Countless scholars have tried to define the charm of the Alice books—with those wonderfully eccentric characters the Queen of Hearts, Tweedledum, and Tweedledee, the Cheshire Cat, Mock Turtle, the Mad Hatter et al.—by proclaiming that they really comprise a satire on language, a political allegory, a parody of Victorian children’s literature, even a reflection of contemporary ecclesiastical history.
Perhaps, as Dodgson might have said, Alice is no more than a dream, a fairy tale about the trials and tribulations of growing up—or down, or all turned round—as seen through the expert eyes of a child.
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