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INVENTING WONDERLAND: The Lives and Fantasies of Lewis Carroll, Edward Lear, J.M. Barrie, Kenneth Grahame and A.A. Milne
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From Publishers Weekly
In creating Alice's Adventures in Wonderland, girl-obsessed loner Charles Dodgson (Lewis Carroll) achieved a breakthrough in children's literature, a work unparalleled in its freedom of thought and spirit, observes Wullschlager. In her judgment, Edward Lear's fantastical poems celebrate his escape from Victorian narrow-mindedness but also hint at a sense of alienation heightened by his secret homosexuality. Peter Pan?the naughty boy who refuses to grow up?mirrors his creator, James M. Barrie, an "emotional outsider" who idealized his mother, was unable to relate to his wife and compulsively played with other people's children. Frustrated banker Kenneth Grahame poured into The Wind in the Willows his disappointments, fears and hopes, partly reflecting his inability to accept his disabled, semi-blind son Alastair, who committed suicide at 19. For Financial Times feature writer Wullschlager, A.A. Milne's Winnie-the-Pooh series crystallizes the 1920s' desire for escape, light-headedness and nostalgia. A joy to read, the author's delightfully illustrated study revises our understanding of children's literature as a cultural barometer mirroring adult anxieties and aspirations. Copyright 1995 Reed Business Information, Inc.
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Product details
Hardcover: 240 pages
Publisher: Free Press; First Edition edition (February 12, 1996)
Language: English
ISBN-10: 0684822865
ISBN-13: 978-0684822860
Product Dimensions:
6.5 x 1 x 9.8 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
3.5 out of 5 stars
6 customer reviews
Amazon Best Sellers Rank:
#1,200,374 in Books (See Top 100 in Books)
When I ordered this book, I was excited to see a cross comparison of some of my favorite authors and their works. However, my excitement soon turned to sore disappointment. Instead of a well-researched and well thought out look at the lives and work of these five men, instead I found a book filled with unproven accusations, suppositions about what the authors meant and thought and felt, and a large dose of amateur Freudian analysis. Here are just a few of the many unproven supposition, taken randomly:"Today, many children fine the Alice books frightening, confusing or just too difficult." (Page 55)"It is hard not to see in Alice a comic, nonsense version of a Victorian Everyman, bewildered by change, tormented by religious doubt, terrified of an empty, godless cosmos." (Page 50)"Sexual repression, a hint of child sexuality bubbling under the surface, is a driving force in Peter Pan." (Page 128)---The entire book fills as if it began as a hypothesis and then relevant sources were searched to find evidence supporting the hypothesis. Each account of these men's lives is negative, focusing on negative influences or experiences and rarely including anything positive about them. Likewise, this book has a strong sexual orientation, focusing greatly on any actual or supposed sexual deviations. The author mentions pedophilia in every chapter and constantly refers to "Lolita".---Even if one were to set aside the large number of unsupported accusations (well over 100, nearly one on every page), there are many passages and references in this book that makes the reader wonder if the author even READ the books in question. Examples:"... but not once in hie writing does he [Kenneth Grahame] mention parents." (Page 148).Which is simply not true. Baby otter's DAD is out looking for him, Toad's father is mentioned several times, and the two little boys lost in the snow and found (and fed) by Badger talk about how mom made them go to school. And don't forget the gaoler'd daughter (thereby the gaoler is the father) and the daughter's grandmother..."At the heart is Pooh, self-centered, affectionate, innocent, bewildered by adult life, obsessed with food, so greedy..." (Page 189)"What draws both adults and children to the books [Pooh] is the ironic biting tone mixed in with the safe setting." (Page 189)"He [Milne] invented characters who lie and cheat, who are fearful and ignorant, who are self-doubting and confused..." (Page 205)And one more..."In Grahame's 'The Wind in the Willows' (1908) a group of animals, much like boys, mess about in boats, picnic and party." (Page 28)Which is just silly, as while they DO get in boats and picnic IN CHAPTER ONE, they never party. And they do a great deal more than simply that...---With all of this in mind, I say, emphatically, avoid this book! It’s neither academic nor honest. There is nothing in it that will enlighten your understanding of these men and their work. I’m honestly shocked it ever saw print.
Excellent review of all the writers who produced children's literature during the golden age between 1865 and 1930. Jackie Wullschlager has detailed every facet of delight in the characters with an understanding of the meanings behind the characters such as Pooh and Toad of Toad Hall. Anybody interested in delving into the joys of childhood reading should enjoy this remarkable book. Sadly it is out of print but my used copy from a library in Minnesota is a gem of fun. Reggie in Florida,USA
A collection of such notables I's most intriguing !
A wonderful book! I am so sorry it is out of print.
Victorians are experiencing something of a comeback after decades of censure as the strange, repressed, half-crazy relatives we don't want to tell anyone about. We are discovering that the Victorians were not so different from us.The Victorians did, however, produce their own brand of eccentricity and none are as delightfully eccentric as the Victorian/Edwardian writers for children discussed in Inventing Wonderland. Jackie Wullschlager starts with that greatest of all Wonderland writers, the master himself Lewis Carroll and ends with Jazz Age Pooh creator A.A. Milne.The eccentricity of these Victorian writers is their confident, and sometimes troubling, obsession with childhood itself. Wullschlager assures us, correctly, that these writers' obsessions did not cross the line into pedophilic behavior. To 21st century sensibilities this seems scarcely creditable, especially after reading letters by Lewis Carroll to various girl children. Carroll, Lear, Barrie and Grahame's effusions about childhood can only be understood within the context of the Victorian age, the age that produced and adored Wordsworth's overly quoted (then and now) "But trailing clouds of glory do we come/From God, who is our home" (Ode: Intimations of Immortality From Recollections of Early Childhood).Wullschlager is, I think, a bit too dismissive of Milne, who is regarded in the text as a has-been, clinging to the last remnants of the Victorian celebration of childhood. Wullschlager's overall point in this regard, however, is well made. The Victorians invented and took seriously the concept of childhood as a wonderland. Consequently, they produced children's writers of a truly magnificent stature. When the concept of childhood=innocence & pleasure was abandoned, in the early 20th century (thank you, Freud!), the result was an almost tongue-in-cheek parody of the earlier writers. It just wasn't possible to take childhood that seriously anymore.Writers for children have of course continued to produce masterpieces, largely in the fantasy area, but that particular brand of unself-conscious Victorian nonsense and idyllicism may be lost forever. The Victorians are not as strange to us as we may like to believe, but they are certainly unreproducable.Recommendation: Interesting, well-written, well-paced. Not the most complete biographical sketches but a complete analysis of biography and art. Give it a try.
As a self-proclaimed James Barrie freak, I've read numerous books and newspaper-magazine articles about him. The Barrie chapter in Inventing Wonderland is definetly one of the most informative, but it loses a few points in the entertainment department. I read the Carroll, Barrie, and Milne chapters and thought that Jackie Wullschlager tends to examine her subjects a little too closely. At times, her meaning becomes lost in a pile of pop psychobabble, but the overall impressions were very clear (especially Carroll's disturbing fixation with little girls). Especially touching were A.A. Milne's bittersweet descriptions of pride in his adult son Christopher Robin, but at the same time longing to play with his little boy just once more. Such nostalgic, personal pieces make the book is beautiful, but it would be about a hundred times more beautiful if the author had kept the stories a little simpler.
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