly changing, kind of like dreams do, but I appreciate all the references and parodies in the stories.
Alice’s Adventures in Wonderland by Lewis Carroll, 1865.
The beginning of the story is famous. Alice is sitting with her sister (unnamed in the book, but probably based on Lorina because Lorina was older than Alice) by the river, and she is bored by the book that her sister is reading because there are no pictures or conversations. As Alice is sitting there drowsily, she suddenly spots a white rabbit who seems like he’s running late for something. Curious to see where he is going, Alice follows him and falls down a rabbit hole which is like a deep well.
It takes her a long time to fall (causing Alice to wonder if she’ll pop out on the other side of the world eventually), and when she reaches the bottom, she finds herself in a dark hallway with a small door that is too small for her to go through. She manages to shrink herself by drinking from a mysterious bottle that says “Drink Me,” but she forgets the key to the door on the table above her, so she has to make herself bigger by eating cake from a box labeled “Eat Me.” When Alice is big, she cries so much, worrying that she is no longer herself but someone else she would rather not be because so many strange things are happening, that she makes a sea of tears, and when she is small again, she has to swim.
She meets a mouse, who swims to shore with her, where they meet a bunch of other animals (including the Dodo), who all seem somehow familiar to Alice (probably because they’re all parodies of people Dodgson and the Liddells knew – A Lory (type of parrot) argues with Alice and tells her that it’s older than she is and “must know better” than she does – possibly another reference to Alice’s older sister Lorina).
Alice and all of the animals are wet, so they try to dry themselves. The Mouse begins telling a very dry history of England (ha, ha), but that’s not good enough. The Dodo suggests that they have a Caucus-race (Alice’s childish misunderstanding of certain words and concepts leads to some of the jokes and puns in the story) to dry themselves out, and they all start running in a circle. After awhile, they all stop, and since there is no obvious winner, the Dodo decides that everyone has won and that everyone should receive a prize. Alice gives all the animals pieces of candy from her pocket. Alice’s prize is her own thimble, which is the only other thing she has in her pocket.
The Mouse starts to tell a story about why it hates dogs and cats, but it gives up when Alice doesn’t pay attention and becomes confused. Then, Alice makes the mistake of mentioning her pet cat and how it likes to chase mice and birds, and all of the other animals become offended and leave. However, the White Rabbit appears and, apparently mistaking Alice for his maid, asks her to bring him his gloves and fan. Alice goes into his house to look for them. Finding another bottle like the first one, she drinks it and becomes so big that she gets stuck in the house. The White Rabbit and his friend, Bill the Lizard, become alarmed at her large arm sticking out of the window and talk about burning the house down. They throw pebbles at Alice which turn into cakes, and Alice eats them to become smaller.
Alice makes her escape from the house, distracting a puppy much larger than she is by throwing a stick, and meets a caterpillar, who is sitting on a mushroom and smoking a hookah. The Caterpillar asks her to explain herself, but Alice says that she can’t because she isn’t really herself. Alice tells him that she keeps changes sizes and can’t remember things that she thinks she should remember. The Caterpillar asks her to recite the poem about Father William, and Alice recites Carroll’s parody version instead of the original poem. The Caterpillar agrees that Alice said the poem wrong. He asks Alice what size she would like to be and gets offended when Alice says that being only three inches tall is awful because that is the Caterpillar’s height. However, he does tell Alice that one side of the mushroom will make her taller and the other will make her shorter, not explaining which is which. Alice experiments with bits of mushroom until she finally becomes her normal size again. She keeps the mushroom pieces so that she can change size again, if she needs to. (Has anyone ever made a video game version of Alice in Wonderland where the player, as Alice, has to become bigger or smaller to get through different levels? If no one has, I think someone should.)
Alice soon makes herself small again so that she can go into a little house. Alice speaks to the footman of the house, who has just accepted an invitation for the Duchess to join the Queen for croquet. The footman rambles on about how there’s no use in Alice knocking because they’re both on the same side of the door and everyone inside is making too much noise to hear her. Not getting any straight answers about whether or not she’s allowed to go inside, Alice decides that the footman is an idiot and just lets herself in. The Duchess is sitting inside with a baby while her cook makes pepper soup. The Duchess’s cat, the Cheshire Cat, grins at Alice in a strange way. (The Cheshire cat comes from an expression that was popular in the 19th century – “grinning like a Cheshire cat” – although the origins of the phrase are uncertain. The Cheshire Cat wasn’t actually in the original version of the story.) Alice becomes alarmed when the cook begins throwing things at the Duchess and the baby, but the Duchess tells her to mind her own business. The Duchess is rough with the baby and throws it. Alice catches it and takes it away, worrying that the Duchess might kill it, but the baby turns into a pig, and Alice has to let it go. Alice thinks that it would have been a very ugly child and is better off as pig, which reminds her of other children she knows. (Ouch.)
Alice spots the Cheshire Cat and tries to ask it for directions. It directs her to the Mad Hatter and the March Hare, telling her that they’re both mad. (These also come from old expressions, “mad as a hatter” and “mad as a March hare.”) Alice says that she doesn’t want to “go among mad people”, but the Cheshire Cat says that can’t be helped because everyone is mad here, including Alice, because she wouldn’t be there if she wasn’t. He says that he will see her later when she plays croquet with the Queen. Before the Cat vanishes completely, he asks her what happened to the baby, and when Alice says that it turned into a pig, the Cat says, “I thought it would.”
Alice ends up at the tea party that the March Hare and the Mad Hatter are having with the Dormouse. (This tea party also was not part of Carroll’s original version of the story.) Although they tell her there is no room at the table for her, Alice notes that it’s a big table with a lot of chairs, so she sits down, uninvited. The conversation is confused, and the Mad Hatter tells Alice a riddle without knowing the answer to it himself. Alice says that he’s wasting time, and the Mad Hatter says that Time won’t do anything he wants now because he was accused of “murdering the time” when he sang “Twinkle, twinkle, little bat!” before the Queen of Hearts (he messed up with the timing of the song), and now it’s always six o’clock and always tea time (that’s when people, including the Liddells, used to have tea time when the story was written). This gives them no time to clean up between tea times, so they just keep moving around the table. Alice tries to ask them what they do when they get back to their original positions at the table, but the March Hare changes the subject. The Dormouse begins telling the story of the three sisters who lived at the bottom of the Treacle Well and were learning to draw things that begin with the letter ‘M’. (As the March Hare says, “Why not?”) Alice tries to ask questions, and starts to say, “I don’t think-” The Mad Hatter says, “Then you shouldn’t talk.” Alice gets offended and decides to leave.
She finds a door that takes her back to the hallway where she was in the beginning, and she is able to open the door that she couldn’t before, which leads her into a beautiful garden. There, she finds some playing cards painting the roses. It turns out that they accidentally planted white roses, and the Queen wants red ones, so they’re just painting the roses so she won’t find out. The King and Queen of Hearts enter the garden, and the Queen begins demanding to know who Alice is and who the cards are. Alice gives a flippant remark, and the Queen screams, “Off with her head!” (Which, I think, is about the third time in the story that someone has said that. The Duchess was the first.) The King points out that Alice is only a child. The Queen invites Alice to play croquet. The White Rabbit explains that the Duchess isn’t coming because she’s supposed to be executed for boxing the Queen’s ears.
In this game of croquet, the mallets are flamingos (ostriches in the original version) and the balls are hedgehogs. The card soldiers have to bend themselves to be the arches. Alice can’t control her flamingo or hedgehog, nobody waits for their turn, and the Queen keeps ordering people’s heads to be taken off. Alice is very worried, and when the Cheshire Cat appears, Alice tells him that nobody is playing fairly. She notices that the Queen is listening, so she comments that the Queen is likely to win, which pleases her. The King says that he doesn’t like the Cat and wants him removed. The Queen orders its execution, but the Cheshire Cat makes its body disappear. The executioner doesn’t know what to do because he’s used to removing heads from bodies and can’t deal with a bodiless head. Alice suggests asking the Duchess because it’s her cat.
The Duchess seems glad to see Alice, and as Alice’s mind wanders, the two of them have a discussion about what the moral of the situation is. (Victorian children’s books often had a moral to the story. All of the Duchess’s and Alice’s suggested morals are proverbs that don’t fit the situation at all or are parodies on popular sayings. “Take care of the sense, and the sounds will take care of themselves” is a parody of “Take care of the pence, and the pounds will take care of themselves.”) The croquet game continues until everybody has been arrested except for the King, Queen, and Alice.
The Queen asks Alice if she’s met the Mock Turtle yet (which is supposedly what mock turtle soup is made from). Alice hears the King pardon everyone who was arrested. The Queen orders the Gryphon to take Alice to the Mock Turtle, and the Gryphon tells her that nobody ever really gets executed when the Queen orders an execution – it’s all just the Queen’s fancy.
When the Gryphon introduces Alice to the Mock Turtle, the Mock Turtle explains that he used to be a real turtle. He talks about his youth and the lessons he had when he was young. (The “extras” that he and Alice describe – French, music, and washing – are a parody of British boarding schools at the time and a play of the word “extra.” These things were not provided as free “extras”, and of course, washing isn’t a lesson – they would cost extra at boarding school and the additional costs would be added on to the fees.) The Gryphon and the Mock Turtle describe the Lobster-Quadrille dance to Alice, demonstrating it (while singing a song that is a parody of The Spider and the Fly). They ask Alice about her adventures, and she tells them everything that’s happened to her so far. When she mentions not being able to recite poems correctly, they have her try another, and she recites “‘Tis the voice of the Lobster” instead of “The Sluggard” by Isaac Watts. The Mock Turtle sings “Turtle Soup”, which is a parody of the song “Star of the Evening” by James M. Sayles.
Then, they hear that a trial is beginning. It turns out that it’s a trial for the Knave of Hearts who stole the Queen’s tarts. During the trial, which is basically nonsense, Alice feels herself growing larger. She is called to give evidence, but because she is becoming too tall, she is told to leave the court. The King says that it’s Rule Forty-Two and is the oldest rule in the book, but Alice points out that the oldest rule should be Rule One. The White Rabbit presents a letter, supposedly written by the defendant, which is a nonsense poem. (This one is a shortened version of another nonsense poem by Carroll which loosely parodied the song “Alice Gray” and isn’t recognizably close to the original here.) The King and Queen try to figure out what the poem means, but Alice doesn’t think it means anything. The Queen wants to give the sentence first and the verdict afterward, and Alice says that’s nonsense and she doesn’t care what they think because they’re just a pack of cards. The cards come flying at her, and Alice wakes up.
Apparently, the entire adventure was a dream, and Alice feel asleep on the river bank with her sister. Alice tells her sister about the dream, and her sister is enchanted. Alice’s sister imagines Alice in years to come, telling other children the same story.
The story of Alice in Wonderland is over 150 years old, as of this writing, and it has been reprinted in many different languages and editions. The edition that I’m using for this review is actually a combined edition with the sequel, Through the Looking Glass, from 1960 with added notes by Martin Gardner. I like editions with added notes because there is quite a lot to explain about both Lewis Carroll and his stories. This is going to be a very long review, and there are a number of things I want to explain before I even start summarizing the story.
Lewis Carroll, real name Charles Dodgson, was actually a mathematician at Oxford in England. His modern reputation is somewhat dubious because one of his hobbies was photography, and among the pictures he took were pictures of children, including many in various states of undress, some nude or partially nude and some in nightgowns. Charles Dodgson never married and never had any children of his own, and his sexuality (or relative lack thereof, as some have also speculated) is debatable. He was known for being friendly with the children of many of his friends and colleagues, and he enjoyed spending time with them, talking to them, telling them stories, and teaching them things … and taking pictures of them. The parents of the children knew about the photographs, including the nude ones, and gave permission for them to be taken, even keeping copies themselves.
Scholars debate about Dodgson’s photographs and the intention behind them. Not all of the pictures feature children who are undressed; some are just wearing ordinary clothes and others are dressed in fanciful costumes, like characters from stories. However, the nude or partially nude pictures are troubling because the children in those pictures were not babies, like the ones in modern Anne Geddes photographs. By modern standards, there would be no innocent reason for taking pictures of unclothed children like that. However, some scholars point out that photography was a relatively new hobby at that time, and people were taking pictures of things and other people in ways that people wouldn’t now because they were so eager to try out this new technology. People were realizing that they could use photography to immortalize loved ones in ways that they never could before. (Look up 19th century post-mortem photography only if you’re not easily startled or disgusted.)
There is some evidence that Victorian people were not scandalized by the idea of nude photographs of children, perhaps considering them a preservation of a state of innocence that would gradually disappear as the children grew up, almost like how some people today still photograph nude babies. Dodgson wasn’t the only one taking pictures of nude children at the time, and he apparently did so with the full knowledge and approval of the children’s parents, giving them photographs to keep. On the other hand, without knowing Dodgson’s real intentions, it’s difficult to say whether or not these pictures were really as innocent as they were once supposed, and some people consider that Dodgson may have taken advantage of the innocence of both the children and parents involved for his own purposes. After his death, some of his relatives removed some of the pages in his diaries, censoring them before they could be made public, so it’s difficult to say what they removed and why. This censorship could have had something to do with his photography hobby and how he felt about it, or it could be unrelated, maybe covering up his romantic feelings for someone else or maybe personal or professional quarrels that might have proved embarrassing to people still alive at the time he died. Without the missing diary pages, there isn’t really much to go on, and the speculation is really just speculation.
Not what Alice Liddell really looked like.
One of the favorite child friends of Dodgson’s was Alice Liddell, one of the daughters of the ecclesiastical dean of Christ Church, Oxford. Dodgson often visited the Liddell family and took Alice and her sisters on outings. On one of their outings together, when he and a friend took the Liddell girls on a boating trip on the Thames, Alice begged Dodgson to tell a story, and he began making up the story that became Alice in Wonderland, making Alice herself the heroine. Dodgson was still friends with the Liddell family at that point, although he later had a falling out with the family for reasons that are still unknown. The reasons for the falling out were apparently part of the pages removed from his diary, and some people have speculated that Dodgson may have behaved improperly toward one or more of the girls, although that’s not the only possibility; Dodgson may have had a different type of romantic indiscretion at that time, possibly involving the children’s governess or Alice’s older sister Lorina, and he may have also quarreled with the dean over college politics. Dodgson was a contemporary of another famous author of children’s fantasy books, George MacDonald. (I’ll be talking about him more when I get to The Light Princess and The Princess and the Goblin.) The two of them were friends, and MacDonald was the one who urged Dodgson to publish Alice in Wonderland after his own children read it and liked it. (MacDonald’s children were also among the ones photographed by Dodgson.)
This documentary has more details about the history Lewis Carroll, his photography, and his writing. Overall, I think that probably the most accurate answer in the documentary to the question of what was really going on in Oxford in the mid-1800s is “Who knows?” Some people gave much more definite-sounding responses to the question, but there are equally vehement opinions that take completely opposite views of the situation, and with the obvious gaps in the available information, I don’t think that level of certainty is warranted. The documentary covers various viewpoints and ends with a photograph that is potentially damaging to Lewis Carroll’s reputation, one that would have been scandalous even in the Victorian era if it was really taken by Carroll (it wasn’t proven definitely, but the experts’ conclusions were that seems likely or at least credible, and its time period and quality are in keeping with Carroll’s work) because the subject of the photograph (possibly Lorina Liddell) would have been too old for the photograph to be considered “innocent” even back then. The girl in that photograph would have been above the minimum age of consent for her time but still below the age of consent for ours, making that photograph suspicious by everyone’s standards.
My Reaction
This is not sexy, Martin Grotjahn.
My theory about the issue? I kind of doubt that Carroll was a pedophile. Kind of. Partly, my reasoning is based on listening to and reading the different arguments on each side, and it seems to me that those who express doubt about the accusation have more concrete evidence to support their points (they reference other photographers who took pictures similar to Carroll’s, they discuss the age of consent in the Victorian era, they note inconsistencies in the reported ages of Carroll’s female friends, they provide details about different sources of information, etc.) than the people who insist that he “obviously” and “without doubt” was sexually attracted to little girls, who seem to be largely reactionary and make I statements like “I can’t believe” that there was anything innocent going on and “it makes me angry.” (Some of the people interviewed the Timeline Documentary speak like that.)
Between the two choices, I’d be more inclined to go with reasoned arguments and cited sources more than gut reactions. My reviews here on this site are full of my personal feelings and gut reactions on a number of topics because that is the nature of opinion-based reviews, but I’ve had training in evaluating historical sources and writing research papers. Feelings change over time, and you can’t cite gut reactions as evidence in a thesis paper. The first essay that postulated that Alice in Wonderland may contain sexual symbolism, written by A.M.E. Goldschmidt in the 1930s, may have actually been written as a parody of contemporary psycho-analysis, and some of the “obvious” sexual symbols cited in later essays and analysis make no sense to me. In 1947, a psychoanalyst named Martin Grotjahn said that the scene where Alice’s neck suddenly grows longer is a symbol “almost too obvious for words.” No, it’s really not. I had to sit and think for awhile about why a person with a giraffe-like neck would be considered sexy, and then, it occurred to me that he’s probably really thinking of a piece of male anatomy instead of a girl’s neck, which doesn’t make any sense for the context of the story. Even now, I’m still not completely sure if that’s what he’s really getting at, and if I have to ponder it that much, it’s not that “obvious.” It’s about as bad as all the “that’s what she said” jokes I’ve heard. Quite a lot of unrelated things can be made to sound raunchy if you add “that’s what she said” after them, and the more times you hear that, the more annoying and less funny that kind of joke becomes. When a scholar does something like that in literary criticism, I’ve noticed that people are reluctant to question it because they assume that the scholar knows something they don’t, but I really don’t understand that comment and I don’t mind saying that I don’t think it makes much sense.
Also, I can’t help but notice in the descriptions of Carroll’s interactions with the Liddell girls that he visited them in different locations and took them on outings in different locations and that they were in the company of different people during these visits. The Timeline documentary mentions that the children’s governess would have been with them, even if the parents weren’t, and on the day that he took them on the boat trip where he began composing Alice in Wonderland, they were accompanied by his friend, Robinson Duckworth. I’m not a specialist in Carroll’s life, but it isn’t clear to me, from their descriptions, whether or not he was ever completely alone with the girls or with any child in particular, with no other witnesses. He may have been, but it seems to me from others’ descriptions that they were often chaperoned by different people. If some form of abuse or suspicious behavior were going on, it would be more difficult to evade or fool multiple witnesses. In 1932, when Alice was 80 years old, she went to New York to receive an honorary doctorate from Columbia University for her participation in the creation of a piece of iconic children’s literature and to take part in a centennial celebration of Dodgson’s birthday. I would think that if she had bad memories of Dodgson, she would have been less likely to take such a long journey at her advanced age in order to attend this celebration. On the other hand, that’s still just a guess of mine, and the suspicions about Dodgson, now raised, really can’t be proven either way. It still remains a possibility, and that’s why I only “kind of” think that Dodgson’s intentions might have been innocent.
In the end, I don’t have a firm theory so much as a conclusion: if you need to have definite answers, without debate, qualification, or reservation, in order to acquire knowledge, history probably isn’t your field. My first degree was in history, and I’ve noticed so many times that people discount historians and historical knowledge because the field doesn’t make firm, definite statements on many debatable aspects of history like this, and times when historians and private individuals have tried, they have often been proven wrong in some respect. However, that’s exactly the point: serious, professional historians don’t make definite statements unless and until they have definite proof because they know that there’s always a chance that they could be proven wrong at a later date when new information surfaces. It’s happened before, so true professionals are usually cautious. It’s not that they don’t know anything, it’s just that they’re aware of the limits of their knowledge, and they are careful in how they present what they really know in order to prevent people from drawing the wrong conclusions too quickly. It would be irresponsible to tell people that something is definitely true when the circumstances aren’t definite, so instead, they tell people about the information they know they have and the things are “possible,” “likely,” or “probable,” which irritates people who expect definite answers from experts. We know some things, and we also are aware of what we don’t know and what pieces we’re missing, which is also very important.
It doesn’t matter so much in modern times that we can’t completely prove Dodgson/Carroll’s intentions regarding his photography one way or the other as that we understand that the controversy exists. Without the diary pages, which would have been proof of his thoughts and intentions (and which were probably destroyed long ago), the most we could say is that the photographs suggest a possibility. Because, as scholars have pointed out, Dodgson wasn’t the only person who took photographs of children like that without apparently causing scandal, I wouldn’t say that it’s “definite” that his behavior or intentions were inappropriate. The final photograph in the documentary above is bad, but because they never proved definitely that he made it, I’d hesitate to call it “probable,” even though it seemed to me that the documentary makers were fishing for that so they could have a compelling revelation for their documentary. I don’t know for certain whether Charles Dodgson was or was not a pedophile, but I do know that it’s possible that he may have been one or at least had feelings or urges in that direction. There are enough indications that it remains possible, even though it’s unprovable. If you’re okay accepting as fact that an idea is “possible,” but probably not “probable” and certainly not “certain” … you could do well studying history, and just getting through my explanation (if you managed all that) means that you’re more than ready to tackle the logic puzzles of Alice in Wonderland. They’re kind of like that when you turn them around in your head.
Parodies, In-Jokes, and Literary References
There are a couple of things that are easier to prove about Alice in Wonderland than whether or not Lewis Carroll may have been attracted to the real Alice, and these more easily provable aspects of the story are what make it particularly interesting for me. First, parts of the Alice stories are actually parodies of popular stories and rhymes from the 19th century. Dodgson/Carroll particularly liked to poke fun at didactic stories and rhymes that were used to teach children useful lessons and morals. He liked to twist those more serious stories and rhymes into things that were basically nonsense. Modern readers are more likely to focus on the nonsense and less likely to notice the parodies in the Alice stories because they are not familiar with the original rhymes and stories being parodied, as the original readers of these books would have been. The original readers would have known immediately what he was making fun of. For example, “How Doth the Little Crocodile” is a parody on “Against Idleness and Mischief” by Isaac Watts, which is about the importance of using time well. “You are Old, Father William” or “Ballad of Father William” is a parody on “The Old Man’s Comforts and How He Gained Them” by Robert Southey, which gives advice to the young about how to behave so that they may enjoy a happier old age. These types of poems would have been given to Victorian children as something to read and memorize during their lessons, and so they would have noticed that Carroll was poking fun at them. That’s why I like editions of the Alice books that come with extra notes, pointing out the parodies and original references, so I can be in on the joke. On the other hand, modern readers will have no trouble recognizing the source of “Twinkle, Twinkle, Little Bat” as “Twinkle, Twinkle, Little Star” or “The Star” by Jane Taylor (first published in 1806, although modern readers think of it as the song instead of the poem, and not all of them know all the verses). It’s pretty common throughout history for bored students to make jokes about the things that they’re required to learn in their lessons, and many of these poems are old enough for Carroll himself to have learned them when he was a student. It’s possible that he may have started playing with parodies of his school lessons or popular songs long before he started writing Alice in Wonderland, although that’s just my personal guess, based on my own school years. I did things like that, and some of my friends did, too. (People older than me also remember On Top of Spaghetti and Joy to the World, the School Burned Down – not Carroll parodies and much cruder than his work, but examples of the way kids can twist things that are commonly known for the amusement of their friends.)
The second important point about the Alice stories is that they are full of puzzles, riddles, and word games. Remember that Lewis Carroll /Charles Dodgson was really a mathematician and scholar, and he liked to play with logic puzzles and word games. There are a lot of puns in Alice in Wonderland, some of which reference places in and around Oxford, like the Treacle Well where three sisters supposedly live – Lacie (anagram of Alice), Elsie (her older sister was Lorina Charlotte – L.C. Liddell), and Tillie (her younger sister Edith’s nickname). Alice in Wonderland is full of inside jokes, riddles, and puns like this. There are many in-jokes for people who are familiar with places in Oxford, and there are many in-jokes that Dodgson and the girls had with each other. Some of the strange characters in Wonderland are apparently parodies of people that Dodgson and the Liddells actually knew. Dodgson himself explained that he is the Dodo in the story. Dodgson spoke with a stutter, and when he would introduce himself to people, his name would often come out, “Do-Do-Dodgson.” “Dodo” Dodgson was an in-joke that the Liddells would have recognized.
Part of the trouble with analyzing Alice in Wonderland is that it’s possible to take it too far. Some of the parodies are obvious to people who are familiar with 19th century literature and poetry, and the references to places in Oxford are noticeable to people who are familiar with Oxford, but there are so many in-jokes in the story that might not be possible for modern readers to understand them all because we might not know all the in-jokes that Dodgson and the Liddells had with each other. So many strange and surreal things happen in the story that it’s possible to read too much into all of it. Some of it may have simply been meant to be silly references to other stories that Dodgson told the children before Alice’s story, long-standing in-jokes, or random silliness, and may not have any deeper meaning than that. When I read other reviews and analysis of the stories, I sometimes get the feeling like the critics are trying too hard, reaching and reading too much into everything. There’s a lot to enjoy about the story just as it is, without over-analyzing it to death, looking for hidden psychology that might not actually be there because a major part of it was based on parody and in-jokes in the beginning. If you want to spend some time appreciating the logic puzzles and word play and comparing the parody poems to their originals, that’s fine, but it’s also fine to just enjoy the book for the imaginative nonsense. It’s a long, strange trip, and I think it’s perfectly okay to just sit back and enjoy.
Note About the Illustrations and Original Version
Something else I’d like to mention before starting on the story itself is that the Alice who is depicted in the classic illustrations is not actually the original Alice Liddell. The illustrated Alice is a blond girl, but Alice Liddell was a brunette with shorter hair. Lewis Carroll apparently suggested that the illustrator use a picture of Mary Hilton Badcock as the model for the book illustrations, and Mary Hilton Badcock did look similar to the finished illustrations, although it’s also possible that the illustrator used a different child with a similar appearance as his model.
Also, the story as Carroll originally wrote it was called Alice’s Adventures Underground. Carroll did his own illustrations in the original version, showing Alice more like the real Alice, and there were a number of differences in the story. For example, in the original version, the White Rabbit drops a nosegay of flowers, which Alice smells, and that causes her to shrink, something that didn’t happen in the later version. If you want to read the original, it’s available through Project Gutenberg.
This is both the fourth book in the Enchanted Forest Chronicles and the first book in the series that was written. The author wrote this story before the others and then wrote the other three to explain how the characters got to this point. The first three books in the series focus on Princess Cimorene and her adventures, but this book focuses on her son, Prince Daystar.
Partly
because this series is kind of backwards, with the last book being the first
written, I’m going to start with a spoiler.
When the book begins, Daystar is unaware that he is a prince and that
his father is the king of the Enchanted Forest.
He grew up in an ordinary cottage on the edge of the forest, so he is
accustomed to the presence of all kinds of fantasy creatures and fairy tale
characters. He thinks of himself and his
mother as ordinary poor folk. However,
his mother has taught him not only reading and writing but other skills that
are more unusual for peasants, like music, fighting, and even a little magic.
When
Daystar is 16 years old, a wizard named Antorell comes to their house. Daystar’s mother, Cimorene, seemed to know him,
and he knows her. Antorell demands “the
sword” and the boy, and Cimorene casts a spell to melt him. (“’No! Not again!’ he screamed.” If you’ve read the other books, you already
know why. But, again, this book was
written first.)
The
next day, Cimorene gives Daystar a sword that he’s never seen before but which
seems to draw him to it, and she starts giving him instructions. The instructions are vague, but Cimorene
insists that Daystar is to go into the Enchanted Forest and not to come back
until he can explain why he had to go in there in the first place. Also, he is not allowed to draw the sword
from its scabbard unless he really needs to use it. Cimorene says that she can’t explain more
because it might “ruin everything.” Not knowing
what else to do, Daystar starts into the Enchanted Forest. When he glances back, Cimorene and the cottage
have suddenly disappeared. Daystar has
no idea why, but he has no choice but to keep going.
In the
forest, Daystar meets a talking lizard called Suz, who claims to know
everything about the Enchanted Forest and what goes on there (a tall claim, considering
everything that goes on there). When
Daystar asked him if he knows anything about the mysterious, magical sword that
his mother gave him, Suz tells him that it’s the Sword of the Sleeping King and
that everyone has been looking for it.
Daystar knows nothing about it, which surprises Suz. To Daystar’s surprise, both the sword and
Daystar’s lack of knowledge agitate Suz, who says that he must get Kazul, who
will know what to do. Before he then
runs off, leaving Daystar wondering who Kazul is, Suz tells him that he’s going
to have to learn about the sword by himself because there are certain rules
associated with magic, but that he should follow the sword to find out.
The
next person Daystar meets is a red-haired girl who is stuck in a hedge. She is surprised by how easily Daystar can
get into the magical hedge, and at first, she thinks that he is a wizard. She is relieved when she finds out that he’s
not. The girl, Shiara, tells Daystar
that wizards have been chasing her because she burned the Head Wizard’s staff. Most people could never accomplish that
because wizards’ staffs are extremely powerful and have protective spells on
them, but Shiara is a fire-witch.
As the
two of them talk, Daystar learns that, while fire-witches are extremely rare
and powerful come by their powers naturally, Shiara’s abilities are more
unpredictable than most. She has trouble
casting spells on purpose, but when she gets mad, she can do some extremely
powerful ones without really trying. Fire-witches
tend to have tempers, and Shiara is no exception. Because of that, she doesn’t have many
friends. Most people are afraid to be
around her because they never know when she’ll lose her temper and accidentally
set things on fire. Even worse, for
Shiara, is knowing that most fire-witches are able to do very impressive spells
and are almost invulnerable, but yet, she can’t even burn her way through a
hedge when she tries it. The wizards are
very interested in her because most fire-witches are immune to their spells. When they learned that she was a fire-witch who
couldn’t cast her own spells, they tried to kidnap her in order to study her
magic, which she how she ended up setting the Head Wizard’s staff on fire.
Daystar
and Shiara finally get out of the magical hedge when Daystar suggests that
Shiara try being polite to it instead of losing her temper. Creatures and objects in the Enchanted Forest
tend to respond well to politeness. When
they’re out of the hedge, a wizard shows up and tries to kidnap Shiara again,
but Daystar defends her with his sword.
However, Daystar’s hand is injured when he tries to pick up the pieces
of the wizard’s staff, and it explodes.
Daystar
and Shiara seek help from Morwen, a witch who lives nearby. It is from Morwen that Daystar begins to get
a sense of what his sword is capable of doing.
He also meets up with Suz again, who tells him that he should go to the
castle and that Kazul will meet him there.
Daystar still doesn’t know what he’s walking into, but missions in the
Enchanted Forest can’t be ignored, and he has a mission to complete that everyone
has been waiting for since before he was born.
By the end of the story, Daystar has learned what he needs to do to rescue his father, and Cimorene and Mendanbar are reunited. Shiara ends up getting what she wants, partially, because she gains the ability to use her powers, but is forced to be polite in order to do so, which really irritates her. She becomes Kazul’s new princess, where she will learn both the personal skills and magical skills she needs to control both herself and her ability. Cimorene believes that Shiara will end up marrying Daystar eventually and becoming the next queen of the Enchanted Forest. However, the series ends here, and the future is left to the imagination. Morwen also decides to marry Telemain, a character from the previous books.
Like other books in this series, this book contains a lot of humor and parodies on popular fairy tales and fairy-tale creatures. Personally, I like the first two books in the series the best, but this one is also fun. There is a mild touch of romance to it, which is also nice.
The book is currently available online through Internet Archive.
There is one more story after this series, a short story in the collection Book of Enchantments that features Daystar and both of his parents but does not have Shiara.
This is the third book in the Enchanted Forest Chronicles. Cimorene is now married to Mendanbar and expecting their first child.
Morwen, a witch living in the Enchanted Forest, realizes that something strange is going on when she encounters a rabbit that is more than six feet tall. The rabbit, called Killer, has no idea how he managed to grow so big. It just happened suddenly that morning while he was eating some clover. Morwen goes to investigate the clover patch in the hopes of finding what might be responsible for the change. She discovers a wizard’s staff nearby, which is never a good sign.
She contacts King Mendanbar, Queen Cimorene, and her friend Telemain, a magical theoretician. Part of what they discover is that one of the wizards has shrunk himself in size. Mendanbar also discovers that someone has stolen the sword that he uses to control the threads of magic in the Enchanted Forest. The sword helps to maintain the protective spell around the Enchanted Forest that keeps wizards out. If the wizards have it, they may be able to enter the forest and soak up its magic. Mendanbar wants to go with the others to get it back, but Telemain points out that he can’t because he’s the other main focus of the protective spell; if he leaves the forest, it will be completely vulnerable. Even worse, they don’t have much time to retrieve the sword because whenever it’s outside of the Enchanted Forest, it leaks magic. Although Mendanbar doesn’t want to let Cimorene go on the mission to retrieve the sword while she’s pregnant, he has to let her go with the others. Before the book is over, Killer, who accompanies them on their mission, changes from a giant rabbit in to a flying blue donkey.
Among the fairy tale parodies that the characters encounter on their journey are a farmer named MacDonald (E-I-E-I-O) and a sorceress named Rachel who lives in a tower that can only be entered via a chair which Rachel lowers to bring people up (“Rachel! Rachel, send down the chair”). They keep in touch with Mendanbar in the castle using a magic mirror (“Mirror, mirror on the wall, I would like to make a call.”), until, for some reason, they are unable to reach him.
They are able to retrieve the magic sword, but the wizards capture Mendanbar and seal him inside his castle, trapped in a transportation spell to keep him safe yet contained. They don’t want to kill him because the Enchanted Forest would be plunged into chaos by his death, and they can’t keep him prisoner in a normal way because his friends would rescue him. Cimorene and the others know that the sword has the power to break through the shield spell on the castle, but the problem is that only a member of the royal family can wield it to do so. The sword allows Cimorene to carry it because she is Mendanbar’s wife, but only a blood relative can use the sword to break the spell . . . which mean that they have to wait for Cimorene’s baby to be born and become old enough to do it.
Although I like this series and think it’s a lot of fun, I’m not really fond of the last two books because of Mendanbar’s years of imprisonment. He’s okay when they finally get to him, but I still don’t like it. The ending of this book leaves things hanging until the fourth book.
This book is currently available online through Internet Archive.
This is the second book in The Enchanted Forest Chronicles, continuing the adventures of Princess Cimorene, although the story is told from the point of view of Mendanbar, King of the Enchanted Forest. The Enchanted Forest is no ordinary kingdom, and Mendanbar is no ordinary king. To be King of the Enchanted Forest means being a skilled enchanter. Mendanbar can use the forest’s magic directly, making him more powerful than wizards. Most of the creatures in the forest obey him, and unlike ordinary people, he can find his way around the forest almost automatically, even though things in the forest tend to move around.
At the
beginning of the story, Mendanbar’s steward, Willin, pesters him about the
subject of getting married. Mendanbar
hasn’t given the matter much thought since his father died three years earlier,
but then, there’s been a lot to do.
Queen Alexandra has several daughters, any of which would be considered “suitable,”
but Mendanbar doesn’t like any of them.
Mendanbar is annoyed because he’d just gotten the elf clans’ feud
settled and was looking forward to a period of relative calm, so he decides
that he’s going to give himself the day off, for a change.
He
decides to take a stroll by the Green Glass Pool to relax, but on the way, he encounters
a princess. That’s not too unusual for
the Enchanted Forest (home to many fairy-tale creatures and the events that
make up fairy tales), but this princess strikes Mendanbar as a particularly
scheming and ambitious one. She tells
him a great tale of woe in which her wicked stepmother cast her out that Mendanbar
can tell is carefully rehearsed and might have even been the idea of the stepmother
in question, with the idea of hooking an adventurous prince. (Royal families do things like that, see the previous
book in the series.) However, Mendanbar
is puzzled because the forest usually keeps out people who are obviously
selfish. Then, the princess mentions crossing
an area of waste to get into the forest, and Mendanbar is alarmed because there
shouldn’t be a wasteland there.
Forgetting about the princess, he hurries off to investigate.
Sure
enough, Mendanbar discovers that a section of the forest is actually missing,
destroyed to the point where there are just dead stumps. Even the magic is gone. Upon further investigation, Mendanbar finds
dragons scales. He isn’t sure why the
dragons would want to attack the Enchanted Forest because they haven’t had any
quarrels and mostly leave each other alone.
On the advice of a nearby talking squirrel, Mendanbar goes to see the
witch Morwen.
After
examining the dragon scales, Morwen demonstrates that, although they appear to be
different colors and look like they’re from different dragons, they have
actually been disguised. They are
actually from one dragon only. Morwen
also doubts that a dragon was really responsible for the damage to the forest. After all, why would a dragon waste time
disguising his scales when he could just pick them up? Also, healthy dragons don’t shed that many
scales. Morwen is a friend of Kazul, who
is the current King of the Dragons, and she advises Mendanbar to go see
Kazul.
Morwen
also chides Mendanbar for not visiting Kazul when she became the king the year
before. Mendanbar feels a little guilty,
saying that he’s just been very busy, which is true. However, Morwen points out that what he could
use is more effective help to organize things in the kingdom, not just making
lists of things for him to do, like his steward does. It’s part of the reason why people are saying
that Mendanbar should get married.
Before
Mendanbar can visit Kazul, he gets an unexpected visit from Zemenar, the Head
Wizard. Zemenar says that the wizards
have been having problems with the dragons (again, see previous book) and that
the dragons will not let them enter the Caves of Fire and Night. He hopes that Mendanbar will allow them access
from the Enchanted Forest. Mendanbar
doesn’t really trust the wizards, and he refuses the request on the grounds that
he has something important to discuss with the King of the Dragons
himself. Zemenar tells Mendanbar about
Kazul’s princess, Cimorene, blaming her for the the “misunderstanding” between
the wizards and dragons. Mendanbar at
first imagines that Cimorene is much like the scheming princess he met that
morning, but soon discovers that she’s anything but. Taking the enchanted sword that only the
kings of the Enchanted Forest can use with him, Mendanbar goes to visit the
dragons.
At Kazul’s
cave, Mendanbar meets Cimorene, who informs him that her official title is now
Chief Cook and Librarian. She tells him
that part of the point of advertising this title is that it cuts down on the
number of princes who come around. Lots
of princes want to rescue a princess, but few people want to rescue a Chief
Cook and Librarian. Mendanbar finds Cimorene
a surprising change from the other princesses he’s met. Mendanbar also makes a positive impression on
Cimorene by using his sword to fix a broken sink, even if she describes the magic
as being a bit “flashy.”
However,
all is not well among the dragons. Although
Cimorene is reluctant to admit it at first, Kazul has mysteriously
vanished. She was planning to go out and
search before Mendanbar showed up. Kazul
had been visiting her grandchildren when she decided to go by the Enchanted
Forest to investigate someone growing dragonsbane. Mendanbar shows Cimorene the dragon scales he
found, and she indentifies them as belonging to Woraug, a dragon who was
changed into a frog in the previous book.
It
doesn’t take the two of them long to realize that the wizards are back to their
old tricks and scheming. However, what
would they really have to gain by setting the Enchanted Forest and the dragons
against each other? And where is Kazul?
Like the other books in this series, this book is full of humor and a touch of mystery. There are many parodies on fairy tale tropes, including an Wicked Uncle who’s not very wicked and does both a favor and an evil deed for his nephew by sending him to boarding school instead of abandoning him in the forest to have an adventure, as he’d hoped. There is also romance between Cimorene and Mendanbar. As you might have guessed, Cimorene is just the kind of practical princess Mendanbar needs to help him manage the magical chaos that is the Enchanted Forest and Mendanbar is the kind of king who is happy to find an intelligent princess who can do magic and rescue dragons.
The book is currently available online through Internet Archive.
This is the first book in the Enchanted Forest Chronicles. The fun thing about this series is that it parodies many popular fairy tales and their tropes. Some of the books in the series also take the form of fantasy mysteries with some puzzle or nefarious happenings that the characters have to figure out.
From when
she was a young child, Princess Cimorene of Linderwall has been bored with the
kind of life that is expected from ordinary princesses. Unlike her six older sisters, Cimorene doesn’t
have golden curls. She has black hair,
and she’s way too tall for a cute little princess. She’s also very stubborn. When Cimorene gets bored of the usual
princess lessons involving dancing, embroidery, and etiquette, she pushes other
people in the castle into giving her different types of lessons. First, she convinces the armsmaster to give
her fencing lessons. Then, she gets the court
magician to give her magic lessons. She
also arranges Latin lessons, cooking lessons, economics lessons, juggling
lessons, and so forth. Each time her
parents find out about her unusual lessons, they put a stop to them because
none of the subjects that Cimorene finds interesting are “proper” for a princess
to study.
When
Cimorene’s parents try to arrange for her to marry a prince that she doesn’t
like, she finally decides that enough is enough. Cimorene meets a talking frog in the castle
pond, and after talking over her problem with him and saying that she’d rather
be eaten by a dragon than marry the prince, the frog recommends that she run
away. He even gives her directions on
where to go after she leaves the castle.
Not having any other plan, Cimorene takes his advice . . . and ends up
at a dragon’s lair.
It
works out for the best, though. Rather
than being eaten, Cimorene asks the dragons in the lair if they are in need of
a princess. She isn’t quite sure what princesses
who are taken captive by dragons do, but she can cook (as part of her earlier
cooking lessons) and do other chores.
Although one of the dragons, Woraug, wants to just eat her, the dragon
called Kazul takes her on as her princess.
Cimorene
finds it interesting being a dragon’s princess.
She cooks for Kazul and also helps to organize her treasure hoard and
library. As is expected when word gets
out that Cimorene is a dragon’s princess, knights come to try to rescue
her. They are shocked when Cimorene
turns them away, and it takes awhile before Cimorene is able to convince them
that she’s really happy with the dragons and doesn’t want to be rescued.
Cimorene
even makes new friends. Morwen, a witch
friend of Kazul’s, comes to visit and teaches Cimorene more about magic. Morwen is also very practical and suggests putting
up a sign (something like “Road Washed Out”) to discourage knights from
approaching Kazul’s lair. It is while
Cimorene is putting out the sign that she means the wizard Zemenar. His presence in the area is suspicious
because wizards and dragons do not get along. Wizards do not use their own magic but use
their staffs to soak up magic from magical places or magical beings – like dragons. When wizards take magic from dragons, they actually
take part of their essence, and give them a reaction that’s similar to
allergies. Zemenar is also head of the
Society of Wizards, so it’s doubly suspicious if he’s been hanging around a
dragon’s cave. When Cimorene tells Kazul
and her friends about seeing him, they become concerned, wondering what he’s
after.
Cimorene
also meets other princesses who are the captives of other dragons: Keredwel, Hallanna,
and Alianora. At first, they also have
trouble believing that Cimorene actually volunteered to be a dragon’s princess
and that she likes it. Cimorene doesn’t
like the arrogant attitudes of Keredwel and Hallanna, but Alianora is pleasant,
and the two of them become friends.
Alianora tells Cimorene that, although she was taken captive by Woraug,
her family basically set her up for it.
Like Cimorene, she was under a lot of pressure to do the things that
everyone expects of fairy tale princesses, but she wasn’t much good at them,
and things never turned out as one might expect. The wicked fairy who came to Alianora’s
christening when she was a baby didn’t curse her; she just enjoyed the party
and had a wonderful time. Alianora also
didn’t prick her finger on the spinning wheel that her busy-body aunt gave her,
and when she tried to spin straw into gold, she got linen thread instead. When various fairy tale schemes failed to
work for Alianora, her interfering aunt arranged for her to visit a village,
knowing that Woraug was going to ravage it.
As Morwen noted, princesses who are taken captive by dragons and then
rescued can expect to make good marriages.
Although being abducted by a dragon was a shock, Alianora says it’s not
so bad; Woraug mostly ignores her since she doesn’t know how to cook, and it’s
a relief for her to get away from her nagging aunt. The only downside is that the other, more conventional
princesses are really annoying. Alianora
and Cimorene bond over their unconventional lives as fairy tale princesses. Cimorene gets the idea to send some of her
knights and princes to go rescue Keredwel, thus taking care of two problems at
once. Alianora also helps Cimorene with
her efforts to find a fire-proofing spell to protect the princesses from
accidental burning from the dragons, and later becomes her ally when things get
more serious.
Zemenar
returns to Kazul’s cave and, while Cimorene tries to subtly pump him for
information, he sneaks a look at a book about the history of dragons. He seems to be interested in the section
about how they settled in the Mountains of Morning, how they chose their king,
and the Caves of Fire and Night, where they found the special stone that they
use to choose their king.
Then, the
king of the dragons is murdered, poisoned by dragonsbane. The wizards have a confederate among the dragons
themselves, and they want something that only the king of the dragons can give
them.
By the time the murder is committed, Cimorene and Kazul have a pretty good idea of who the conspirator among the dragons is. The wizards think that they’ve found a way to rig the ceremony for choosing a new king so that the dragon who supports them will win, giving them what they really want. However, Cimorene foils their plan with the help of her friends. The mystery/conspiracy elements of the story are great and help add weight to balance out the lighter, fairy tale parody elements.
The book is currently available online through Internet Archive.
The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka and Lane Smith, 1992.
This book is a spoof on a number of classic fairy tales. As it explains in the introduction, the short stories included in the book are more Fairly Stupid Tales than Fairy Tales, giving the example of Goldilocks and the Three Elephants: A girl smells peanut porridge and wants to enter the elephants’ house to eat some and try out their furniture, but elephant furniture is too big for her to climb up on, so she just leaves, The End. That incredibly short story isn’t found anywhere else in the book, but it’s a good example of what the other stories are like.
Even the set up of the book is a joke, with the Little Red Hen showing up to demand help with her wheat only for Jack the Narrator to tell her that it’s too soon because they haven’t even had the title page yet. The title page has the words “Title Page” larger than the title itself, and the dedication is upside down because who would actually read it anyway? Then, Chicken Licken thinks that the sky is falling and that everyone should run and tell the President, but it turns out that what’s falling is actually the Table of Contents, which squashes everyone before Foxy Loxy can eat them.
Then, the rest of the stories begin:
Chicken Licken – As described above
The Princess and the Bowling Ball – parody of the Princess and the Pea – Starts off like the original story with the prince’s parents testing princesses to see if they can feel a pea through a whole bunch of mattresses, but none of them ever do, so the prince takes matters into his own hands to rig the test in favor of the girl he really wants to marry.
The Really Ugly Duckling – parody of The Ugly Duckling – When the really ugly duckling grows up, he’s basically just an ugly duck. The End.
The Other Frog Prince – parody of The Frog Prince – The frog isn’t really a prince. He just said that because he wanted a kiss.
Little Red Running Shorts – parody of Little Red Riding Hood – Jack the Narrator accidentally spoils the story by revealing too much in his introduction to it, so the characters feel like there’s no need to act it out, and the Little Red Hen fills up the extra space, demanding to know why they haven’t gotten to her story yet.
Jack’s Bean Problem – parody of Jack and the Beanstalk – Jack the Narrator starts to tell his own story about defeating the Giant, but the Giant protests because he doesn’t like always being tricked and takes control and reads a story that he “wrote” himself, cut out of pieces of other random stories from different books. When the Giant threatens to eat Jack if he can’t tell a better story, Jack tells a story that constantly repeats until it transitions into the next one.
Cinderumpelstiltskin – parody of Cinderella and Rumpelstiltskin – Starts out like the usual Cinderella story, but Rumpelstiltskin shows up and offers to teach her how to spin straw into gold. Cinderella doesn’t see how that can possibly help her since he doesn’t have a gown for her to wear to the ball, so she ends up without either a gown or any gold.
The Tortoise and the Hair – parody of The Tortoise and the Hare – A rabbit tells the tortoise that he’s so slow that he can grow hair faster than the tortoise can run. By the end of the story, the tortoise is still running, and the rabbit is still growing hair.
The Stinky Cheese Man – parody of The Gingerbread Man – An old couple make a “child” for themselves out of stinky cheese. When he takes on a life of his own and run away, they don’t bother to chase him because they can’t stand the smell. Nobody else wants to chase him, either.
So, why isn’t there a Little Red Hen story listed? At the end of the book, she shows up to complain about how she had to do everything herself to make the bread and nobody even saved space for her story (because Jack had to sneak away from the Giant after he fell asleep). The Giant wakes up and decides to make a chicken sandwich with the bread.
Understanding the jokes in the book requires a knowledge of the stories they’re spoofing, so this isn’t a book for very young children. Any kid who reads this should already know the classic fairy tales and be old enough to appreciate the humorous twists. I think kids feel clever when they realize that they can recognize the references in the stories and know where and how the parodies are different from the originals. Some of the humor has to do with the abrupt endings, simplifying issues that are more drawn-out in the original stories. I remember liking this book when I was in elementary school!
The art style is very distinctive, with a number of cutout elements with different textures. It’s fascinating to see the way that the pictures were put together.
The book is currently available online through Internet Archive.
This book is a spoof on a number of classic fairy tales. As it explains in the introduction, the short stories included in the book are more Fairly Stupid Tales than Fairy Tales, giving the example of Goldilocks and the Three Elephants: A girl smells peanut porridge and wants to enter the elephants’ house to eat some and try out their furniture, but elephant furniture is too big for her to climb up on, so she just leaves, The End. That incredibly short story isn’t found anywhere else in the book, but it’s a good example of what the other stories are like.
Chicken Licken – As described above
So, why isn’t there a Little Red Hen story listed? At the end of the book, she shows up to complain about how she had to do everything herself to make the bread and nobody even saved space for her story (because Jack had to sneak away from the Giant after he fell asleep). The Giant wakes up and decides to make a chicken sandwich with the bread.
Jestress's Forgotten Books and Stories 