On a disgusting thing i saw in the evening standard this evening

I will not reprint the image. The buck stops here. We all have the responsibilty, as image-makers, to decide how to use our influence, knowing the impact design, and 'art' has on the mind. And it is not only an objective, critic's mind we speak to. It is everybody, and we mustn't neglect to think what impact our work will have on society or on the minds of future generations. This is the issue I raised with The Evening Standard concerning a piece of 'art' by Derrick Santini, and I have just emailed them my complaint. I'll be interested to see whether or not they print it on Monday, but at least I can reprint it here. If they don't, I wouldn't be surprised, but it will be very telling...

To the Editor of the Evening Standard,

I am writing to say how disappointed and disgusted I was to see that you had made the decision to reprint the particle piece in question. It is reprehensible that such a thing could be made and called 'artwork' and the stance taken by the Evening Standard that the image is fine and the policeman in question is prudish is equally disturbing. Frankly, it's good to know there is still a semblance of morality in the police force. The 'fact' that nobody else complained, or that it has been done before, is not proof he was prudish, nor is it an excuse to jump on that bandwagon, it is simply proof that more people are mentally and morally sick, or at least disinterested.

     To brand the policeman 'not a classicist' is a) irrelevant and b) slightly classist. I have studied Classics, specialising in Greek civilisation and literature, and yes we know they had many salacious religious ideas that have inspired many an artist. To be true, you could have mentioned it is not an actual swan in the myth, it is Zeus, and he raped Leda. This 'artwork' however is painting the picture that the woman is compliant, and that it is acceptable to both parties, therefore making light of real issues surrounding animal abuse and sexual perversion.

     The impact of the original myth is hugely different to the interpretation made by this 'artist'. The impact of photography is greater than that of the written word, or of painting, which lessens the impact of the myth's most offensive characteristic. Photography, especially its links with pornography is pscychologically proven to create a deeper impact on our minds.

      The issue of whether or not it should have been made is one I'd like to take up with the 'artist'. But you had a decision to print or not to print, which is the issue I am raising.    

    Given that yours is a free newspaper, possibly being seen by the many schoolchildren who use the tube, you really should consider what you print, and not print anything that grooms minds to accept perverse things such as bestiality, which is in fact animal abuse, and illegal.  It's a question of responsibility, and the issue of the effect of pornography on the mind, especially children's minds, is currently in the media's eye.

      Perhaps if it was another case of perversion and abuse, say, child abuse, the Evening Standard would not feel so at ease to condone it and desensitize all of London, telling them that it is acceptable under the name 'art' or any other disguise.

Kemi Athene Pennicott, Art Student, University of the Arts London

    

bibliography

Bibliography

Books

Beddor, F. 2004, The Looking Glass Wars, London, Egmont

Black, J. 2010, The Secret History of the World, London, Quercus

Carroll, L. 2010, Alice in Wonderland, London, White's Books

Gardner, M, 2001, The Annotated Alice, London, Penguin

Lochhead, M. 1977, The Renaiissance of Wonder in Children's Literature, Edinburgh, Canongate

Marshall, G. 2002, Victorian Fiction, gail Marshall, 2002, London, Arnold

Pearson, L; Hunt, P. 2011 Children's Literature, London, York Press

Phillips, R. 1972, Aspects of Alice: Lwis carroll's dreamchild as seen through the critics' looking-glasses 1865-1971, London, Victor Gollancz

Stoffel, S. 1998, The Art of Alice in Wonderland Smithmark

Woolf, J. 2010, The Mystery of Lewis Carroll- Understanding the Author of Alice in Wonderland, London, Haus

Websites:

Steve and Tim at Stellabooks.com, Illustrators of Alice (Internet) available at http://www.stellabooks.com/articles/alice_illustrators.php (1.04.12)

Gopnik, A. at Newscientist.com, Life-Changing Books: Alice in Wonderland (Internet) available at http://www.newscientist.com/article/dn13704-lifechanging-books-alice-in-wonderland.html (9.04.12)

Whitaker, A. at http://www.ancient-wisdom.co.uk, Eleusian Mysteries (Internet) available at http://www.ancient-wisdom.co.uk/eleusianmysteries.htm (20.04.12)

Walker, E. at Alice-in-wonderland.net, Science Fiction and Fantasy Books by Lewis Carroll (Internet) available at http://www.alice-in-wonderland.net/school/alice1020.html (9.04.12)

Maata, J. at Alice-in-wonderland.net, An Analysis of Alice's Adventures in Wonderland, (Internet) available at http://www.alice-in-wonderland.net/explain/alice841.html (9.04.12)

McMOrrow-Hernandez, J. at voices.yahoo.com, Alice in Wonderland as a Social Satire (Internet) available at http://voices.yahoo.com/Alice-wonderland-as-social-satire-462941.html (9.04.12)

Ferrari, L. at Lookingglasswars.com (Internet) available at http://www.lookingglasswars.com/home.html (25.04.12)

Primary research:

Richards, M. Lewis Carroll Society, Appendix Two

Shayne and Steve, British Tea Lovers Society, Appendix Two

Dr Leo de Freitas, Appendix Two

Pennicott, K, Appendices One-Four

Appendices:

Appendix One: Library Observations 04.04.12

Appendix Two: Interviews and Questionnaires 04.12

Appendix Three: Images 04.12

Appendix Four: My Reactions 09-25.04.12

Images:

Burton, T in Alice in Wonderland, Disney, 2010, available at http://alice2010.blogspot.co.uk/2009/11/final-piece-of-tim-burtons-alice-2010.html

Chiang, D. in The Looking Glass Wars by Frank Beddor, 2004 available at http://uk.movies.ign.com/articles/606/606675p1.html

McKowen, S. in Alice in Wonderland by Lewis Carroll, 2005 available at http://alicesillustratedadventures.blogspot.co.uk/

Oxenbury, H. (1) in Alice's Adventures in Wonderland, 1999 available at http://www.stellabooks.com/articles/alice_illustrators.php

Oxenbury, H. (2) in Alice's Adventures in Wonderland, 1999 available at http://childillustration.blogspot.co.uk/2009/05/helen-oxenbury-alice.html

Svankmajer, J.(1) in Alice, 1988, available at

http://somoslospelos.blogspot.co.uk/2009/04/alice-in-wonderland.html

Svankmajer, J. (2) in Alice, 1988, available at

http://www.highdefdigest.com/blog/vault-alice/

Tenniel, J in Alice's Adventures in Wonderland by Lewis Carroll, 1865 available at http://www.alice-in-wonderland.net/alice2a.html

Media:

Svankmajer, J. 1988 Alice

Disney, 1951 Alice in Wonderland

Burton, T 2010 Alice in Wonderland, Disney

My New Essay

Here it is at last! I've posted this backwards- a great stretch for my poor, overtaxed brain- so that you can read it in order. If you exist. Will publish bibliography next.

Introduction

Alice in Wonderland: Beyond the Obsession

Possibly the most famous little girl of all time, Alice in Wonderland by Lewis Carroll has inspired generations of writers, film-makers and artists whilst provoking intense analysis and literary criticism. Hundreds of illustrators have lent their talents to adding new, unique and personal aspects of Alice to the original story.

The obsession does not end with illustration. Film-makers have been as recently as 2010 felt the need to recreate Alice, and with great variety: from the colourful, cult 1951 Disney film to the shadier, more disturbing version by Czechoslovakian film-maker Jan Svankmajer.

But why the fascination? What is it about Alice in Wonderland that still captivates people so much, more so than other childrens' literature? In the beginning of my investigation, it seemed clear without a shadow of a doubt that it was fame that had brought about more fame, as was the case with the Mona Lisa for example, a typical case of attention fuelling greater attention fuelling blind obsession. Especially amongst non-creatives is there an atmosphere of veneration as concerns Alice in Wonderland, almost as if those books have become the stock images for 'creativity', 'free-thinking' and 'originality'. Ironically, that may once have been true, but after so many retellings and new versions, the story just sounds humdrum. Most people could probably recite from Alice without ever having read the book or seen the film, such is the magnitude of the books on our culture. So the veneration of her as some symbol of creativity, freedom and imagination seems all the more absurd.

Perhaps the fascination with Alice just comes from her being a happy memory from many childhoods, and the adult possessors of those memories never wish to forget the experience of childhood as a whole, rather than it being just about Alice. The non-creative lives of many people must surely leave a void they may or may not be aware of, aching to be filled by something creative, and since they have not been allowed to be creative properly since roughly the age of ten they fall back on what they know to be wholly so: Alice in Wonderland. As with many things that enter and stick to the public consciousness in the relatively modern age, it must be a deeper question of the hidden thirst for spirituality many have; in children the link between spirituality and imagination is greatest, as they grow, this natural, imaginative world of wonder is blocked out by authoritative, 'rational' thinking

There are many theories, and there have been enough attempts to explain Alice in Wonderland to fill a library. This essay will centre on audience response, rather than other themes such as the impact of illustration or a detailed profile of the author in explaining why Alice is still so popular. It is rather a dense subject, but it can definitely be said that the main attraction of Alice is not so much to do with childlike love of a good book than the intelligent, subconscious search for meaning in life as well as familiar nonsense.

Primary Research

Primary Research Document

Is the obsession with Alice in Wonderland genuinely childlike; are children really enthralled by Alice or is the obsession one belonging to adults who read more into the story? When given various copies of the book, two by modern illustrators with very different styles, and the other by Tenniel in a local library environment, children responded mostly by ignoring the book, A few times it was picked up, flicked through and replaced, but it was never taken out. The illustrators had great impact on the reception of the book amongst children; the Helen Oxenbury copy, with its quite large, modern, and childlike watercolours, was most frequently picked up and put down, whereas most preferred the Scott McKowen version, which had fewer illustrations that were more in keeping with the original illustrations by Tenniel. Interestingly, the Tenniel edition was not moved. It seems that publication, not just illustration can be an incentive to choose a book. The quite wordy, small-printed Penguin book just did not attract eyes as much as the more colourful editions.

The most interest shown in the book in general was by a parent, whose child ran away disinterested after being shown the book. Brief interviews with parents confirmed that the obsession with Alice was more to do with parents than children, with parents believing that the pictures make a great difference in whether their child would read it or not. (Appendix One, p.2)

The disinterest in Alice from children can probably be attributed to two factors: Alice's place in history and the fame of the books. Alice in Wonderland marked a watershed moment for children's literature in that from then on fantasy was to play a large role. Today, practically all successful children's books are fantastical. (Pearson, 2010) This depletes the impact of the first fantasy story greatly, and also proves its worth. (Appendix One, p.2)

It does not help that Alice has entered society's memory so successfully that one knows the story without ever reading the book or even seeing the film. This knowledge of the story was alluded to by one librarian also. (Appendix One, p.2)

The library observation results were in keeping with a point made by Alice scholar Leo de Freitas and an online article which pointed out that adults see things in the story that children do not; it is these things that prompt the fascination on a deeper level. (Appendix Two, p.5) When asked their opinion on why Alice is so beloved, both Leo de Freitas and the Lewis Carroll society pointed to the most obvious reasons being the most true: it is a very enjoyable book. This alone would not explain the predilection for Alice over other books, however, as many books are funny and enjoyable without being so fussed over. De Freitas expounds the point by explaining that it was the first of its kind; the first fantasy and the first to treat plot in such a way. It is certainly true that firsts of anything are never forgotten.

To understand, though, why it was such a breakthrough depends on knowledge of what existed before, namely, conventional Victorian children's literature which had a strong moral or religious emphasis. This was even found in fairy tales. (Pearson, L. 2010) Alice was truly the first fantasy without any obvious deep meaning. (Woolf, J. 2010)This does begin to explain the extensive fascination with Alice. The fantasy element was attractively escapist, especially to Victorians, whose intense social customs concerning life and education are parodied in Alice, such as the repetition of poems that become twisted in Alice's mind, thus proving the futility of the effort required to memorise them. (Pearson, L. 2011)

Some would argue it was not such a fantasy and largely a parody of social times and religious issues, such as the Oxford Movement (Leslie, S, 1933 in Phillips, R. 1972) In terms of audience response, this vein of thought seems irrelevant, as primary research clearly shows the reason many are so enthralled with Alice is because they find the story fascinating, funny or original in some way (Appendices One and Two) and this idea of the story being a construct of religious politics is far too specific to the 19^th century as to have such lasting appeal.

It is clear from primary research that the reason Alice is so beloved today is clearly to do with the attitudes and recollections of adults rather than children, which hints at a deeper meaning in that adults see, or indeed are looking for in the otherwise nonsensical story.

Critical Analysis

Jonathan Black's theory of a deeper, spiritual meaning in the books rings interestingly true. Regarding ancient religious mystery schools he writes:

'candidates... were made to fall down a well, undergo trial by water, squeeze through a very small door and hold logic-chopping discussions with anthropomorphic animals.' It reads almost exactly like the beginning of Alice's Adventures. (J. Black, 2010, p.19)

The notion of a spiritual element in the books is not unbelievable. England was in a period of social and religious reassessment and Carroll could not have avoided that, being a reverend in Oxford. (S. Leslie, 1933 in Phillips, 1972) Darwin's 'Origin of the Species' in 1859 had exacerbated the uncertainty. (J. Woolf, 2010) Yet there is no obvious religious emphasis in the reverend's books.'Perhaps Wonderland's freedom from all hint of religion, and the relief it must have afforded Carroll to write it, is part of the reason why Alice's adventures are so oddly compelling' writes Woolf. (J. Woolf, 2011, p.193)

Since we live in even more spirituality bereft times, (Appendix Two, p.4) that may be one reason for the book's attractiveness. But does this truly explain the obsession? Perhaps not. There are other explanations, such as the Freudian argument that the book is a metaphor for emerging sexuality, or the Jungian of emerging femininity (A. Goldschmidt, 1933; J. Bloomingdale, 1971, both in Phillips, 1972) However, these psychological evaluations are too specific to Carroll and would mean the obsession would depend on his readers having the same resonating issues, which is unlikely, proving the psychoanalysis irrelevant.

Black's interpretation is more believable, but does not explain how this hidden meaning attracts people, Surely it too is too specific to people in the know, and thus cannot explain the timeless obsession in ordinary society. However, others have agreed with his evaluation. Rackin eloquently argues that Wonderland represents the 'chaotic land beneath... Western thought and convention' (D. Rackin, 1966 in Phillips, 1972 p.392), and that Alice's quest through it represents mankind's search for meaningful answers to deep spiritual questions. The book progresses through the destruction of societal conventions, time and space as Alice strives to find her spiritual goal: the Queen's beautiful garden. (D. Rackin, 1966 in Phillips, 1972) As ruler, the Queen, representing established religious sources, should have the desired answers. But before finding the garden, Alice must face a number of characters and situations which force her to abandon all she thought she knew, and think the opposite. This method is the same one employed by religious mystery schools. (J.Black, 2010) By the time she finds the garden, she finds the rulers disappointing: they are overly judgemental, weak and illogical. “You're nothing but a pack of cards!” exclaims Alice (Carroll, 2010 p.88), realising they are just part of the game of life, not especially knowledgeable.

Pearson believes the authority figure represents not organised religion but adults. Using a discussion about the Mad Hatter's Watch she shows how children find the adult logic forced upon them nonsensical, not worth listening too.(Pearson, 2011)

Both interpretations may be correct.. The empowerment of the child to think for herself and make her own way in life is surely appealing to children. As alluded to in the primary research document, modern children have mastered this power of thought, a proof of the success of Alice's impact. (Appendix One, p.2) This fantastical freedom has grown and is now the model for free thought and childrens' writing. As the first forerunner to this trend, Alice cannot be forgotten.

In adults, this becomes the freedom to think and live independently of an authoritative voice such as organised religion. This independent, humanist attitude is prevalent in today's society.

Alice in Wonderland is written like a card game, (Appendix Two p.3) which makes the movements of the characters quite fluid and free, unconstrained by a thought-out, fateful plot- an apt metaphor of life, to some. Interestingly, Through the Looking-Glass mirrors a game of chess, feeling slightly robotic and contrived, as cards rely on chance and are more understood than chess, which relies on forethought. (Appendix Two p.3)

In conclusion, the reason so many gravitate towards Alice in Wonderland is because it birthed a new, favourable and universal way of thinking, free of traditionally held religion or authority. On the other side of that coin, Alice is not devoid of spirituality, the heroine's search for meaning and enlightenment speaks to readers and draws them too to 'join the dance'. (Carroll, 2010, p.70) Just as an unsolvable puzzle continues to enthrall, Wonderland wouldn't be Wonderland if we knew everything about it. It is that mystery and its subsequent search for the answer, that keeps Alice fascinating and always will do.

Appendix One

APPENDIX ONE

THE LIBRARY OBSERVATIONS

I was interested in finding out whether the obsession with Alice was genuinely childlike; are children really enthralled by Alice or do adults just imagine they are as an excuse to be so themselves? As an observation I went to the local library to watch reactions of children and their parents when I purposely put various copies of Alice in Wonderland out in prominent view. One copy was illustrated by Scott McKowen, another by Helen Oxenbury, and a third by John Tenniel. The Scott McKowen version had what looked like woodcuts but may well have been computerised versions of such, and the Helen Oxenbury version was her usual style of quite sweet, colourful watercolours, and quite modern. I placed them in the junior library at eye level for a child. The results were quite interesting.

Firstly, I was very surprised by how empty the junior library was. I was there most of the day but there were never ten people in the room, on average four at once. Nobody took out the Alice books, although a few looked at them. The most interest was shown by girls, who would flick through the books but usually replace them. A few times the books were put back properly, so that just the spines were showing, which I had to fix afterwards. One girl removed the Scott McKowen version and sat down to flick through it, seemingly just to look at the illustrations, and then put it back after about ten minutes. She was about ten, and her face didn't look too excited. It seemed as if she knew the story well anyway, which was probably the case.

The most interest the Helen Oxenbury version had was from a mother of a very small girl, who picked it up, looked through it and tried to make her child read it but the child just ignored it and ran away again.

DETAILED NOTES

STAGE ONE

12:00 pm

Left three different copies of Alice out in the junior section of Hornsey Library. Library virtually empty except for a father reading to hos two very small daughters.

12:35

Small girl, about 7, picks up Oxenbury book, flicks through and puts it down again

13:20

Little boy (roughly 10) picks it up to move it aside. (I later replaced it.)

13:34

Girl (roughly 10) takes Scott McKowen version, sits on window ledge and flicks through it. Doesn't read, but seems to like the illustrations. She put it back after about ten minutes.

13:42

Three girls looking round, all roughly 12 years old. One picks up Oxenbury version, comments on nice illustrations to her friend, who looks at it and shrugs noncommittally. First puts it back. They later took out a book by Hilary McKay.

13:56

Mother of very small girl (about 3) picks up Helen Oxenbury book. Flicks through and calls her child- 'Look, Alice in Wonderland, you like Alice, don't you?' Child arrives, says yes, looks through disinterested, drops it and runs off. Mother picks up, flicks through and puts it back properly, with just its spine showing. (I put it back the way I had it afterward.)

14:45

A father looks through Oxenbury version and puts it back, properly again.

STAGE TWO

14:50

Found same father. Asked him which did he prefer? He said the McKowen version, as it was more in keeping with the original Tenniel version, which he hadn't seen in the library. Still McKowen version not enough pictures. Didn't feel 'wondrous'.

Oxenbury: Felt it would be more appealing to children, but he disliked the pictures: Alice looks younger, has a short jumper-skirt, looks more slovenly than Tenniel's Alice. In a couple pictures her skirt is up and knickers exposed. Did he feel this was inappropriate? 'Maybe not in this context but maybe....' He still felt the skirt should be as normal, as in the traditional version.

15:20

Tracked down a mother. Asked her the same. She preferred Oxenbury version as it was more lively and would appeal more to her daughter. Has more in common with modern little girls and is happier, easier to relate to.

Asked: would her son like it?

'No, he thinks Alice in Wonderland is too girly, won't watch film.' (her son was about 7, her daughter about 4)

15:35

Asked librarian if many people withdrew Alice in Wonderland. He said occasionally, but not often. Reckons everyone knows story/ already has it/ has the film at home. Sees that parents are more interested in the book.

15:40

Still no action- nobody withdrawing any version. I leave library.

This research led me to believe part of the fascination with Alice is in the memory of adults, and it isn't that interesting to average children today. The reasons for this are many. Probably they most know the story, which was alluded to again when I asked the librarian if many people withdrew Alice anymore, or perhaps they identified with the film more, as a be-all and end-all of the Alice visual world. The fading interest in Alice by children can be said to be less to do with the actual ageing of the Alice stories, and more to do with their actual success. Alice was like a freedom fighter for childrens' minds, freeing them to think for themselves and imagine new worlds of fantasy. This also freed childrens' writers, who could also flex their imaginative muscles anew. Practically all successful childrens' books are fantastical nowadays; this wouldn't have been possible had it not been for Alice ushering this new age of thought. (Pearson, 2011) As a result, Alice's original Adventures do seem a little quaint and restrained now, compared with modern works of fantasy which have a lot more action, but she cannot be forgotten, as she was the first. Children's' fading interest in her is in fact proof of her success. And more authors have been inspired to follow up on Alice, making her more exciting to modern children, such as the brilliant trilogy by Frank Beddor, The Looking Glass Wars. (Appendix 4 p.3)

Perhaps, also, childrens' senses are so overstimulated by excessive colour, noise and drama in their entertainment that they fail to be amused by the original Alice, which is certainly more subtle and toned down than modern childrens' literature or entertainment. But that would be a whole different topic.