| 商家名称 | 信用等级 | 购买信息 | 订购本书 |
 |
 |
Alice's Adventures in Wonderland |  |
 |
|
Alice's Adventures in Wonderland | |
For more than 130 years, children have reveled in the delightfully non-moralistic, non-educational virtues of this classic. In fact, at every turn, Alice's new companions scoff at her traditional education. The Mock Turtle, for example, remarks that he took the "regular course" in school: Reeling, Writhing, and branches of Arithmetic-Ambition, Distraction, Uglification, and Derision. Carroll believed John Tenniel's illustrations were as important as his text. Naturally, Carroll's instincts were good; the masterful drawings are inextricably tied to the well-loved story. (All ages) --Emilie Coulter --This text refers to the Hardcover edition.
From Publishers Weekly
A clock-face grows like the daisies around it as the White Rabbit hurries by; in the opening pages of the story, Browne hints at his interpretive presence in Carroll's world. A burning key, a fish swimming through space, a green thread winding its way through a cabinetful of strange objects, and the artist makes it clear that this will be no ordinary Alice. Thimbles and umbrellas bloom atop green stalks, Willy the chimp races by, another thimble casts the shadow of a trophy, the Caterpillar wears a smoking jacket covered with butterflies. The Mad Hatter has a stack of his wares on his head, and wears a terrible grimace; the tea party at which he resides displays a table full of toylike objects and sweets, among which are many surprising juxapositions. In short, the volume is so consumed by the unexpected that readers may well find their eyes leaving the text to pore over the pictures, replete with jaunty details and stunning surreal images that grandly point back in the direction of the written word. All ages.
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From School Library Journal
Grade 3 Up Hague, in his "Afterword," gives a fine reason for tackling a book that has already been illustrated some 100 times: to "reinterpret the classics for each new generation of children." But what does Hague bring to Alice that is fresh or contemporary in insight? Only a set of crowded images that seem too often to be seen through a dirty yellow filter. There's no denying the competency of his drawing. He does his anatomy homework, and his mock-Rackham trees are properly gnarled, but they lack the brooding mystery of the master's originals. The Queen is a fresh face with a red fright wig and jutting lower lip, almost a Dom DeLuise in drag. But Alice, although a real girl, looks too old for the part at times. Individually, Hague produces attractive characters that hover quite close to the descriptions Carroll provides or Dame Nature offers. Once again the trouble comes in the organization of these characters and architectural sets; they too frequently don't seem to fit. A heavy-handed use of black outline is one reason figures are isolated in space. Sometimes it's an odd juxtaposition of colors. And why does he put human hands on some of his animals and not on others? Although these odd bits of artistic shortcomings are in evidence, they do not override an attraction to aspects of Hague's illustrations, which will have broad appeal. Yet despite his expressed hope that children "will want to read this wonderful story" because of his pictures, it is more likely that they'll want to read it because of the profound imagination of the author and his ability to spin a yarn as pertinent today as it was 100 years ago. Kenneth Marantz,u Art Education Department, Ohio State Univ . , Columbus
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Booklist
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 --This text refers to an out of print or unavailable edition of this title.
Review
Laszlo Matulay has based his big splashy colored pictures on the traditional Tenniel drawings, but the text adaptation holds small justification. The familiar rhythms and pattern of words which make Alice a family possession through life have gone, and what is left serves merely as transitional material connecting the favorite poems which, thank goodness, have not been tampered with. Boards. (Kirkus Reviews) --This text refers to an out of print or unavailable edition of this title.
