mind over hatter essay
DESCRIPTION
my dissertationTRANSCRIPT
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MIND OVER HATTER:
Alice and insanity
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SECTION 1: historical context
Throughout the years, Lewis Carrolls Alice in Wonderland has
been adapted in a wide range of media and styles, many of which
are grim. But it is not just that these adaptations are grim; it is also
that they are about the mind and its tenuous connection to reality.
In the original books, Alice falls asleep and is sent into fantastical
lands where nothing makes sense. In the first book, she is a young
girl who inadvertently says the wrong things at the wrong times,
while the creatures of Wonderland refuse to help her. In the second
she is only a little older but still wiser, and also still lost in a land of
nonsense. Originally, I was hoping to analyse different adaptations
and compare Alice to another childrens story, but this proved too
big for the scale of this essay, given the large number of childrens
stories that had been adapted and each with their own trends.
Even if I had originally isolated it to just Alice in Wonderland and
The Wizard of Oz (as I had planned) it would have taken the Alice
adaptations far more than just 7,000 words to cover. So I decided
to look at trends, and in particular to focus on Alice and madness.
In both of the original books, Alice constantly wonders about her
sanity, and other characters even stipulate that such a thing is to
be worried about. So it is understandable that it would end up being
at least a part of the adaptations.
For us to move forward in our quest to understand why the
trends have occurred the way they have, we must ask the most
pressing questions, which might be as follows: is the reason Alice
lends itself to darker adaptations due to the tarnished reputation
of Dodgson, which I will discuss below, and how does this connect
to insanity? After all not all macabre stories are about madness,
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through most stories about madness are macabre. Is it due to the
text itself being both nonsensical and frustrating, at least for
Alice? Or is it that one dark adaptation paved the way for a trend
in adaptions of Alice?
To understand Alice in its adaptations, we must also
understand Alice in reference to culture and language. In an
article referring to multiple translations of Alice and what the
target audiences may be, Christiane Nord identifies three types of
audiences that she labels A1, A2, and A3. (Nord, 2003, pp. 182--
196) A1 is Dodgsons direct audience, such as the Liddells, whereas
A2 refers to those who understand English and the cultural
references within the book. Finally, A3 refers to those who the book
had to be translated for. For these audiences, this might include
some changes to the cultural references. In the Brazilian
adaptation, for example, there are the most discrepancies from the
original English book, as you can see in this quotation from Nords
article:
This is a very common problem in the translation of childrens
books, especially if there is a pedagogical message underlying the
plot. A story set in the receivers own cultural world allows for
identification, whereas a story set in a strange, possibly exotic world
may induce the reader to stay at a distance. This can be clearly
shown by an analysis of the Brazilian translation of Alice in
Wonderland, where all the culture markers, including the proper
names, are consistently adapted to the target culture (cf. Nord
1994).
I propose that there are a further two audiences, A4 and A5. A4
is the audience of adaptations that try to remain as true to the
book as possible whilst changing media such as films (like Alice in
Wonderland, 1999), cartoons (e.g. the famous Disney version), and
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musicals (there was even a West End production of a musical
pantomime called Wonderland). A5 is then the audience of
adaptations that merely take some of the core texts material and
then reform it into a new text, like American McGees Alice, or the
Syfy channels adaptation of Alice, and even in some ways the old
Disney version. These A5 texts will be my main focus.
Before we address A5 we must first understand what
A4 means. In the case of A4 we must look at the divergence between
one form and another. One important example of this is that a
novel can use description to set pace, but with imagery already laid
out in a film or comic, pacing must be found elsewhere. While all of
this is interesting to study, the reason I dont focus on it is because
that is more about the study of technique rather than content and
context, which has always fascinated me.
From this perspective, A5 not only takes from the original text
but also from other adaptions of the text in an almost generative
way. This is evident, for example, by the repeated use and omission
of certain characters. Take Tweedle Dee and Tweedle Dum, they
are often included in adaptations of Alice in Wonderland, though
they are from Through the Looking Glass instead. Whereas the
Mock Turtle and the Gryphons recitle of their childhood school life
are forgotten despite being in the first book. These common
changes will help me analyse and track the developments over
time in adaptations.
My argument will be that there is something inherent about
Alice that lends itself to these adaptations, and that the mystery
and rumour connected to Dodgson and Dodgsons connection to the
story allowed a more sinister take on his writings. To do this I will
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first look at Dodgsons past. Then I will dissect a number of modern
examples as a way to prove my point.
First let us look at the core text and only then can we consider
sample adaptations. The core text involves a young girl, first aged
7, then 7 , on two different adventures. At the time the work was
written, the world was a rather harsher place for children than it is
now. Not only were child labour laws only in development but even
the well-off children couldnt avoid things such as corporal
punishment (Humphries, 2010). Its not just a matter of physical
abuse but also an expectation that a child was to be trained, or
groomed even, for a future in their parents footsteps. Nowadays,
at least in western culture, this sort of behaviour is considered
abusive to varying degrees. Take, for example, this important
observation from Will Brooker;
Despite all the evidence that it would have been acceptable within the
cultural context of 1863, the inevitable paedophile sexuality suggested
by a marriage proposal to a child risks despoiling the contemporary
image of Carroll as odd but fundamentally harmless. (Brooker, 2004)
Dodgsons writings, which were used to highlight the absurdity of
adult common knowledge, make it clear that he too felt that some
of the ways children were treated was unjust(Warner, 2011).
The iconic Alice has been viewed from different perspectives
(Smithsonian magazine, 2013); a dark obsession of Dodgsons, a
surrealist vision, or perhaps a drug-fuelled dream. Some are
innocent, like the classic Disney version, while others are dark like
Alices Last Adventure, a short horror story written by Thomas
Ligotti. So another question might be why are the darker ones
better known? Why do we hold on to the twisted side of the story?
Now this is not always the case with adaptations of childrens
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stories, and its also true that there are many adaptations of Alice
that are sweet and naive, but that doesnt change the fact that
there is always a low level of discomfort for Alice in the original
books and in many of the adaptations. The examples are
numerous, but I will only point out a few, such as the 1999 TV film
Alice in Wonderland by Nick Willing which held true to both the
novels and kept the atmosphere as close to the original text as
possible, the romance manga Heart no Kuni no Alice where Alice is
trapped in a violent world in which every character pines for her,
the 2010 version by Tim Burton that focused on extravagant
visuals, and even the Disney version in some moments. In all of
these she is anxious and frustrated and confused all at the same
time and without relief. Dodgson himself, when helping with the
theatrical version, stated that part of the reason the book feels the
way it does is because it alludes to growing up, to becoming a
woman.
It is common knowledge that the relation between Alice and
Dodgson today would be under scrutiny. Though the story was
written by Dodgson, it could be interpreted as a child suffering
from something called maladaptive daydreaming. As Somer, one
of the foremost authors on the subject, defines it in his article,
... fantasizing as a means of coping with loneliness or isolation
and escaping from aversive environments. Such behaviour is
often the result of a traumatic event. During the time Dodgson was
writing the book, many of his actions were not considered
predatory, but there are some rather dark details in his past,
including missing pages from his diary torn out by family
members, testimony from an older sister, and of course the falling
out between Dodgson and the Liddells (Brooker, 2004).
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The question, then, is this: was and is the rumour enough to
create a mystique around the author? And does that mystique
account for the darkness and themes of insanity that are so
common in adaptations across various media? First we must
explore the life of Dodgson, starting with Dodgsons relations to the
Liddells. Dodgson became a lecturer at Christ Church, Oxford
University, where he ended up working for Dean Liddell. Dodgson
was known among the staff for having a childs heart and so was
often asked to tutor and take pictures of their children; this
extended to the Deans children as well.
Over time Dodgson bonded deeply with the Deans children
and even wrote a story for them, featuring Alice Liddell.
Unfortunately, before the story could be given to the children
(Alice especially), Dodgson and the Liddells fell out. Dodgson
worked hard and created both the story and the drawings so that
he could send the manuscript to Alice as an early Christmas
present (Talbot, 2007).
It is important to note that during the time of the falling out
Dodgson recorded the events in his diary. Unfortunately his family
removed and destroyed the pages after his death, so any
contemporaneous documentation is lost (Brooker, 2004). The
Liddells and Dodgson fell out in June 1863, which is where the
pages in Dodgson's diary, dates 2729 June 1863, go missing. The
pages were supposedly cut out by Charles Dodgson's niece, Violet
Dodgson.
One thing we do know was that Dodgson, unhappy with his
own drawings, contacted an illustrator named John Tenniel, with
whom he worked until they were both satisfied with the drawings.
Once this was complete Dodgson and Tenniel finally allowed the
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book to be published. It was a resounding success (Talbot, 2007).
This success is partially due to the fact that the novel itself was one
of the first childrens stories that didnt implicitly have a moral
behind it.
It is crucial to remember that Dodgson created it specifically
for a real person, Alice Liddell (you remember the A1 audience).
The story featured some of Liddells other children, but Alice was
the star. She had two older brothers, an older sister Lorina, and six
younger siblings. It was rumoured to have been crafted during a
boat ride (Brooker, 2004). The story was originally going to be
called Alices Adventures Underground.
After researching Dodgsons history and personal life,
through books and articles, I discovered that the rumours about
him were numerous. He was said to like children, and in some
cases he was portrayed as a virtuous paedophile who struggled
against his urges. In other cases, he was alleged to use children to
sleep with housewives (Talbot, 2007). In this way he was
portrayed, by some historians and academics, as a lecherous man
who seduced bored housewives and staff by befriending their
children. This fits in line with the theory that he was supposed to
have had an affair with the Liddell mother, and it went sour,
leading to the falling out (Talbot, 2007). Of course, the whispers
werent only around the mother; there was the theory that he had
asked the Liddells for Alices hand when she became of age (which
was generally between 18-23yrs) and was declined. Less
commonly reported, some say he courted the eldest of the Liddell
daughters in secret.
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So why are the piece and the author so connected? Is it the
effort Dodgsons university went through to claim him (like the
fact that theres even a room named after him in the university)
and thus the book? Over time Oxford Christ Church, where
Dodgson taught, worked hard to own and brand the author. The
university portrayed him as a recluse only home within the walls
of the university. Dodgson was not a public speaker and he
supposedly stuttered during his lectures. The students even
complained about it (Talbot, 2007).
Maybe the reason sexuality was connected to Dodgsons work
was because he was connected to many rumours around sex and
sexuality. Some of the best examples are ones I have already
mentioned like the mysterious missing pages and the rumoured
paedophilia... these could definitely make connecting dark
sexuality to his work easier.
Also, the piece of literature itself was about growing up--
Dodgson said so himself. A natural part of that includes sexuality
so other authors may have felt it natural to include. We need only
look at American McGees Alice, or Grimms Alice in Wonderland
(which I will discuss below). Not only that, but psychoanalysts
loved picking apart Dodgsons work, and the pieces they wrote
inevitably included sexuality. These are some of the many reasons
that may have led to pornographic, and even paedophilic,
adaptations.
That the books highlight altered perception might go some way
to explaining why Alices story is so frequently intertwined with
insanity. Just take the Cheshire cats famous phrase were all
slightly mad here as an example. This phrase not only
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summarizes the emotion of the books, but it also ends up becoming
an iconic quote for all sorts of artwork and writings after, many of
which are dark. Furthermore, it is believed Dodgson may have
suffered migraines himself, which can have micro- and macropsia
as a symptom, which might explain how they entered into the now
famous story (Todd, 1955). Micropasia is the sensation that one is
shrinking, the sufferers perception makes the environment
appear larger and also makes it difficult for the person to regain
any sense of orientation. The inverse is true of macropasia with it
being the sensation of ones environment shrinking, or the sufferer
growing.
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SECTION 2: modern adaptations
Maladaptive daydreaming might also account for such
experiences, and so could schizophrenia (American McGee's Alice,
2000). Interestingly,
that is what Alice from
the American McGee
video game franchise is
suggested to have. As the
second game progresses
you end up finding more
and more paedophilic references: including fighting doll faced goo
creatures that cry, walking through the crotch of a giant naked doll
(see image above), even an entire level devoted to helping children
escape the doll house. The games take place inside Alices mind
during psychotic episodes. In the first game Alice is recovering
from the trauma of listening to her parents burn alive during a
house fire, in Rutledge Asylum. Not only do you get to play through
her mind, but the original also came with the doctors notes on
Alices progress in the outside world. One example of this is when
the doctor discovers that two of the orderlies were harassing her,
resulting in her stabbing them with a spoon. This coincides with a
boss battle you have with Tweedle Dee and Tweedle Dum. By the
second game, Alice has managed to live out in the real world and is
currently being treated as an outpatient by a hypnotist. As the
game progresses she begins to have more and more psychotic
episodes that you play through. Eventually, a new hidden trauma
connected to the first game is revealed (Alice: Madness Returns,
2011). It is revealed that the reason for the house fire was that the
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hypnotist, who knew her parents had raped her younger sister...
and then to cover up the evidence he burned down the house
killing everyone but her. In the last level before you have the final
conflict you see the puppeteer in his room surrounded by broken
dolls which represent the children he ruined. During the launch
of this game, an e-book was released for iPhone and iPad users that
contained newspaper clippings and police reports, set in the game
world, about the original trauma.
Even in TV versions, Alice is represented as unstable. In the
show Warehouse 13, there is the captured
essence of an insane Alice Liddell in a
mirror. In this episode Alice in
Wonderland and Through the Looking-
glass were actually chronicles of Alices
decent into madness (Warehouse 13
'Duped', 2009). Several times throughout
the series Alice escapes from the mirror
she is trapped in by possessing someone who looks at their
reflection in the mirror and causes havoc. In one such rampage she
even manages to commit several murders before they eventually
catch her again. As you can see in the image above, Alice is in the
body of the female lead seducing someone. Alice is also highly
sexualized in this adaptation. She is, however, not as highly
sexualised in this one as in some other versions.
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One such highly sexualized version
is the comic book series Grimms Fairy
Tale Wonderland, in which Alice is
depicted as a pinup up girl, complete
with underskirt shots and that look of
wide-eyed shock (see left). In this
version, Alices mind splits off into
another dimension, where she gets
trapped. Eventually her daughter ends
up trapped there as well, but
successfully escapes, unlike Alice, who
commits suicide (Gregory and Gill et al., n.d.). Alices daughter
then must rescue her child by returning to Wonderland (Gregory
and Wickline et al., 2011). This all started at a house, which has
some side stories about other tenants who eventually turn out to be
characters in Wonderland
(Gregory, 2010). In this
world, everything tries to
kill or hurt other denizens,
despite the fact that death is
almost impossible in this
realm. This place is somehow
connected to Lovecraft and
that type of sanity-peeling
ideology. For those who
dont know who H.P.
Lovecraft is, allow me to give a brief introduction: He was a horror
writer during the 1920s that wrote stories that centred around
creatures so powerful and alien they could destroy your mind with
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their mere presence. It is probably also useful to note that these
creatures were often described as having long reaching tendrils
(like the image on the previous page).
In truth, however, madness appears in
all sorts of childrens culture. One obvious
example is Batman. In the Batman
universe, Batman has to fight a whole range
of villains, a number of who are inspired by
Alice in Wonderland characters. The Mad
Hatter uses a
mixture of drugs and electronics to
brainwash people (Loeb and Sale et al.,
1996). Batwomans sister, who is
known as Alice, is associated with both
the original books by Dodgson and some
sort of occult group (Rucka and
Williams et al., 2010). There are a few
other Alice-based villains such as:
Tweedle Dee, Tweedle Dum, the
Carpenter, the Walrus, and March Harriet. These villains often
grouped together, led by the Mad Hatter. They were called the
wonderland gang.
In 2009, the Syfy
channel aired a miniseries
called Alice. It was set in the
present. Instead of
Wonderland being a
whimsical place, it was full of
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corruption and greed. In it, Alice is a full grown woman who ends
up falling into Wonderland through an open portal between the two
worlds, concealed as a mirror. There, people from our world are
called oysters, in reference to the Walrus and the Carpenter poem
from the second book, and end up using casinos (see above) where
floors harvest emotions. The emotions are harvested by two
scientist who are known as, surprise, the Walrus and the
Carpenter. These emotions then get turn them into teas to be sold
to the denizens of Wonderland. Its treated like a high end drug
(Alice, 2009). One of the most famous sellers of this tea is the Mad
Hatter. Despite the fact that the world seems to be falling apart, or
perhaps because of it, the entire economy seems to run on these
teas.
Of course, Alice has been used in reference to drug culture and
hallucinogenics for a long time. There is even a book, called Go Ask
Alice, centring on an addict named Alice with allusions to the book.
Alice is also a slang term for LSD. Alice also suffered from
micropsia (the sensation of shrinking) and macropsia (the
sensation of growing) (Todd, 1955). This is sometimes known as
Alice-in-Wonderland syndrome. Now, this might have been due to
Dodgson suffering chronic migraines, which sometimes have
micropasia or macropasia as symptoms. Another theory is that he
had tried fly agaric, which is a red mushroom with white dots (like
the one Alice eats).
Of course perhaps this is all connected to the 1960s and 70s,
when Alice was connected to psychoactive drugs such as LSD. In
fact there was even a rather famous song by Jefferson Airplane
called White Rabbit, which contained many allusions to drug use
such as the famous line, One pill makes you larger and one pill
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makes you small or this quote from the
song, Remember what the dormouse said;
Feed your head, Feed your head. Feed
your head was a slang term for taking
drugs around this time. The song was
released in 1967, and around that time
LSD started to get called Alice. The song
mentions many of the characters from both
the books including the white rabbit, the
caterpillar, the red queen, the dormouse,
chess pieces, the white knight, and, of course, Alice herself. The
album was called Surrealistic Pillow. After all, many artists, like
Jefferson Airplane, were using hallucinatory drugs and were
interested in surrealism and the mind.
Surrealists, just like drug users, jumped at Alice and her
dreamscape (Hubert, 1988). Dali created an image set based on
her, but he was not the only one. Surrealists were known for using
hypnosis and hallucinogens to access deeper parts of the mind, to
enter into dream-like states. Alice would make sense for surrealists
to take an interest in; after all what better inspiration than a young
girl taking a trip into her own mind, a
nonsensical story that utilizes only dream
logic.
In fact in 1969, Salvador Dali drew a
number of illustrations based on Alice. The
illustrations are rather gritty and
unsettling, with running paint, clashing
colours, and scratchy drawings (Dali,
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1969). One even features the queen
and jack (or knave) of hearts, facing
each other with large silhouettes
standing ominously behind them.
Other pieces include the mock turtle,
Alice, and the caterpillar. The
drawings depict both well-known
events, such as the mad tea party,
and lesser known ones, such as
the lobster quadrille.
Now I come to my final
example, with Ralph
Steadmans art of Alice in
Wonderland. Steadman is
known for political satire
drawings but also separately for
his style. Steadmans style is
considered unsettling. Just look
at his version of the White
Rabbit with its asymmetrical
face, rough inky style, and
grotesque characterization of its
body shape, all of which
contribute to a kind of eerie and intimidating style. In the case of
Alice in Wonderland might be appropriate because that is part of
the atmosphere of the story itself. These drawing were done during
the early 1970s, which was a time that gave Alice much attention,
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as you can tell from earlier.
Staedman also illustrated images
for Through the Lookingglass in
the images for that he takes the
chessboard theme and uses it to
apply a stark contrasting piece of
order within the image itself which
in some ways higlights the chaotic
nature even more. With one
final example, the image of
Alice crying a river of tears, we
can see that Steadmans style
matches perfectly with the
other adaptions Ive used. Take
the image above Steadmans
drawn the tears using dark ink,
in Alice: Madness Returns
many of the enemies are seen to be crying a sort of thick black ink
or goo. The White Rabbit in both the Alice games has a similar
asymmetry as Steadmans White Rabbit. Not just in The games in
the DC comics front page covers for the joker or other insane
characters are often done in a similarly inky and sketchy style.
In fact many artists use a similar style to Steadmans to evoke a
sense of chaos or madness in their subject.
It is important to note that, unlike most of the other
adaptations I have covered which fall under A5, both Dali and
Steadman probably fall under the A4 categorization. If you recall
the A4 category was works that changed the storys medium but
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stayed true the narrative, whereas A5 drew from the original text
as a way to create a new narrative. It is, hpwever, important to
note they are reinterpreting already drawn images... which in
some way falls more under the A5 category. These two artists may
fall under the first category simply because they do not attempt to
rewrite any aspect of the story. Though this does lead to the
question... does reinterpreting the imagery itself have the
possibility to become A5? To this I have no clear answer but since
the artists arent actually altering the narrative I feel that they fall
under the A4 category.
Another question to ask may be what makes A5 versions of the
stories popular? Now I know Im addressing Alice but this is not
the only piece that has this happen. In fact recently there has been
a trend in doing retellings. There is even a TV show called Once
upon a time, which incidentally has a spin off centring around Alice
in Wonderland, that readapts every old fairy-tale and sets them in
one universe. This isnt the only one: the TV shows Grimm and
Supernatural do it as well, and Im sure there are more I cant
think of.
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Section 3: conclusion
In this essay a number of different issues have been
addressed: the historical context and its relations to the story,
psychological and medical connections to the piece, a brief analysis
of audiences, and of course modern adaptations that utilize all
sorts of external context, which in this case is the rumours and
supposition surrounding Dodgsons life, to drive the internal
context, that is the story. This leads me to my conclusion, which in
the case of Alice in Wonderland is that the external and the
internal have become interconnected. The external context
becomes its own part of the story, as the rumours grow beyond
separable fact and fiction.
The connection between the author and the content is one
discussed over and over again. There is an idea that once a body of
work is produced it is a separate entity from its author. However,
we as a modern audience rely on external context to influence
what we consume. Just look at things like celebrity gossip,
consumer politics, and memes.
With things like that the author influences the audiences
engagement. People buy, like, and engage more or less depending
how much they like the external context. A company scandal can
hurt sales, or a celebrity faux pas can destroy a career. This kind of
investment may have always occurred throughout history but with
the digital age it certainly has become a larger part of the
audiences interest, perhaps because of the increased efficiency
with which information is disseminated.
This investment in the external context has gradually made
Dodgson a harder and harder author to separate from his works.
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So of course with the unsavoury elements around his life, new
authors latched on to that and used it to influence their
adaptations.
Perhaps another reason the adaptations became so dark is
that modern audiences have a tougher stomach for darker stories.
We as humans have always had an investment in the unsavoury,
from old horror stories to deadly entertainments such as jousting,
hangings, duels, Coliseum battles, and so on and so on. Then, as
time went on we began to dissect and separate what was
appropriate for certain ages. This came with the invention of
childhood (Humphries, 2010), which came with the introduction of
child labour laws. This separation came to protect innocence in
children so stories were written with far less violence or threat.
Over time even stories that were once dark became tamed; just
look at the Disney versions of many Brothers Grimms fairy-tales,
which many of you may know were not nearly as kind in the
original tellings.
Of course this kind of saccharine doctrine can lead to a
backlash, a sort of reclamation. In the case of Alice in Wonderland
authors and artists used the dark external context to create
something sinister and add an extra layer of unpleasantness.
Perhaps our technological development is partially to blame for
our dark thirst, since it does allow for a more gruesome realism, or
perhaps it is due to the zeitgeist of our time, a time that enjoys
creepy pastas (which are sort of the urban legends of the
internet), horror movies, and some rather traumatic viral content.
Whatever the case Alice in Wonderland captured the hearts of
authors and the imagination of audiences around the world and
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across time. She has become a classic icon and one with a rather
dark edge at that.
Whatever the case may be it is clear that Alice has become a
classic piece of literature to use to explore darker narratives. Not
just that but also that the historical mystery that surrounded
Dodgson has been used time and time again to alter this narrative
and inspire more sinister theories on how the story might go.
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