Dear Mr. Everson

I just wanted to let you know that as we now have about thirty of your versions of Alice and associated works we have decided to mount an exhibition showing a cross-section of the books along with an explanatory poster. The exhibition is small and meant only for internal viewing (times are hard!) but it will be located on Level 2 of the library which has a very large daily footfall. You will be very familiar with all the exhibits but if you are in the vicinity of UCD, you are more than welcome to come and see it.

I hope you don’t mind my taking the liberty of quoting a few lines from the Ulster Scot’s version of Alice (The Alice-Cheshire Cat dialogue about universal insanity) on the poster.

The Alice books are all kept here in Special Collections in a climate-controlled store. They may be consulted in our reading room but not borrowed so that they form part of the permanent archival collection. Though Alice goes far beyond the literature of childhood, the Evertype books are a wonderful addition to our Children’s collection which has material dating from Victorian and Edwardian times. They are very much appreciated.

Kind regards
Eugene Roche
Library Assistant
Special Collections
James Joyce Library
University College Dublin

Kebmer with… Yma an Best et agan kerhyn! An daralla nowyth-ma a veu screfys rag redoryon yonk wàr sel a’n whedhel kevrînek a Vest Goon Brèn. Yma an screfor gormelys a Gernow, Alan M. Kent, ow terivas dhyn fatla wrug cath vrâs dos ha gwandra in pow gwyls Kernow. Ot obma daralla yw leun a dhelît ha marth, a vedn cressya agan awen ha trega pell et agan covyon. An pyctours a veu gwrës gen an artyst Gabrielle Cailes neb a ajwon pùb part a Gernow. Leun yw an pyctours a spyrys, a lyw hag a fors hag ymowns y ow portraya wharvosow an whedhel in kenyver poynt hag ow cachya an sens glew a blâss a gefyr ino. Presentys yw an whedhel i’n dhew davas gen trailyans bewek i’n Kernowek a’n eurma a veu screfys gen Neil Kennedy.

Evertype announces the publication of Alan M. Kent’s new book, The Beast of Bodmin Moor, in English and with a Cornish translation by Neil Kennedy. Retail price £11.95. Available from Amazon.co.uk and Spryrys a Gernow. For more information see evertype.com/books/beast.html.

Watch out… the Beast is about! This new story for young readers is based on the mysterious legend of the Beast of Bodmin Moor. The acclaimed Cornish writer Alan M. Kent tells the charming tale of how a big cat came to wander the wild landscape of Cornwall. Filled with delight and wonder, this is a tale to enrich the imagination and stay long in the memory. The illustrations are by Gabrielle Cailes, an artist who knows Cornwall intimately. With wonderful spirit, colour, and energy, they capture the detail of the story and its thrilling sense of place. The story is presented bilingually with a vibrant modern translation into Cornish by Neil Kennedy.

From the introduction:

Ludovīcus Carroll est nōmen fictīcium scrīptōris Carolī Lutwitgī Dodgsōnī, professōris mathēmaticae in Aede Christī Oxoniae. Fābulae initium fēcit diē 4ᵒ̄ mēnsis Jūliī annō 1862ᵒ̄ dum in Tamesī fluviō animī causā rēmigat ūnā cum reverendō virō Robinson Duckworth, cumque Aliciā Liddell (decem annōs nātā), fīliā Decānī Aedis Christī, ejusque duābus sorōribus, Lōrīnā (tredecim annōs nātā) et Ēditā (octō annōs nātā). Dodgsōnus (id quod satis appāret ex poēmate in prīmō librō) ā puellīs rogātus ut aliquid narrāret, quamquam prīmō invītus, fābulae tamen līneā­menta cōn­fingere coepit. Per fābulam perfectam, annō 1865ᵒ̄ tandem ēditam, saepe ad hōs quīnque subobscūrē allūdit.

Hōc in librō offertur lēctōrī nova ēditiō fābulae Alicia in Terrā Mīrābilī in Latīnum annō 1964ō ā Clive Harcourt Carruthers conversae. Differt ā prīmā ēditiōne duābus praecipuīs rēbus: cum quod discrīmen nunc servātur inter i litteram vōcālem et j litteram vim cōnsonantis habentem, tum quod omnēs vōcālēs longae sunt līneolīs superscrīptīs ōrnātae.

Omnium vōcālium longitūdinēs dīligenter exquīsītae sunt, etiam in syllabīs positiōne longīs. In pauciōribus syllabīs, quārum vōcālium longitūdinēs aut nunc incertae sunt, aut manifestē etiam antīquīs temporibus vacillābant, vōcālēs sine līneolīs scrīptae sunt.

Glōssārium Latīnō-Anglicum in ultimō librō magnopere auctum est. Praeter ferē vīgintī Neolatīna vocābula locūtiōnēsque, ut in prīmā ēditiōne, hoc novum glōssārium etiam complectitur plūs ducenta vocābula antīqua tīrōnibus inūsitātiōria. Spērāmus fore ut glōssāriō auctō multō plūrēs lēctōrēs sine aliōrum lexicōrum ūsū ex hōc librō magnam capiant voluptatem.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the beginning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. There are many half-hidden references made to the five of them throughout the text of the book itself, which was published finally in 1865.

In this book we present a new edition of Clive Harcourt Carruthers’ 1964 translation of Alice’s Adventures in Wonderland into Latin. It differs from Carruthers’ original text chiefly in two ways: a regular distinction between the vowel i and the consonant j has been made, and long vowels are marked with macrons consistently throughout.

All vowels have been carefully investigated, including the vowels in syllables long by position. In a few isolated cases where the classical vowel lengths are in dispute, or where usage evidently vacillated, the vowels have been left unmarked.

The Latin-English glossary at the end has been greatly enlarged. Instead of treating only a few Neo-Latin words and phrases peculiar to this book, the extended glossary now also covers over two hundred less common classical words. It is our hope that this will enable a much larger group of our readers to enjoy Carruthers’ translation without having to resort to external dictionaries.

From the introduction:

Róaž Wiðz (1882–1937), the locally-admired though otherwise little-known Zumorgian translator, spent seventeen years of his miserable life (when he wasn’t tending to his beloved goats) translating Lewis Carroll’s classic “Alice’s Adventures in Wonderland” into Zumorigénflit and transposing it into Ŋúǧian culture. Sadly, Ŋúǧ was swallowed up by the Soviet Union in 1947. Most of its citizens were either purged (lined up and summarily shot when they refused to combine their goats into a communal herd) or transported to the Gulag for political re-education and attitude adjustment. All cultural artifacts were systematically destroyed and most Zumorigénflit books were burned as part of the Soviet effort to obliterate Ŋúǧ, along with any memory of it. The only known present-day Ŋúǧian survivors of The Great Ŋúǧ Purge (other than any possible survivors of the Gulag, whose descendants might conceivably live in Siberia) are now toothless old women, whose parents fled with them as infants from Ŋúǧ to Transjordan the night of the purge. Today they live (if you can call it that) in a squalid refugee camp on the desert outskirts of Amman surrounded by very unhappy and angry displaced Palestinians. Some of these Ŋúǧian refugees are still able to speak a little Zumorigénflit, though few of them can read it. For those interested in such esoteric things, “Áloþk üjy Gígið Soagénličy” was first published by the Itadabükan Press in the capital city of Sprutničovyurt in 1919. The city, which was mistakenly thought to be a German forward supply area, was literally flattened and burned to the ground by Royal Air Force saturation bombing in 1943, and all that remains of it are a few remnants of the ancient Palace’s foundations and a gigantic reinforced concrete statue of Joseph Stalin, whose face has been shattered by what was probably machine gun target practice. The original story has here been updated to modern times, as if this strange, harsh, and dangerous land still existed in the modern world. It doesn’t, except in my imagination and that of Mahendra Singh, whose heart swells with the Song of the Goat. — Byron W. Sewell

From the introduction:

Charles Dodgson had had a difficult day photographing young Victor Alexander Parnell, one of Queen Victoria’s godsons. Dodgson wasn’t at all certain of how either the boy’s parents or the Queen would regard the photograph if he let them see it. The image showed a boy with the cold and calculating gaze of a gunman that one might encounter in a saloon in the American West. It had taken no fewer than six attempts to get this image of Alexander, and Dodgson was thoroughly exhausted. The boy had twitched and squinted, blinked and shifted, ruining one plate after another. The trip back to Oxford, with all of the heavy boxes of photographic equipment, had been the final strain of a long and tiring day. By the time he finally reached his rooms he was ready for a simple meal of bread, cheese and a small glass of claret, then immediately off to bed. He would unpack the boxes later in the week, when he had recovered a bit from the expedition. Dodgson pulled the heavy curtains of his rooms together without looking out of the windows onto the quadrangle. He was under the covers and asleep in less than five minutes. And this is what he dreamed…

From the introduction:

Published first in 1900, Florence A. Evans’ Alice’s Adventures in Pictureland is told about a young girl named Alice, whose mother’s younger sister was the famous Alice of Lewis Carroll’s Wonderland. The book, illustrated with delightful drawings by Albertine Randall Wheelan, begins with a set of vignettes exploring the exploits of a number of Wonderland characters, and continues with a series of tales told by story-book animals, some of which are reminiscent of Rudyard Kipling’s Just-So Stories.

Photo by Diarmaid Mac Aonghusa

Farewell, dear friend. W. H. Auden says it for so many of us:

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.

At home in Mayo, I have stopped our longcase clock, the Thomas Ross from Hull, to symbolize that Time has stopped for you. You shall never be forgotten, dear Brendan. And we will all do our best to look after Elana and Patrick and Eoin. We loved you, and love you, and ever shall.

From the introduction:

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson wis the makar’s richt name an he wis lecturer in Mathematics in Christ Church, Oxford. Dodgson started the story on 4 July 1862, whan he teuk a turn in a rowin boat aboot the river Thames in Oxford thegither wi the Reverend Robinson Duckworth, wi Ailice Liddell (ten year auld), the dauchter o the Dean o Christ Church, an wi her twa sisters, Lorina (thirteen year auld), and Edith (aicht year auld). The poem at the start o the beuk narrates that the three lassies wis wantin a story aff o Dodgson an, tho no juist eident at first, he startit tae tell the first mak o the story tae them. Many a reference, hauf-scoukit, is made tae the five o them ootthrou the text o the beuk itsel, that wis syne an on published in 1865.

As faur as I ken, this beuk sets oot the first translation o Ailice’s Àventurs in Wunnerland intae Scots (that we aince caa’d “Inglis”). This leid haes cam doun fae Auld Northumbrian, the Auld English that wis spoken fae the Humber tae the Lothians. It’s a near relation o Staunart English, but there’s many a differ in baith grammar an vocabulary.

I’ve uised tradeetional spellins the likes o wis set doun bi Burns, Scott, Slater an many ither, tho wantin the “apologetic apostrophes” ye aft see in thae beuks. This is gaes alang wi maist writins in Scots fae the aichteenth century on, an reads fine tae modren Scots spaekers bred up tae sic tradeetions. Tho this approach is faur fae purist, I’ve ettled at bein as conseestent as possible.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age), the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the beginning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. Many half-hidden references are made to the five of them throughout the text of the book itself, which was published finally in 1865.

To the best of my knowledge, this edition presents the first translation of Alice’s Adventures in Wonderland into Scots (which historically has also been known as “Inglis”). This language is a descendant of Old Northumbrian, the Old English once spoken from the Humber to the Lothians. It is closely related to Standard English, but differs from it in many particulars of both grammar and vocabulary.

I have used traditional spellings such as might be seen in the works of Burns, Scott, Slater, and many others, though without the “apologetic apostrophes” often seen in these works. This is in harmony with most writings in Scots from the eighteenth century onwards, and makes for comfortable reading for modern Scots speakers brought up with those traditions. Although this approach is far from purist, I have tried to be as consistent as possible.

Here is a lovely photograph of it perched a bit precariously, but doubtless with care. And here are some of its keys…

Kernowek Kemyn, a form of spelling currently promoted by the Cornish Language Board, has been subject to sustained criticism for nearly two decades since its inception. The form and content of the Cornish Language Board’s publications continue to invite criticism and have inspired this volume. The essays begin with Michael Everson’s review of recent Cornish Language Board typography, includ ing the second edition of Ken George’s Gerlyver Kres, the New Testament in Kernowek Kemyn, George’s Gerlyvrik, and the recent and controversial “preliminary edition” called in Kernowek Kemyn “Bywnans Ke”. This is followed by a reprint of Everson’s review of the first edition of George’s Gerlyver Kres, since reference is made to it in the first article. Craig Weatherhill, one of Cornwall’s foremost experts on place-names, provides the next two articles, both reviews of Cornish Language Board publications, Place-Names in Cornwall and The Formation of Cornish Place-Names. Ray Chubb and Craig Weatherhill collaborated on a short paper in which they provide an analysis of the similarity of Revived Cornish orthographic forms to traditional spellings of Cornish place-names. Bernard Deacon provides two insightful articles, the first on the values expressed in Kernowek Kemyn rhetoric, and the second on the aims and methods of the Cornish Language Board. Finally, Nicholas Williams reviews An Testament Nowydh edited by Keith Syed and published by the Cornish Language Board. First published on 2007-01-09.

Towards Authentic Cornish is in the first place a rebuttal of the defence of Kernowek Kemyn attempted by Paul Dunbar and Ken George in Kernewek Kemmyn: Cornish for the Twenty-First Century. In the present work, Professor Williams demonstrates with examples from the Cornish texts just how unconvincing is George’s defence of Kernowek Kemyn. The latter portions of the book offer a detailed critique of George’s Gerlyver Kernewek Kemmyn and of Wella Brown’s Grammar of Modern Cornish. First published on 2006-11-30.

This book brings together in one convenient volume eight articles by Professor Nicholas Williams on the Cornish Revival. They range from his “A Problem in Cornish Phonology” (1990) in which he shows that the “phonemes” /dj/ and /tj/ of Kernowek Kemyn were unwarranted, to his review “‘A Modern and Scholarly Cornish-English Dictionary’: a Review of Ken George’s Gerlyver Kernewek Kemmyn” of 2001 in which he demonstrates how at least 370 entries in George’s dictionary are mistaken. Writings on Revived Cornish concludes with a short note on George’s inconsistent lexicographical practice with respect to geographical names, a discussion of the implications for the revived language of the recently-discovered play Bewnans Ke and the text of a lecture on Unified Cornish Revised given by Professor Williams in September 2006. First published on 2006-10-30.

The publication of Cornish Today by Kernewek dre Lyther in 1995 was a landmark event in the Cornish Revival. In that book, Professor Williams offered the first professional analysis of the various systems of Cornish in use, and also outlined his suggested emendations for Unified Cornish. The present revised edition makes this most important work available to those who may have missed the earlier editions. First published on 2006-09-30.

From the introduction:

Lewis Carroll is de Schrieversnaam vun Charles Lutwidge Dodgson, ’n Mathematik-Dozent in Christ Church, Oxford. Dodgson füng mit düt Vertelln an ’n 4. Braakmaand 1862 an, as he up’n Thems-Stroom ’n Paddel boottuur möök. Mit vun de Partie weern Paster Robinson Duckworth un dree Deerns: Alice Liddell (de teihn Jahr ole Dochter vun’n Dekaan vun Christ Church) un ẹhr Süstern Lorina (dörteihn Jahr old) un Edith (acht Jahr old). As wi vun’t Riemel an’n Anfang vun’t Book wies wardt, bẹden de dree Deerns Dodgson, dat he jüm wat vertell. So füng he an – toeerst nich so geern – de eerste Verschoon to vertelln. Up un daal in’n egentlichen Text findt sik mennig ’n Andüden an de fief Minschen, de an den Dag tosamen in’t Boot seten. Up’t Lest keem dat Book in’t Jahr 1865 ünner de Lüd’.

So wied mi dat wies is, is düt dat eerste Ọ̈verdrẹgen vun Alice’s Adventures in Wonderland in’t Plattdüütsche (Nedderdüütsche). Afstammen dẹ düsse Spraak vun’t Old sassische, vun dat ook to’n Deel dat Ingelsche (d.h. „Angel sassische“) afkeem. Dat Middelsassische (in Düütschland tomehrst „Mittelniederdeutsch“ nöömt) was de Verkehrs spraak vun de Hanse, un vun de Spraak keem vẹẹl Inwarken in de Spraken vun de Noord- un Oostseeküsten, besünners de vun Skandinavien, vun’t Baltikum un vun Noordpooln. Ook dat Ingelsche kreg’ ’n paar Wöör vun’t Middelsassische mit, t.B. trade un sachs ook freight un boss. Hüdigendaags deit dat Plattdüütsche as ’n offitschelle Regionaalspraak in Noorddüütschland un in de nedderlandschen Oostprovinzen gellen. Vör’t Verdrieven an’t Enn vun’n Tweeden Weltkrieg wöör de Spraak ook in Rebeden to Oosten vun de hüdige düütsche Oostgrenz snackt.

Dat Plattdüütsche hett ’n Barg Dialekten un keen Stan dardspraak, ook keen Standardschrievwies’. Dat Ọ̈ver drẹgen in düt Book is in’t allgemeene Noord nedder­sassische. De Schrievwies’ is mehr or minn de vun Sass. Een Punkt ünner ’n Sülvstluudteken bedüüdt, dat ’t ’n Eenluud is. In annere, tomehrst öllere Warken, in de düsse wichtige Ünnerscheed maakt ward, bruukt se faken ’n Haken (ogonek) daarför. Een Apostroph achter b, v, d, g un s an’t Enn vun’n Woord steiht för’n Sleeptoon: de Een- or Tweeluud daarvör ward be sünners lang un de Mitluud week uutspraken (t.B. Lüd’ [lyːˑ(d)], wẹs’ [veːˑz] or [vɛːˑz]). De mehrsten Plattdüütsch schrievers kehrt sik nich an düsse Ünnerscheden, un daar wẹgen wardt ’n Barg Wöör verkehrt uutspraken mank de Lüd’, de sik dat Plattdüütsche tomehrst vun Schriften bibringt.

De Text wöör direktemang vun’t Ingelsche na’t Platt düütsche ọ̈verdragen, man af un an hett de Ọ̈verdrẹger vun wẹgen Woordspẹẹl na de düütsche Verschoon vun Antonie Zimmermann kẹken.

Groten Dank wẹẹt ik mien Kollẹg’ Reinhard “Ron” F. Hahn, den ik al jahrenlang kenn, dat he düt Ọ̈verdrẹgen in de Maak nahmen hett, as ik em daarto nödigen dẹ. Elk Ọ̈verdrẹgen vun düt Book is ’n Họ̈gen, ’n Sprakenfier, ’n Sprakengood.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age), the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the beginning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. Many half-hidden references are made to the five of them throughout the text of the book itself, which was published finally in 1865.

To the best of my knowledge this edition presents the first translation of Alice’s Adventures in Wonderland into Low Saxon (also known as Low German and by its German name Platt deutsch). This language is a descendant of Old Saxon, one of the ancestors of English. Middle Saxon (also known as Mittel niederdeutsch “Middle Low German” in modern German parlance) served as the international lingua franca of the Hanseatic Trading League and as such influenced many language varieties along the Baltic and North Sea coasts, especially those of Scandinavia, the Baltic Countries and Northern Poland. Contacts with Middle Saxon have resulted in English borrowing from it words like trade and possibly freight and boss. Its numerous modern dialects constitute a regional language that at the end of the 20th century came to be officially recognized in the Eastern Netherlands and in Northern Germany. The language also used to be spoken in regions east of today’s Germany, but at the end of the Second World War this ended with the expulsion of anyone considered German.

In the absence of a standard dialect, the variety used in this book is a somewhat generalized version of Northern Low Saxon, the largest dialect group of Northern Germany. In the absence of a standard orthography, Northern Germany’s predominant Sass Spelling System is applied (with minor changes, such as uut instead of abbreviated ut ‘out (of)’, ‘from’; cf. Scots oot). Long monophthongs are here dis­tinguished from diphthongs by means of a dot below a vowel character. Consistent with the initial but now mostly ignored instructions of the creators of this spelling system, a apostrophe (representing elided -e) following word-final b, v, d, g, and s (/z/) indicates that the vowel or diphthong of that syllable is extra-long and that the usual process of word-final consonant devoicing does not apply (as though the -e were still present (e.g., Lüd’ [lyːˑ(d)] ‘people’, wẹs’ [veːˑz] or [vɛːˑz] ‘be!’). These days, most Low Saxon writers, being unaware of such phonological processes, ignore these important orthographic devices, which results in mispronunciation by learners that rely on the written word.

The Low Saxon translation in this book is based on Carroll’s English original, with rare glances at the handling of names and wordplay in Antonie Zimmermann’s German translation.

I am grateful to my colleague of many years, Reinhard “Ron” F. Hahn, for having taken up the challenge to translate Alice on my instigation. Every translation of this wonderful book is a delight, a celebration of language, and a treasure.

From the introduction:

Lewis Carroll è uno pseudonimo: l’autore si chiamava in realtà Charles Lutwidge Dodgson ed era professore di matematica presso il collegio universitario di Christ Church a Oxford. Dodgson iniziò ad abbozzare questo racconto il 4 luglio 1862, durante una gita in barca a remi sul Tamigi nei pressi di Oxford, in compagnia del reverendo Robinson Duckworth e delle figlie del preside di Christ Church: Alice Liddell, di dieci anni, e le sue due sorelle Edith e Lorina, rispettivamente di otto e tredici anni. Come si intuisce dai versi che aprono il libro, le tre bambine chiesero a Dodgson di raccontare una storia ed egli, in un primo momento con una certa riluttanza, iniziò quella che sarebbe diventata la prima versione di questo libro. Lungo tutto il racconto, che vide finalmente le stampe nel 1865, si celano parecchie allu­sioni ai cinque gitanti di quel giorno. Questa edizione ripropone al lettore moderno la prima traduzione italiana del libro, edita nel 1872.

Quella di Teodorico Pietrocòla Rossetti, che Carroll chiama “il mio amico italiano”, è la quarta traduzione di Alice, realizzata dopo quelle in francese, tedesco e svedese. Sono stati effettuati un certo numero di modifiche al testo, per renderlo più accessibile al lettore di oggi. In pratica lo scopo è stato quello di mantenere l’atmosfera ottocentesca della traduzione originale, rimuovendo però gli ostacoli alla lettura.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the begin ning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. There are many half-hidden references made to the five of them throughout the text of the book itself, which was published finally in 1865. This edition presents the first translation into Italian of 1872 for the modern reader.

The translation by Teodorico Pietrocòla Rossetti, whom Carroll describes as “my Italian friend”, was the fourth translation of Alice, made after the French, German, and Swedish translations. A fair number of changes have been made to the text, in order to make the book a bit more accessible to the modern reader. The intent, basically, was to retain the feel of the ninteenth-century translation while removing impediments to its enjoyment.

In my Print dialogue settings you can see the document’s metric settings. These are perfectly normal and correct for the size of the book. Or are they?

It turns out that these settings caused the problem. A workaround is to go to QuarkXPress > Preferences… > Print Layout > Meaurements and change from millimetres to inches:

Now, when we return to the Print dialogue, we see what appears to be a rounding error:

But if you manually change these measurements as shown below, you will be able to print a .ps file which will distill using the PDF/X-1a:2001 setting.

“But wait,’ you say, “140mm really is 5.512″, and 216mm really is 8.504″.” That may be so, but previously I was able to use the metric sizes and print to .ps files which would distill properly.

From the introduction:

Lewis Carroll är en pseudonym: Charles Lutwidge Dodgson var författarens riktiga namn, och han var föreläsare i matematik i Christ Church i Oxford. Dodgson påbörjade berättelsen den 4 juli 1862 under en roddbåtstur på Themsen i Oxford tillsammans med pastorn Robinson Duckworth, med Alice Liddel (tio år gammal), dotter till dekanen vid Christ Church, och med hennes två systrar, Lorina (tretton år gammal), och Edith (åtta år gammal). Som framkommer av dikten i början av boken bad de tre flickorna Dodgson om en saga, och till att börja med motvilligt började han så berätta den första versionen av berättelsen för dem. Det finns många halvt dolda anspelningar på de fem genom hela boken, som till slut gavs ut 1865.

Denna bok erbjuder den moderna läsaren en nyutgåva av den första översättningen till svenska. Som den tredje översättningen någonsin av Alice till något språk utgavs Emily Nonnens översättning från 1870 ursprungligen i den stavning som var gällande under 1800-talet. Till denna utgåva har stavningen moderniserats, i enlighet med modern ortografi.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the begin ning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the .story to them. There are many half-hidden references made to the five of them throughout the text of the book itself, which was published finally in 1865

This book is a new edition of the first translation into Swedish, presented for the modern reader. The third translation of Alice into any language, Emily Nonnen’s 1870 version was originally published in a spelling typical of the nineteenth century. In preparing this edition, the spelling has been modernized according to the rules of current Swedish orthography.

In Ireland, as in most countries, one makes a verbal declaration using a prescribed formula when one is in court being granted citizenship. According to Acht Náisiúntachta agus Saoránachta Éireann 1986 (Irish Nationality and Citizenship Act, 1986), clause 4.15.e, one makes

dearbhú sa tslí fhorordaithe go mbeidh sé dílis don náisiún agus tairiseach don Stát.

or

a declaration in the prescribed manner, of fidelity to the nation and loyalty to the State.

And so I did. And so I have tried to act in the decade since: I have been faithful to our nation in representing her in International Standardization meetings, by supporting linguistic minorities of all kinds. I have expressed my loyalty to the State by ensuring that I vote regularly, by encouraging my fellows to do so, by carrying my passport proudly, and recently by joining a political party so I could try to make a difference, in a small way, to bettering life here for everyone fortunate enough to live in this beautiful country.

How gutted I am that “our” Taoiseach (Prime Minister) has expressed nothing but contempt for our nation and for our State. Knowing that 80% of the electorate and half the parliament has called for a General Election so that the people can give a government a mandate to help us out of the economic crisis we are in, he has nevertheless expressed nothing but the highest arrogance and selfishness, a grubby and cynical clinging on to power at all costs. Despite his obvious incompetence and the obvious incompetence of all his cabinet, he has slimpered through financial negotiations with the EU and IMF, gaining nothing for us but a debt that we will doubtless one day be forced to default on, not to save our country, but to bolster and protect German investors who put their money in a bank they doubtless knew was behaving recklessly. I thought that capitalism meant that investors were expected to bear the risk of their investments failing. Not that the populace of a free country should be made to pay for such failures.

“Slimper” is a portmanteau word. It is a little like simpering, and a little like slinking, accompanied with a bit of a pathetic whine.

We have been made like unto serfs to a handful of German investor-lords.

By slimpering Brian Cowan and Brian Lenihan and their “Republican” comrades. People who were born here. People who did not have to make a promise or take an oath to be worthy to live here. People who ran our republic into the ground and then kept on digging. To save their faces. To save their friends at Anglo. To save their arses from whatever secrets their friends at Anglo knew.

These people have committed what can only be called treason. Even if it was inevitable that we take some sort of help (it is a high-interest LOAN, not a BAIL-OUT), these spineless cretinous cowards could not even allow the Irish people a general election to give a mandate to a government to lead them through these dark times. Their reckless and craven egotism beggars belief. Their ministerial pensions should be stripped from them and they should be tried and offered exile or prison.

It is difficult to think of adjectives sufficient to describe their villainy. All we can hope for is for every single one of them to lose their seats in the election, and for this to be a sea-change in Irish politics, and that we look back on this time as the time when we learned to put parochial, tribal, civil-war cronyism behind us.

So very many people will emigrate now. They will have no choice. Young people in their twenties and thirties have already begun doing it. I’ve made some comments on Facebook about how I’m considering Iceland. And I do like Iceland. And Icelandic. A lot. But I have chosen to be dílis don náisiún and tairiseach don Stát, and I hope that I can find the strength and honour to stay here and try still to make Ireland a better place for myself and my fellow citizens.

And hope that one day Fianna Fáil will be nothing more a bogeyman name to frighten children with.

About the book:

Y feu screfys Enys Tresour gans Robert Louis Stevenson i’n bledhynyow 1880 hag 1881. Dalethys veu in Braemar in Scotlond, le may whrug y das gwil gweres dhodho gans y brevyans y honen a vêwnans in gorholyon. Gorfednys veu an novel pàn esa Stevenson in Davos rag an secùnd treveth in gwâv an vledhen 1881-1882. Enys Tresour, neb a dheuth in mes pàn o an auctour udnek bledhen warn ugans bloodh, o y kensa romans hir, ha pàn veu an lyver dyllys avell lyver, Stevenson a recêvas dredho rag an kensa prës sowena in lagasow an bobel. An whedhel-ma a dhalathas apperya in mis Hedra 1881 i’n lyver termyn Sowsnek gelwys Young Folks. I’n termyn-na Cog an Mor, bò Enys Tresour o an tîtel, saw pàn veu dyllys an novel avell lyver in mis Mê 1883, an hanow o Enys Tresour yn udnyk, ha’n hanow-na a gemeras y le in mesk tîtlys a lyvrow classyk liesgweyth cotha. Y fëdh gwelys i’n lyver-ma delinyansow bryntyn Louis Rhead, a veu dyllys rag an kensa prës i’n vledhen 1915. Nicholas Williams a drailyas an lyver-ma dhe Gernowek. Ev a drailyas Alice’s Adventures in Wonderland gans Lewis Carroll dhe Gernowek ha dhe Wodhalek Wordhen kefrës.

“Pymthek den wàr gofyr an marow—
Yô-hô-hô, ha botel dowr tobm!
Dewas ha’n Jowl a ladhas y barow—
Yô-hô-hô ha botel dowr tobm!”

It was in 1880 and 1881 that Robert Louis Stevenson wrote Treasure Island, which was begun at Braemar, Scotland, where his father aided him with suggestions from his own seafaring experiences. It was finished in the course of his second visit to Davos, Switzerland in the winter of 1881-1882. Treasure Island, which appeared when the author was thirty-one, was his first long romance, and it brought to him his first taste of popular success, when the story was published in book form. It was in October 1881, that this story began to appear as a serial in an English magazine called Young Folks. The title then was The Sea Cook, or Treasure Island, but when published in book form in May 1883, the name was simply Treasure Island, a name which has taken its place among the titles of far older classics. This edition contains the superb illustrations of Louis Rhead, which were first published in 1915.

“Fifteen men on the dead man’s chest—
Yo-ho-ho and a bottle of rum!
Drink and the devil had done for the rest—
Yo-ho-ho and a bottle of rum!”

About the book:

It was in 1880 and 1881 that Robert Louis Stevenson wrote Treasure Island, which was begun at Braemar, Scotland, where his father aided him with suggestions from his own seafaring experiences. It was finished in the course of his second visit to Davos, Switzerland in the winter of 1881-1882. Treasure Island, which appeared when the author was thirty-one, was his first long romance, and it brought to him his first taste of popular success, when the story was published in book form. It was in October 1881, that this story began to appear as a serial in an English magazine called Young Folks. The title then was The Sea Cook, or Treasure Island, but when published in book form in May 1883, the name was simply Treasure Island, a name which has taken its place among the titles of far older classics. This edition contains the superb illustrations of Louis Rhead, which were first published in 1915.

“Fifteen men on the dead man’s chest—
Yo-ho-ho and a bottle of rum!
Drink and the devil had done for the rest—
Yo-ho-ho and a bottle of rum!”

Since the failed Irish government coalition between Fianna Fáil and the Greens has driven Ireland to enter into talks with the EU and IMF about a bailout, it seems clear that the Irish public at large is getting more and more despondent as the days and weeks go on. Accordingly, to raise the morale of the Irish public under the threat of the impending loss of Irish sovereignty, I offer the following:

Please feel free to share it. You can show your determination to weather the crisis with an inspirational coffee mug! Visit the Keep Calm and Carry On IRL Café Press shop! I bought two mugs for myself today. When I’m drinking a cuppa I’ll take some comfort in my calmness. Perhaps. There’s a North American Keep Calm and Carry On IRL Café Press shop too.

And now there’s a Keep Calm and Carry On Ireland Facebook page, too, for this little bit of cheerfulness.

Evertype is pleased to announce the publication of Gladys in Grammarland and Alice in Grammarland, two educational tales inspired by Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

The two tales in this book are not related to one another, though both are responses to Lewis Carroll’s Wonderland, and both are somewhat didactic in nature.

Audrey Mayhew Allen was born in 1870, and so was about 27 years of age when she wrote Gladys in Grammarland. In this story, Gladys becomes sleepy after class and finds that a Verb Fairy has taken an interest in her education.

Louise Franklin Bache wrote several plays for the Junior Red Cross News, and later published a book Health Education in an American City. The charming Alice in Grammarland was written as a play for “Better Speech Week”, 5–8 November 1923, and “American Education Week”, 18–24 November 1923, and was published in Junior Red Cross News in that month and year. In it, Carroll’s Alice returns to meet her old friends the Hatter and the White Rabbit, together with the King and Queen of Grammarland.

ALICE: Curious! Curiouser! Curiousest! [Scrambling to feet.] No, that is all wrong, Dinah. I mean, curious, more curious, most curious. That is the most curious sight I have ever seen!

RABBIT [rushes back and forth across stage]: The Queen, the Queen! Oh, my dear paws! Oh, my fur and whiskers! She’ll have me executed as sure as cats are cats.

ALICE: [intercepts RABBIT]: I heard you mention a Queen. I’d give anything in the world to see a real Queen.

RABBIT [stops; looks ALICE over; spies cat, shudders; hurries off; speaks over shoulder]: Your language is wantonly extravagant. However, for your benefit I will say that no one who carries a carnivorous, domesticated quadruped is permitted to gaze at my Queen.

ALICE [rushes after RABBIT; grabs sleeve]: You use such long words I am not sure that I know what you mean. If you are by any chance speaking of my cat, I can assure you she will not mind being left at home.

RABBIT [struggling to free himself]: I speak English. If you cannot apprehend the meaning of my words, whose fault is it? [Exit RABBIT.]

Evertype is pleased to announce the publication of a new edition of John Kendrick Bangs’ Rollo in Emblemland, a tale inspired by Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass. The story tells of a young boy named Rollo who visits a strange country peopled with symbols and icons—emblems of culture like John Bull, Uncle Sam, the Owl, the Stork, Puck, Mr Punch, Father Time, Cupid, and others. Macauley’s line drawings are charming and some of the verse in the book is reminiscent of Carroll’s.

From the introduction:

John Kendrick Bangs (1862–1922) was born in Yonkers, New York, and is known for his work as an author, editor, and satirist. In 1884 he became an Associate Editor of Life, later working at Harper’s Magazine, Harper’s Bazaar, and Harper’s Young People, in the position of “Editor of the Depart­ments of Humor” for all three from 1889 to 1900. Later he worked as editor of Munsey’s Magazine, of Harper’s Literature, and of the New Metropolitan magazine, and in 1904 he was appointed editor of Puck, perhaps the foremost American humour magazine of its day.