Abstract
Gaynor Arnold’s fictional interpretation of the relationship between Charles Dodgson (Lewis Carroll) and Alice Liddell (the ‘real-life’ heroine of the Wonderland books) takes its title from a cruel piece of Through the Looking-Glass (1871) whimsy. The Walrus and the Carpenter lure juvenile oysters away from their beds promising a stroll, and, having eaten them all, weep lustily over their empty shells; Alice pronouncing them ‘both very unpleasant characters’. Arnold’s own foray into Victorian melodrama likewise concerns a crime against innocence in whose aftermath, like Alice, the reader is obliged to select the most culpable predator from an eccentric and unsympathetic array of creatures.
How to Cite
Rix, A., (2013) “Crime against Innocence”, Opticon1826 15, Art. 6.
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