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"A Blade So Black is the fantasy book I've been waiting for my whole life." —Angie Thomas, #1 New York Times-bestselling author of The Hate U Give For fans of Marissa Meyer, L.L. McKinney's A Blade So Black delivers an irresistible urban fantasy retelling of Alice in Wonderland... but it's not the Wonderland you remember. The first time the Nightmares came, it nearly cost Alice her life. Now she's trained to battle monstrous creatures in the dark dream realm known as Wonderland with magic weapons and hardcore fighting skills. Yet even warriors have a curfew. Life in real-world Atlanta isn't always so simple, as Alice juggles an overprotective mom, a high-maintenance best friend, and a slipping GPA. Keeping the Nightmares at bay is turning into a full-time job. But when Alice's handsome and mysterious mentor is poisoned, she has to find the antidote by venturing deeper into Wonderland than she’s ever gone before. And she'll need to use everything she's learned in both worlds to keep from losing her head... literally. Debut author L.L. McKinney delivers an action-packed twist on an old classic, full of romance and otherworldly intrigue. And don't miss the thrilling sequel, A Dream So Dark! An Imprint Book "Mixing elements of Alice in Wonderland and Buffy the Vampire Slayer... Delectable." —Entertainment Weekly
A trequel to Alice in Wonderland and Through the Looking Glass. In this book, Alice travels through time, tumbling from the Victorian age to land in 1998, in Manchester, a small town in the North of England.
Alice sits on a riverbank on a warm summer day, drowsily reading over her sister's shoulder, when she catches sight of a White Rabbit in a waistcoat running by her. The White Rabbit pulls out a pocket watch, exclaims that he is late, and pops down a rabbit hole. Alice follows the White Rabbit down the hole and comes upon a great hallway lined with doors. She finds a small door that she opens using a key she discovers on a nearby table. Through the door, she sees a beautiful garden, and Alice begins to cry when she realizes she cannot fit through the door. She finds a bottle marked "DRINK ME" and downs the contents. She shrinks down to the right size to enter the door but cannot enter since she has left the key on the tabletop above her head. Alice discovers a cake marked "EAT ME" which causes her to grow to an inordinately large height. Still unable to enter the garden, Alice begins to cry again, and her giant tears form a pool at her feet. As she cries, Alice shrinks and falls into the pool of tears. The pool of tears becomes a sea, and as she treads water she meets a Mouse. The Mouse accompanies Alice to shore, where a number of animals stand gathered on a bank. After a "Caucus Race," Alice scares the animals away with tales of her cat, Dinah, and finds herself alone again.
Alice's Adventures in Wonderland is an 1865 English children's novel by Lewis Carroll, a mathematics don at the University of Oxford. It details the story of a girl named Alice who falls through a rabbit hole into a fantasy world of anthropomorphic creatures. It is seen as an example of the literary nonsense genre. The artist John Tenniel provided 42 wood-engraved illustrations for the book.It received positive reviews upon release and is now one of the best-known works of Victorian literature; its narrative, structure, characters and imagery have had a widespread influence on popular culture and literature, especially in the fantasy genre. It is credited as helping end an era of didacticism in children's literature, inaugurating an era in which writing for children aimed to "delight or entertain". The tale plays with logic, giving the story lasting popularity with adults as well as with children. The titular character Alice shares her name with Alice Liddell, a girl Carroll knewscholars disagree about the extent to which the character was based upon her.
"Alice follows the White Rabbit to Wonderland. How will she get home?"--P. [4] of cover.
Following his acclaimed life of Dickens, Robert Douglas-Fairhurst illuminates the tangled history of two lives and two books. Drawing on numerous unpublished sources, he examines in detail the peculiar friendship between the Oxford mathematician Charles Dodgson (Lewis Carroll) and Alice Liddell, the child for whom he invented the Alice stories, and analyzes how this relationship stirred Carroll’s imagination and influenced the creation of Wonderland. It also explains why Alice in Wonderland (1865) and its sequel, Through the Looking-Glass (1871), took on an unstoppable cultural momentum in the Victorian era and why, a century and a half later, they continue to enthrall and delight readers of all ages. The Story of Alice reveals Carroll as both an innovator and a stodgy traditionalist, entrenched in habits and routines. He had a keen double interest in keeping things moving and keeping them just as they are. (In Looking-Glass Land, Alice must run faster and faster just to stay in one place.) Tracing the development of the Alice books from their inception in 1862 to Liddell’s death in 1934, Douglas-Fairhurst also provides a keyhole through which to observe a larger, shifting cultural landscape: the birth of photography, changing definitions of childhood, murky questions about sex and sexuality, and the relationship between Carroll’s books and other works of Victorian literature. In the stormy transition from the Victorian to the modern era, Douglas-Fairhurst shows, Wonderland became a sheltered world apart, where the line between the actual and the possible was continually blurred.
Part of Alice's appeal is her ambiguity, which makes possible a range of interpretations in adapting Lewis Carroll's classic Wonderland stories to various media. Popular re-imaginings of Alice and her topsy-turvy world reveal many ways of eliciting enchantment and shaping make-believe. Late 20th century and 21st century adaptations interact with the source texts and with each other--providing readers with an elaborate fictional universe. This book fully explores today's multi-media journey to Wonderland.