The “Alice’s Adventures in Wonderland” 150 Introduction continues to bind the relationship between Dali and Lewis’s story as a whole. According to the introduction, “The Icon, emblematic rather than human, is also manifested in many of Dali’s paintings through the mid-1940’s but does not seem to have caught his attention again for a quarter century, after which he very much associated with Alice” (xiii). In addition, regarding Dali’s surrealism and his art in general, “Dali stimulated delirium, speculating on the propriety of the uninterrupted becoming of every object upon which he carried out his paranoid activity…The limits between the real and the imagined became ambiguous. And his paintings began to represent a space in which everything that can be seen is potentially something else. Wonder, dreams, and the unconscious serve as stages for metamorphoses, where the objects, symbols of irrational desires, are subjected to sudden mutations, an uninterrupted becoming” (xiv). This only reinforces the appropriate relationship fostered between Dali and Lewis’s fairytale. Finally, “Dali’s work seems not to much to translate a literary text into another medium as to provide a complementary experience, one in which Alice herself is not really involved and very few characters are depicted” (xiv) therefore allowing the audience’s experience of reading to be supplemented by Dali’s art, and not distracted by it.

Works Cited

Carroll, Lewis, and Salvador Dali. Alice’s Adventures in Wonderland. 150th Anniversary Edition ed. Princeton: Princeton UP, 2015. Print.