(Piano/Vocal/Guitar Songbook). 12 songs complete with color illustrations and story line. Songs include: All in the Golden Afternoon * I'm Late * The Unbirthday Song * and more.
Alice in Wonderland
In a world of my own
The caucus race
How d'ye do and shake hands / by Oliver Wallace and Cy Coben -The walrus and the carpenter
The unbirthday song / words and music by Mack David, Al Hoffman and Jerry Livingston
All in the golden afternoon
A-E-I-O-U (The caterpillar song) / music by Oliver Wallace
'Twas brillig / words and music by Don Raye and Gene De Paul
Very good advice
March of the cards.
"Reviewed with Robert Sabuda's Alice's Adventures in Wonderland. What is it about Alice? This season two well-known children's book creators have tackled the challenge of shoehorning Alice's Adventures in Wonderland into pop-up books only six spreads long. Larded with dioramas, flaps, and other displays of paste-and-paper bravura, both versions are likely to create buzz among Alice collectors and aficionados of movable books. But the two renditions of the same story could hardly be more different. Seibold's "super dimensional" Alice, which he both designed and illustrated, plunges children into a psychedelic universe straight out of the Jefferson Airplane's "White Rabbit." It features Carroll's original text in brief, cherry-picked excerpts, so the finished product is more a series of interpretive highlights than a thorough presentation of the story, and the rococo, tough-to-decipher typeface adds to the impression that the book is meant to be viewed, not read. Seibold's trademark palette of beiges and pea greens, and a slightly grotesque Alice with Ronald McDonald clown feet, seem to dare readers to prefer Disney's prettiness or Tenniel's Victorian placidity. The pops conceived by Seibold and paper engineer James R. Diaz are a lot of fun. Each spread contains a dizzying array of devices and effects, including a particularly clever rendering of the vanishing Cheshire cat. In the end, however, all of this somehow seems less the point than the book's air of hipster irony. The version by Sabuda, creator of a previous pop-up adaptation of a classic, The Wonderful Wizard of Oz (2000), cleaves more closely to the original; its full-color artwork is "in John Tenniel's classic style," and the abridged text, cleverly tucked into minibooks on each spread, is fairly comprehensive. It's also the more successful of the two, partly because this faithfulness preserves the contrast between the drawing-room politeness of Tenniel's illustrations and the lunacy of Carroll's imaginings. Where the pops in Seibold's version creak open a bit grudgingly and sometimes need a hand from the reader to work properly, Sabuda's don't pop so much as gracefully unfurl--and then collapse upon themselves with jaw-dropping ease that leaves one flipping the pages back and forth in amazement. Few readers will peep through the expandable tube that simulates Alice's tumble down the rabbit hole, or admire the closing spread's intricately die-cut, gravity-defying arc of playing cards, without feeling a bit bereft when the adventure comes to an end. This will very likely come to be seen as the definitive pop-up version of Alice, but it will also further establish Sabuda as the foremost visionary of the genre. --Jennifer Mattson Copyright 2003 Booklist"
From Booklist, Copyright (c) American Library Association. Used with permission.
Publisher's Weekly Review:
"engineered Alice does not match the gracefulness of Robert Sabuda's (reviewed above). It begins briskly, with Alice spying the White Rabbit, but soon reveals its shortcomings as a pop-up. The rabbit, for instance, printed on a bent flap, lies almost flush with the ground. Throughout the book's seven tableaux, the paper architecture does not unfold smoothly, requiring manual assistance that reduces the book's shelf life and the pleasure of playing with it. Unfortunately, Lewis Carroll's story is so condensed that some of the visual details (references to Alice's "sea of tears" and the "fish-footman") appear from nowhere; Carroll's original might have nonsensical turns, but its plot is coherent, whereas this narrative may well be befuddling to those unfamiliar with the tale. Yet where this book is lacking in sleek engineering and storytelling, it does offer avant-garde aesthetics. The text is hand-lettered in Seibold's signature multicolored script, and the images are styled in his minor-key palette of olive drab, blue gray, brick red, plum and white. Pull-tabs welcome reader participation, and some reveal themselves only on rereadings. Among the best effects is a Cheshire Cat whose smile is printed on a clear plastic window; when someone tugs the tab, a smoky piece of plastic descends, obscuring the Cat but leaving its grin. Seibold's funny, non-moveable books, such as the Mr. Lunch series, better convey the illusion of action and excitement. All ages. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved"
(c) Copyright PWxyz, LLC. All rights reserved