Reviewed by: The Fabulous Journeys of Alice and Pinocchio: Exploring Their Parallel Worlds by Laura Tosi with Peter Hunt Jan Susina (bio) The Fabulous Journeys of Alice and Pinocchio: Exploring Their Parallel Worlds. By Laura Tosi with Peter Hunt. McFarland, 2018. Books speak to other books, both consciously and unconsciously. I frequently pair the reading of texts whose themes or plots overlap: Louisa May Alcott's Little Women and Mark Twain's Tom Sawyer; Lewis Carroll's Alice's Adventures in Wonderland and L. Frank Baum's The Wonderful Wizard of Oz; and Heinrich Hoffmann's Struwwelpeter and Roald Dahl's Charlie and the Chocolate Factory. But, although I often include both Alice and Carlo Collodi's Pinocchio in a history of children's literature course, it has never occurred to me to pair these two novels. After reading Laura Tosi's study that is intended to be "a critical narrative and a parallel reading of two classics, which records mutual interests and avenues of exploration between and across diverse linguistic, historical, and national borders of England and Italy" (2), such a pairing now appears obvious to me. The most useful aspects of this study lie in Tosi's carefully examination of Pinocchio, drawing upon her own scholarship as well as that of other Italian scholars not previously translated into English. As an Italian children's literature scholar, Tosi spends about sixty percent of the book examining Pinocchio and the other forty percent focusing on Alice. While Peter Hunt's name also appears in the title, he contributes just two short sections to this volume—the first in chapter 2, detailing how Alice and Pinocchio function as gendered children's books, and the second in chapter 4, discussing the use of fairies by Carroll, Collodi, George MacDonald, and Charles Kingsley—and in the Appendix his own quirky contemporary fairy tale, "The Strange Meeting in Wonder-Tuscany," in which he imagines the meeting of these two famous protagonists. Tosi acknowledges that Alice and Pinocchio differ in many ways, including their literary sources, authorial intentions, and the widely differing political and cultural backgrounds of the authors, yet she makes compelling claims for similarities between the two distinctive texts. Both books were written by eccentric bachelors who [End Page 192] published under pen names, and both were intended for a dual audience of children and adults. Building on the work of Ann Lucas Lawson, who has previously written on the similar nature of the authors' biographies, their frequent use of talking animals, and the pivotal use of courtroom scenes, Tosi argues that the books are also similar in their structure and composition: both are episodic wanderings of a protagonist who is confronted by a series of odd and somewhat threatening creatures during their travels. Curiously, both authors constructed the stories in two distinct sections. While Carroll intended Alice's Adventures in Wonderland and its sequel Through the Looking-Glass to be separate texts, the strong interlocking and mirroring of characters and episodes between the two volumes has led many publishers and makers of film adaptations to blend them into a single text. Similarly, Collodi produced Pinocchio in two distinct stages. Pinocchio I, initially published in the children's magazine Giornale dei bambini in 1881, originally ended with what is now chapter 15, which features the protagonist's gruesome death. At the request of the magazine's readers, Pinocchio II begins with his revival and chronicles his continuing struggle to become a real boy. Both texts are strongly influenced by the fairy tale and fantasy tradition. In addition, each is lauded as a national literary icon; Alice is considered stereotypically British and Pinocchio is viewed as an embodiment of Italian culture. Both texts are highly theatrical in nature, with Alice being influenced by the British pantomime tradition and Pinocchio growing out the world of puppetry. Alice and Pinocchio experience unexpected and grotesque body changes; after eating, Alice grows either too tall or too short for her environment and experiences an elongated neck, while Pinocchio is famous for his nose that grows when he tells lies. Metamorphosis occurs in both books, with the Duchess's baby transformed into a pig in Alice's arms, and...
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