On every golden scale

Leonora Carrington

How doth the little crocodile...  (1998)

How doth the little crocodile

Improve his shining tail,

And pour the waters of the Nile

On every golden scale!

How cheerfully he seems to grin,

How neatly spreads his claws,

And welcomes little fishes in

With gently smiling jaws!

Lewis Carroll

Alice in Wonderland

Leonora Carrington sculpture, Mexico City

How doth the little busy Bee

 Improve each shining Hour, 

And gather Honey all the day 

 From every opening Flower! 

 How skilfully she builds her Cell! 

 How neat she spreads the Wax! 

And labours hard to store it well 

 With the sweet food she makes. 

continue

Isaac Watts

Against Idleness and Mischief

Walt Disney, 1951

"How Doth the Little Crocodile" is a parody of the moralistic poem "Against Idleness and Mischief" by Isaac Watts (Alice was originally trying to recite that). Watts' poem begins "How doth the little busy bee," and uses a bee as a model of hard work. In Carroll's parody, the crocodile's corresponding "virtues" are deception and predation, themes which recur throughout Alice's adventures in both books, and especially in the poems."

 from

A orla iridescente do meu pensamento

http://lewis-carroll.tumblr.com


"Não se entra no país das Maravilhas pois ele fica do lado de fora, não do lado de dentro. 

Se há saídas que dão nele, estão certamente à orla iridescente do meu pensamento, 

jamais no centro oco do meu eu..."

Antonio Cícero 

images found at  lewis-carroll.tumblr  

Aventuras da Alice Subterrânea

"Mas o fato de terem nascido diante da exigente plateia das três meninas, numa tarde em que tudo – a natureza em paz, a corrente tranquila do rio, o ritmo das remadas e o bom humor dos excursionistas – conspirava para a expressão despreocupada das mais loucas fantasias, foi certamente decisivo para o casamento entre os jogos de linguagem que atraíam o professor de lógica Dodgson e a magia da visão infantil que ele conseguia compartilhar com a pequena Alice."
Myriam Ávila

found at still she haunts me

AS AVENTURAS DE ALICE NO SUBTERRÂNEO

Essa é uma tradução para o português do manuscrito original Alice's adventures under Ground   (Aventuras de Alice no Subterrâneo, 1862 - 1864) que originaram as inesquecíveis Aventuras de Alice no País das Maravilhas [1865]. Hoje é amplamente conhecido o fato de que esse “interminável conto de fadas” foi contado por Lewis Carroll durante um longo passeio de barco com as irmãs Liddell, Alice, Edith e Lorina e o reverendo Duckworth, em 4 de julho de 1862, nos arredores de Oxford onde eles viviam. Entretanto, o que poucas pessoas sabem é que ele deu para essa Alice real, um manuscrito ilustrado por ele mesmo no natal de 1864. Dedicado como “Um presente de Natal para uma criança querida em memória de um dia de verão”, ele se tornou uma ligação importante para os estudos de Alice. Conectando a vida e a arte, ele nos oferece também a chance de acompanhar o processo criativo do autor, além da possibilidade de compreender melhor como a versão final da estória foi influenciada pelo relacionamento de Charles Dodgson (verdadeiro nome de Lewis Carroll) [1832-1898] com Alice Liddell.

Durante aquele período Carroll começou a preparar uma nova versão das aventuras de Alice para ser publicada, seguindo o conselho de alguns amigos. Nesse processo a estória original foi estendida e também modificada em vários aspectos. Novos poemas, capítulos e personagens foram incluídos e um novo texto, mais complexo e sofisticado, foi publicado em Londres pela Macmillian, dois anos após aquela famosa “tarde dourada”. Alice no País das Maravilhas foi então ilustrada por um famoso ilustrador da época: John Tenniel [1820-1914]. Suas ilustrações se tornaram clássicas, consideradas por muitos como inseparáveis do livro, mesmo que esse tenha sido um dos livros mais ilustrados de todos os tempos, seguindo a sugestão de Alice no início da estória: “De que serve um livro sem figuras e nem diálogos?”

As ilustrações de Carroll e sua letra de mão foram preservadas nessa tradução. Eu pretendia com isso preservar o charme e as peculiaridades do original que seriam perdidos com uma tipografia e um design convencionais. A tradução do texto buscou se aproximar da espontaneidade de um presente para uma criança especial, e a tradução dos poemas por Myriam Ávila são incríveis em seu humor e nonsense. No posfácio Myriam conta a história do manuscrito e eu comento as ilustrações de Carroll. 

 Essa é uma replica de um dos mais maravilhosos presentes que uma menina já recebeu em seu “desaniversário”, uma carta de amor escrita não apenas para aquela que foi um dia considerada “ o ideal de menininha” por Lewis Carroll, mas à todas as Alices, lagartas, coelhos, grifos, tartarugas  e rainhas e tantos outros alicinados. Intenso convite para o fascinante universo de Alice/Carroll, que num dia especial mergulhou num poço profundo e ainda nos convida a mergulhar também.

Adriana Peliano no lançamento do livro foto no evento Carrollsday no SESC/MG.

fotos: Igor Marotti 

Download the ebook

found at still she haunts me

Leia sobre a história desse projeto AQUI

Em 2012 o livro Aventuras de Alice no Subterrâneo recebeu o selo Altamente Recomendável, concedido anualmente pela Fundação Nacional do Livro Infantil e Juvenil. A FNLIJ é a principal entidade do país dedicada ao livro e à literatura infantojuvenil. Seus prêmios e seleções representam a chancela da crítica sobre a produção nacional e apoiam pais e educadores na escolha de títulos que promovam o desenvolvimento das crianças e dos jovens.​

Where Alice?

Alice does live here forever

Alice does live here

Alice does live

Alice does

Alice

Forever

Here forever

Live here forever

Does live here forever

Alice does live here forever

Where?

Between me and the mirror

poem: José Carlos Peliano

image: Kenneth Rougeau

A hunt within a hunt

Mahendra Singh

Buy the book HERE

Fragment from:

Biblioklept Interviews Mahendra Singh About Fitting Lewis Carroll into a Protosurrealist Straitjacket with Matching Dada Cufflinks


"Nothing has meaning or value unless we decide it does. For years, readers have puzzled over the meaning behind the Snark. It’s another Carrolian Zen koan : the meaning is the meaning. It’s always been staring us in the face, the meaning of the Snark is a verb, it is to search for meaning and when doing so, one automatically generates a meaniningful purpose just as naturally as a spider ejects its web. Inside this silky web is the comfort of whatever logic you feel up to (and that is the secret pleasure of Carrollian Nonsense) and outside the web is just chaos, a Boojum!

In my Snark I’ve mashed up artists including Hieronymous Bosch, Grünewald, Titian, Théodore Géricault, David, Ingres, even George Herriman and also many Surrealists such as Man Ray, Dali, Magritte, etc. There are musicians and authors, the Beatles and Gilbert and Sullivan, Edgar Allan Poe, the Comte de Lautremont, even Victorian parlor games and optical illusions. The idea was to create a web, a labyrinth of allusions in which to hunt the Snark. Some of the references will be familiar but some will not and the reader, if so inclined, can hunt them down on their own. It’s a hunt within a hunt, another Carrollian regression.

The educational aspect is important to me. I really do hope some of the kids who read this will get curious and start off on their own, pillaging a library, ransacking a museum, sneaking into the opera, whatever turns them on. The smart kids are hungry for culture. We must get them thinking, to get them to manufacture and own their own meanings before a mass-marketing goon does it for them.

The actual process of creating the imagery was simple, it’s basically me lying on a sofa, maybe a quick snooze and then free-associating while pondering the text. The cover image is a good example, it’s also the illustration for the whiskered Snarks who scratch and the feathered Snarks who bite. This made me think of Old Scratch, the devil, AKA Lucifer, who was once an angel with feathered wings who also showed a nasty tendency to bite the hand that feeds. I had a vague visual memory of seeing a photo of a surrealist devil; I rummaged through some books until I found it — Denise Bellon’s photo of the Québécois Surrealist, Jean Benoit, at a costume party.

Denise Bellon’s photo of the Québécois Surrealist, 

Jean Benoit, at a costume party.

The slippers are what caught my eye, it made me think of Old Scratch lounging at home in Pandemonium, his day off, not bothering to shave, hence the whiskers that scratch. I made the toes unequal on a lark, it just seemed right to have Satan misshapen but afterwards I came up with a cabalistic explanation which I won’t bore you with for now.

I then did a pencil drawing on tissue paper, constantly refining and adding or deleting, this was the slowest part of the entire Snark, the pencils. Afterwards I did the pen and ink drawing atop the tissue, on Denril, a synthetic vellum. This is an old technical illustrator’s work habit, which is how I started out actually, in the 80s.

This business of free associating while simultaneously referring to one’s internal visual memory is only possible if one has spent many years romping though books and museums. You cannot be a serious illustrator if you don’t read and look voraciously, all the time. And above all, don’t look at too much rubbish or you will start drawing rubbish. Art students reading this, take heed! You are what you see.

Recombining Surrealism and other –isms, along with the free associations triggered by Carroll’s Nonsense verse, creates a matrix which allows the reader to move seamlessly back and forth between the worlds of dreams, culture, memory and emotion. Those readers who catch the references will enjoy the historical and even non-verbal logic binding them, the rest is up to you.

You are really bringing the meaning with you, and when confronted by my Snark I hope it triggers a cascade of free associations, a mental phenomenon which is the precursor to dreaming, the royal road of Surrealism and Carrollian Nonsense.

Read more HERE

Denise Bellon’s photo of the Québécois Surrealist, 

Jean Benoit, at a costume party.

A vidraça do amor por Antonin Artaud

Before the waterfall: La femme sans tête lends a hand, even.

Em “A vidraça do Amor”, [14] de Artaud, temos:


“eu a amava”, referindo-se à criada da taverna;
“cumpria-me encontrar simplesmente o meio de atingi-la diretamente, isto é, e antes de tudo de falar-lhe";
"cônego" Lewis, que "anda na transversal”;
“eu não sei como entrar em contato com ela”;
“você a obterá transversalmente”;
“é ela que me atravessa”;
"o amor é oblíquo, a vida é oblíqua, o pensamento é oblíquo, tudo é oblíquo";

"VOCÊ A TERÁ QUANDO NÃO PENSAR NISTO";

“há tanto tempo, me disse ela, eu te desejava”;
"e esta foi a ponte da grande noite".

As palavras "cônego" e "Lewis" referem-se a Lewis Carroll, [15] o que fica corroborado pela citação do jogo de xadrez. Há uma correlação entre “Através do espelho” de Carroll e “A vidraça do amor”, que se nota pelas palavras “vidraça”, “vulcão”, “atravessar” e pelo poema “Jabberwocky” ("Jaguadarte”), que é objeto de estudo de Artaud em outro trabalho. Não há em Lewis Carroll de forma transparente a colocação de “transversal”, mereceria um estudo à parte. Registre-se que, se original de Lewis, Artaud usa “transversal” e “atravessado” dando-lhe os créditos devidos.

14. Artaud, A. “Linguagem e Vida”. Editora Perspectiva, São Paulo, 1995.
15. Carroll, L. “As aventuras de Alice”. Summus, São Paulo, 3ª ed., 1980.

Trecho do artigo "A palavra mágica de Antonin Artaud" de 
Gilberto Rabelo Profeta 
encontrado na revista AGULHA

Hey doll face: Things are looking up.

Images from HERE

Antonin Artaud - Jabberwocky

Il était Roparant, et les Vliqueux tarands
Allaient en gibroyant et en brimbulkdriquant
Jusque-là où la rourghe est à rouarghe à ramgmbde et rangmbde à rouarghambde:
Tous les falomitards étaient les chats-huants
Et les Ghoré Uk'hatis dans le Grabugeument


Antonin Artaud, tentative antigrammaticale contre Lewis Carroll. L'Arbalète, issue no. 12

Leia mais sobre o Jabberwocky de Artaud AQUI

Callooh Callay

 Traduções do Jabberwocky para o português AQUI e AQUI

EDIÇÃO ESPECIAL

The Hunting of the Snark by Gisèle Prassinos

Illustrations by Gisèle Prassinos

All images by Gisèle Prassinos

Contributor: Doug Howick (Snark collector)

‘La Chasse au Snark et Autres Poemes: Fontaine, Paris 1946. Translated by Henri Parisot (« revue et corrigee »). Illustrated by Gisèle Prassinos. The additional poems are Fantasmagorie, Poeta Fit, Non Nascitur, Le Morse et le Charpentier, Assis sur une Barriere and Jabberwocky. White card wrappers, title, etc., in black, intertwining picture of the Snark in green and red. Side and bottom edges uncut.

Translated by Henri Parisot and illustrated with 11 plates by Gisèle Prassinos the French surrealist poet who had been discovered by Andre Berton when she was only fourteen, and later photographed by Man Ray in this scary picture.

Gisele Prassinos reading her poetry to Andre Breton and other male artists from the surrealist movement.

Photograph by Man Ray.

"Gisèle Prassinos (Born 1920) is a French writer associated with the surrealist movement.
She was born in Istanbul, Turkey and emigrated to France with her family at the age of two, where they lived initially in Nanterre. Her brother Mario Prassinos is an artist and illustrator.

Her writing was discovered by André Breton in 1934, when she was just fourteen, and published in the French surrealist magazine Minotaure and the Belgian periodical Documents 34. Her first book, La Sauterelle arthritique (The Arthritic Grasshopper) was published in 1935 with a preface by Paul Éluard and a photograph by Man Ray. Marianne van Hirtum observed that the surrealists of the time recognised these early writings as a "veritable illustration of automatic language par excellence".

Source Wikipedia

ABOUT THE HUNTING OF THE SNARK

A tale by Gisèles Prassinos

the young persecuted girl

"A young girl who was in bed was afraid lest a butterfly she saw that morning came to wake her. Before going to bed, she put on a necklace of fresh chervil and little dull glass ladybirds, striped with yellow wax cloth. She was very proud of it and thought the butterfly wouldn't dare touch here when it saw that she was not alone.

But it came anyway: on the windowpane you could see the reflection of a ball of lead, topped with two long horns of bronzed celluloid. Then the pane moved and you could not see anything. So the young girl went to sleep.

When she awakened (because one of her curls had come unrolled) the pane was back in its original place. This time she saw a little hollowed-out cube of glass, full of water, in which a number of balls of string soaked in gasoline were swimming. She wanted to get up in order to destroy this horrible vision, but the window closed violently in her face without making any noise.

Laughing uproariously, she went back to bed. She was happy because she thought the butterfly had been crushed between the two panels of the window. She pulled the bedcover over her with the soul of a pigeon to protect her.

After an hour, she awoke again because the pigeon's soul had fled. She followed it to the window but there she stopped because the wind was raising up her hair. She looked at the pane and saw a sickly little leek whose outer leaves were ragged and full of desiccated tips. Amazed, she slid on to the marble floor and closed her eyes.

She did not open them until three days later."

The mad gardner's song illustrated by Tatiana Ianovskaia

Tatiana Ianovskaia

He thought he saw an Elephant,
That practised on a fife:
He looked again, and found it was
A letter from his wife.
'At length I realise,' he said,
The bitterness of Life!'

He thought he saw a Buffalo
Upon the chimney-piece:
He looked again, and found it was
His Sister's Husband's Niece.
'Unless you leave this house,' he said,
"I'll send for the Police!'

He thought he saw a Rattlesnake
That questioned him in Greek:
He looked again, and found it was
The Middle of Next Week.
'The one thing I regret,' he said,
'Is that it cannot speak!'

He thought he saw a Banker's Clerk
Descending from the bus:
He looked again, and found it was
A Hippopotamus.
'If this should stay to dine,' he said,
'There won't be much for us!'

He thought he saw a Kangaroo
That worked a coffee-mill:
He looked again, and found it was
A Vegetable-Pill.
'Were I to swallow this,' he said,
'I should be very ill!'

 

He thought he saw a Coach-and-Four
That stood beside his bed:
He looked again, and found it was
A Bear without a Head.
'Poor thing,' he said, 'poor silly thing!
It's waiting to be fed!'

Tatiana Ianovskaia

He thought he saw an Albatross
That fluttered round the lamp:
He looked again, and found it was
A Penny-Postage Stamp.
'You'd best be getting home,' he said:
'The nights are very damp!'

Tatiana Ianovskaia

He thought he saw a Garden-Door
That opened with a key:
He looked again, and found it was
A Double Rule of Three:
'And all its mystery,' he said,
'Is clear as day to me!'

He thought he saw a Argument
That proved he was the Pope:
He looked again, and found it was
A Bar of Mottled Soap.
'A fact so dread,' he faintly said,
'Extinguishes all hope!'

 

Site of Tatiana Ianovskaia

 Sylvie and Bruno 

ALGUMAS AVENTURAS DE SÍLVIA E BRUNO

Tradução de Sérgio Medeiros.

Ilustrações originais de Harry Furniss. (Inglaterra)

Iluminuras. São Paulo, 1997.

Além Paraíba: Interior Edições, 1984.

Formato: 14 x 20 cm. 286 pág. 25 ilustrações, P&B.