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Alice in Wonderland Cultural Legacies in Contemporary Graphic Novels 67 Monika Pietrzak-Franger

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Alice in Wonderland Cultural Legacies in Contemporary Graphic Novels 67 Monika Pietrzak-Franger Drawing on the Victorians eries in Victorian Studies S Series editors: Joseph McLaughlin and Elizabeth Miller Katherine D. Harris, Forget Me Not: The Rise of the British Literary Annual, 1823–1835 Rebecca Rainof, The Victorian Novel of Adulthood: Plot and Purgatory in Fictions of Maturity Erika Wright, Reading for Health: Medical Narratives and the Nineteenth-Century Novel Daniel Bivona and Marlene Tromp, editors, Culture and Money in the Nineteenth Century: Abstracting Economics Anna Maria Jones and Rebecca N. Mitchell, editors, Drawing on the Victorians: The Palimpsest of Victorian and Neo-Victorian Graphic Texts Drawing on the Victorians The Palimpsest of Victorian and Neo-Victorian Graphic Texts edited by Anna Maria Jones and Rebecca N. Mitchell with an afterword by Kate Flint ohio university press athens Ohio University Press, Athens, Ohio 45701 ohioswallow.com © 2017 by Ohio University Press All rights reserved To obtain permission to quote, reprint, or otherwise reproduce or distribute material from Ohio University Press publications, please contact our rights and permissions department at (740) 593-1154 or (740) 593-4536 (fax). Printed in the United States of America Ohio University Press books are printed on acid-free paper ƒ ™ 27 26 25 24 23 22 21 20 19 18 17 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data available upon request. Contents List of Illustrations vii Acknowledgments xiii Introduction Reading the Victorian and Neo-Victorian Graphic Palimpsest 1 Anna Maria Jones and Rebecca N. Mitchell I. Adaptations one The Explicated Image Graphic “Texts” in Early Victorian Print Culture 39 Brian Maidment two Adapting Alice in Wonderland Cultural Legacies in Contemporary Graphic Novels 67 Monika Pietrzak-Franger II. Graphic Epistemologies three Picturing the “Cosmic Egg” The Divine Economy of a Hollow Earth 93 Peter W. Sinnema four Mixed Media Olivia Plender’s A Stellar Key to the Summerland and the Afterlife of Spiritualist Visual Culture 121 Christine Ferguson III. Refigured Ideologies five A New Order Reading through Pasts in Will Eisner’s Neo-Victorian Graphic Novel, Fagin the Jew 151 Heidi Kaufman qv contents six The Undying Joke about the Dying Girl Charles Dickens to Roman Dirge 176 Jessica Straley IV. Temporal Images seven Prefiguring Future Pasts Imagined Histories in Victorian Poetic-Graphic Texts, 1860–1910 207 Linda K. Hughes eight Before and After Punch, Steampunk, and Victorian Graphic Narrativity 237 Rebecca N. Mitchell V. Picturing Readers nine Reading Victorian Valentines Working-Class Women, Courtship, and the Penny Post in Bow Bells Magazine 269 Jennifer Phegley ten Picturing “Girls Who Read” Victorian Governesses and Neo-Victorian Sho-jo Manga 300 Anna Maria Jones Afterword Photography, Palimpsests, and the Neo-Victorian 331 Kate Flint Bibliography 341 Contributors 371 Index 375 qvi Illustrations fig. I.1 Tenniel, Alice with Hatta and the White King, from Through the Looking-Glass 3 fig. I.2 Tenniel, Mad Tea Party, from Alice’s Adventures in Wonderland 3 fig. I.3 Opening page of Works of Geoffrey Chaucer by Kelmscott Press 13 fig. I.4 Du Maurier, “Frustrated Social Ambition,” from Punch 13 fig. I.5 Morrison and Shepherd, fly and beetle, Zig Zags at the Zoo, from Strand 16 fig. I.6 Lear, “Piggiawiggia Pyramidalis,” from Nonsense Songs, Stories, Botany, and Alphabets 17 fig. I.7 Talbot, the Performer discusses Tenniel, from Alice in Sunderland 21 fig. I.8 Talbot, the Performer discusses Hogarth, from Alice in Sunderland 21 fig. I.9 Talbot, “The Legend of the Lambton Worm,” from Alice in Sunderland 23 fig. 1.1 Hogarth, The Rake’s Progress (plate 3), from Hogarth Moralized (1768) 45 fig. 1.2 Hogarth, The Rake’s Progress (plate 3), from Hogarth Moralized (1831) 45 fig. 1.3 Hogarth, “The Idle Apprentice,” Industry and Idleness, from Saturday Night 47 fig. 1.4 Hogarth, “The Industrious Apprentice,” Industry and Idleness, from Penny Magazine 47 fig. 1.5 Meadows, title page, from Heads from Nicholas Nickleby 49 fig. 1.6 Meadows, “The Lounger,” from Scrapbook of Literary Varieties 51 qvii illustrations fig. 1.7 Meadows, title page, from Heads of the People 52 fig. 1.8 Seymour, “Bob, arnt you glad . .” from Sketches by Seymour 57 fig. 1.9 Seymour and Peake, “Vel I dos’nt think . .” from An Evening’s Amusement 61 fig. 2.1 Szyłak and Skutnik, Alice in the threatening wonderland, from Alicja 74 fig. 2.2 Szyłak and Skutnik, camp for mutants, from Alicja 76 fig. 2.3 Szyłak and Skutnik, performance of Hamlet, from Alicja 77 fig. 2.4 Mahler, “Frankenstein in Sussex,” from Alice in Sussex 80 fig. 2.5 Mahler, “Why don’t you play something for me,” from Alice in Sussex 82 fig. 3.1 Teed and Morrow, “Beginning of the Air Line,” from Cellular Cosmogony 97 fig. 3.2 Teed and Morrow, cover from Cellular Cosmogony 99 fig. 3.3 Halley, diagram of hollow earth from Philosophical Transactions 101 fig. 3.4 Dahl, portrait of Edmond Halley 104 fig. 3.5 Symmes, “Sectional View of the Earth,” from Symzonia 107 fig. 3.6 Bradshaw, “Map of the Interior World,” from Goddess of Atvatabar 109 fig. 3.7 Reed, “Globe Showing Section of the Earth’s Interior,” from Phantom of the Poles 111 fig. 4.1 Plender, “The Poughkeepsie Seer,” from Stellar Key to the Summerland 129 fig. 4.2 Plender, Victorian-style placard, from Stellar Key to the Summerland 130 fig. 4.3 Plender, “Advent of Spiritualism,” from Stellar Key to the Summerland 131 fig. 4.4 Plender, “The Spirit Realm,” from Stellar Key to the Summerland 132 fig. 4.5 Plender, “The Upper Spheres,” from Stellar Key to the Summerland 133 qviii illustrations fig. 4.6 Plender, “Clap, clap,” from Stellar Key to the Summerland 135 fig. 4.7 Britten, title page from Modern American Spiritualism 137 fig. 4.8 Plender, reworking of Britten title page, from Stellar Key to the Summerland 137 fig. 4.9 Plender, inside cover from Stellar Key to the Summerland 138 fig. 4.10 Plender, scenes from the Industrial Revolution, from Stellar Key to the Summerland 139 fig. 4.11 Plender, Charlie in a deck chair, from Stellar Key to the Summerland 140 fig. 4.12 Plender, voices from beyond, from Stellar Key to the Summerland 140 fig. 4.13 Plender, “Light, Nature, Truth,” from Stellar Key to the Summerland 142 fig. 4.14 Plender, “Spiritualism’s Closing Curtain,” from Stellar Key to the Summerland 142 fig. 5.1 Cruikshank, “Oliver Introduced to the Respectable Old Gentleman,” from Oliver Twist 154 fig. 5.2 Eisner, “Ten pounds . not a farthing more,” from Fagin the Jew 163 fig. 5.3 Eisner, “We work so hard,” from Fagin the Jew 163 fig. 5.4 Cruikshank, “Fagin in the Condemned Cell,” from Oliver Twist 167 fig. 5.5 Eisner, Fagin confronts Dickens, from Fagin the Jew 167 fig. 5.6 Eisner, Fagin remembered, from Fagin the Jew 170 fig. 6.1 Robinson, Fading Away 180 fig. 6.2 Cattermole, Little Nell’s deathbed, from Old Curiosity Shop 185 fig. 6.3 Gorey, Charlotte Sophia, from Hapless Child 189 fig. 6.4 Gorey, Charlotte Sophia’s unfortunate demise, from Hapless Child 190 fig. 6.5 Gorey, the Victorian “good death” reinterpreted, Gashlycrumb Tinies 193 fig. 6.6 Dirge, Lenore’s Victorian backstory, from Lenore 196 qix illustrations fig. 6.7 Dirge, Lenore’s resurrection, cover from Lenore 198 fig. 7.1 Burne-Jones, “King Sigurd, the Crusader,” from Good Words 210 fig. 7.2 Lawless, “Faint Heart Never Won Fair Ladye,” from Once a Week 212 fig. 7.3 Poynter, “Ballad of the Page and the King’s Daughter,” from Once a Week 213 fig. 7.4 Sandys, “Rosamond, Queen of the Lombards,” from Once a Week 216 fig. 7.5 Gray, “The Huntress of Armorica,” from Once a Week 221 fig. 7.6 Kerns, “A New Elaine,” from Quiver 223 fig. 7.7 Godart, “A Tennysonian Study,” from London Society 225 fig. 7.8 Ricketts, “An Echo from Willowwood,” from Magazine of Art 227 fig. 7.9 Cole, “Proud Princess” (headpiece), from Pall Mall Magazine 229 fig. 7.10 Cole, “Proud Princess,” from Pall Mall Magazine 231 fig. 8.1 “Highland Officer in the Crimea,” from Punch 243 fig. 8.2 “Transformation Scenes in Real Life,” from Graphic 244 fig. 8.3 “Madame La Mode,” from Punch 247 fig. 8.4 “1837/1897,” from Punch 249 fig. 8.5 Morrison and Yeowell, hunting party, from Sebastian O 254 fig. 8.6 Morrison and Yeowell, confrontation with police, from Sebastian O 256 fig. 8.7 Moore and O’Neill, Mina as a New Woman, from League of Extraordinary Gentlemen 257 fig. 8.8 Moore and O’Neill, cover from League of Extraordinary Gentlemen 259 fig. 9.1 “Viola Cliefden Inspects the Morning’s Post-Bag,” from Bow Bells 275 fig. 9.2 “Mrs. Betsy Baker’s Party,” from Bow Bells 276 fig. 9.3 Ornate valentine: “A Pledge of Love” 279 qx illustrations fig. 9.4 Comic valentine: “Jolly Jack Tar” 281 fig. 9.5 Comic valentine: “However Shall I Get It In?” 283 fig. 9.6 “The Morn of St. Valentine,” from Bow Bells 287 fig. 9.7 “Constance Wargrave Refuses to Go to the Altar,” from Bow Bells 289 fig. 9.8 “A Legend of St. Valentine,” from Bow Bells 291 fig. 9.9 “A Story of Love’s Cruelty,” from Bow Bells 293 fig. 10.1 Moto, Bell presented at court, from Lady Victorian 302 fig. 10.2 Moto, Bell with Lady’s Magazine, from Lady Victorian 311 fig. 10.3 Moto, Bell meets Lady Ethel, from Lady Victorian 313 fig. 10.4 Fashion plate from Blackwood’s Lady’s Magazine 314 fig.
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