Cover image for Alice's adventures in Wonderland
Alice's adventures in Wonderland
Carroll, Lewis, 1832-1898.
Personal Author:
[Large print edition].
Publication Information:
Waterville, Me. : Thorndike Press, [2003?], 1865.
Physical Description:
165 pages : illustrations ; 23 cm
A little girl falls down a rabbit hole and discovers a world of nonsensical and amusing characters.
General Note:
Originally published in: The complete works of Lewis Carroll, New York : Barnes & Noble, 1994.
Format :


Call Number
Material Type
Home Location
Item Holds
X Juvenile Large Print Central Closed Stacks

On Order



Beloved classic about a little girl lost in a topsy-turvy land and her encounters with the White Rabbit, March Hare, Mad Hatter, Cheshire Cat, and other delightfully improbable characters. 42 illustrations by Sir John Tenniel.

Author Notes

Charles Luthwidge Dodgson was born in Daresbury, England on January 27, 1832. He became a minister of the Church of England and a lecturer in mathematics at Christ Church College, Oxford. He was the author, under his own name, of An Elementary Treatise on Determinants, Symbolic Logic, and other scholarly treatises.

He is better known by his pen name of Lewis Carroll. Using this name, he wrote Alice in Wonderland and Through the Looking Glass. He was also a pioneering photographer, and he took many pictures of young children, especially girls, with whom he seemed to empathize. He died on January 14, 1898.

(Bowker Author Biography)

Reviews 4

Booklist Review

Gr. 4^-6, younger for reading aloud. There is no end to the available editions of Alice, of course, but here is one worth having. It is in a nice big format, with an exquisite typeface, easy to read and to hold in the lap. It has a genial and erudite introduction by Leonard Marcus, with a bit of biography of Carroll and some Alice publishing history, but, most of all, there are unusual, engrossing illustrations. Morell has taken the original Tenniel images, placed them in collage with realia, and photographed the resultant construction in black-and-white. The artifact of the book is used to great effect: the hole the White Rabbit descends is cut into a large book; the Tenniel caterpillar and Alice peering over the mushroom's edge poke up from the pages of a book in a swirl of smoke; the tea party table is a big old book with a checkerboard cover. This edition illuminates the familiar story in ways that point up its essential, strange "magick." --GraceAnne A. DeCandido

Publisher's Weekly Review

Reader Reynolds buoyantly leads listeners down the rabbit hole and into the topsy-turvy world of Carroll's Wonderland. When the young Alice follows a waistcoat-wearing rabbit holding a pocket watch, she finds herself in a fantastical world of talking mice, disappearing cats, hookah-smoking caterpillars, fish-headed footmen, and babies who turn into pigs. She shrinks smaller than a mouse and grows tall as a tree, participates in a mad tea party, plays croquet using flamingos for mallets, and runs afoul of the ill-tempered Queen of Hearts, whose cry of "Off with their heads!" seems to be the answer to most anything. It is a madcap, nonsensical entertainment, and Reynolds leaps into this tale's telling with enthusiastic aplomb. Fully embracing the material, Reynolds delivers the author's whimsical prose, poetry, and quirky characters with just the right touch of theatricality: bigger than life, but not completely over-the-top. It is a fine-tuned, enjoyable performance that allows the wonder of Wonderland to shine. (Dec.) © Copyright PWxyz, LLC. All rights reserved.

Library Journal Review

Academic audiences will need little persuasion to see this volume as a relevant addition to any collection not already holding a copy of the 1969 Maecenas Press edition of the same work. However, general readers will find much to contemplate here, as some may still see Dalí as the "melting clock guy" and will be surprised to find that these gestural, high-energy gouaches were painted by the same artist who produced all of those finely wrought oil paintings with their asymmetrical use of volumes of sky and sand. Unlike more straightforward pairings of literature with surrealism, such as Max Ernst's illustrations for René Crevel's Babylon, the images accompanying Carroll's text do not so much explicate the story as extend it, providing both a narrative-inspired and narrative-independent dream sequence that simultaneously meanders among and augments the text's many symbols. The introduction by Burstein (president emeritus, Lewis Carroll Soc. of North America) and Thomas Banchoff (emeritus, Brown Univ.) provides a valuable grounding in the artist's interests and obsessions at the time the gouaches were created. VERDICT A worthy purchase for public and academic libraries.-Jenny Brewer, Helen Hall Lib., League City, TX © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Review

Gr 2-5-An oversized book containing 12 full-page illustrations, one per chapter, with various smaller pictures of story elements peppered throughout, similar to the layout and design Zwerger used in The Wizard of Oz (North-South, 1996). The pictures are done in muted watercolors with very simple lines. Despite the flawless artistry evident in the work, there is something missing from Zwerger's Alice, and that would appear to be Alice herself. The child is clearly seen full-face in only a single illustration, that of the mad tea party, and then her facial expression is blank and disinterested. Otherwise, she is merely glimpsed: in the distance, looking down, disappearing from the page, and in some cases headless. The illustration of Alice after she has drunk the liquid causing her to grow shows only her cramped knees. Carroll's Alice is a feisty participant in her adventures, but Zwerger portrays her more as a sleepwalker, giving readers no opportunity to see how she is reacting to the events around her, be they bizarre, nightmarish, or humorous. While adults may find the book interesting from a visual standpoint, either the original artwork by John Tenniel or Michael Hague's charming version (Holt, 1995), which has literally double the number of illustrations, will have more child appeal.-Grace Oliff, Ann Blanche Smith School, Hillsdale, NJ (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.