The Sublime Alice in Wonderland Illustrations of Tove Janssen, Creator of the Globally-Beloved Moomins (1966)

Sometimes describing a classic work of literature as “timeless” draws attention, when we revisit it, to how much it is bound up with the conventions of its time. Alice’s Adventures in Wonderland emerged from a very specific time and place, the bank of the Thames in 1862 where Charles Lutwidge Dodgson first composed the tale for Alice Liddell and her sister. The future Lewis Carroll’s future bestseller became one of the most widely adapted and adopted works of literature in history. It never needs to be revived—Alice is always contemporary.

Those who have read the book to children know that Carroll’s nonsense story, though filled with archaic terms and outdated ideas about education, requires little additional explanation: indeed, it cannot be explained except by reference to the strange leaps of logic, rapid changes in scale and direction, and anthropomorphism familiar to everyone who has had a dream. Dodgson was a pretty weird character, and prim Victorian Alice is not exactly an everygirl, but every reader imagines themselves tumbling right down the rabbit hole after her.

As far as illustrators of Carroll’s timeless classic go, it’s hard to find one who is more universally beloved, and more Alice-like, than Tove Jansson, inventor of the Moomins, the Finnish series of children’s books and TV shows that is, in parts of the world, like a religion. How are her Alice illustrations not better known? It’s hard to say. Janssen’s Bohemian biography is as endearing as her characters, and she would make a wonderful subject for a children’s story herself. As James Williams tells it at Apollo Magazine:

The artist, Tove Jansson (1914–2001), was a great colourist who lived a richly plural life. Born into Finland’s Swedish-speaking minority to a Swedish mother and a Finnish father, both artists, she grew up on both sides of the Baltic. Jansson trained as a painter and illustrator in Stockholm and Paris, and made an early living through commissions and piecework. She was an acerbic and witty anti-fascist cartoonist during the Second World War, sending up Hitler and Stalin in covers for the Swedish-language periodical Garm. Descended on the one hand from a famous preacher, and on the other from a pioneer of the Girl Guide movement, she was raised on the Bible and on tales of adventure (Tarzan, Jules Verne, Edgar Allen Poe). In her thirties she built a log cabin on an island and was a capable sailor. She lived visibly and courageously with her partner, the Finnish artist Tuulikki Pietilä, at a time when lesbian relationships did not enjoy public acceptance. She considered emigrating at various times to Tonga and Morocco but, despite travelling widely, remained rooted in Finland where she became (dread accolade) a ‘national treasure.’ She wrote a picture book for children about the imminent end of the world and spare, tender fiction for adults about love and family. She never stopped drawing and painting. She was Big in Japan.

We’ll find dream logic woven into all of Janssen’s work, from her early Moomin-like creature paintings from the 1930s to her illustrations for The Hobbit and Alice decades later. Her Alice, in Swedish, was first published in 1966, then released in an American edition in 1977. Sadly, her illustrations “did not receive such a great reception,” notes Moomin.com. “Readers already had their own imaginations in their minds about these classics.”

Blame Disney, I suppose, but there is never a bad time to re-imagine Alice’s journey, and the artist has left us with an excellent way to do so, “crafting a sublime fantasy experience,” Maria Popova writes, “that fuses Carroll’s Wonderland with Jansson’s Moomin Valley.” See more of Jansson’s timelessly weird drawings at Brain Pickings.

Related Content: 

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Alice’s Adventures in Wonderland, Illustrated by Salvador Dalí in 1969, Finally Gets Reissued

Ralph Steadman’s Warped Illustrations of Alice’s Adventures in Wonderland on the Story’s 150th Anniversary

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

The Gruesome Dollhouse Death Scenes That Reinvented Murder Investigations

Who can resist miniatures?

Wee food, painstakingly rendered in felted wool

Matchbook-sized books you can actually read…

Classic record albums shrunk down for mice…

The late Frances Glessner Lee (1878-1962) definitely loved miniatures, and excelled at their creation, knitting socks on pins, hand rolling real tobacco into tiny cigarettes, and making sure the victims in her realistic murder scene dioramas exhibited the proper degree of rigor mortis and lividity.

Lee began work on her Nutshell Studies of Unexplained Death at the age of 65, as part of a lifelong interest in homicide investigation.

Her preoccupation began with the Sherlock Holmes stories she read as a girl.

In the 1930s, the wealthy divorcee used part of a sizable inheritance to endow Harvard University with enough money for the creation of its Department of Legal Medicine.




Its first chairman was her friend, George Burgess Magrath, a medical examiner who had shared his distress that criminals were literally getting away with murder because coroners and police investigators lacked appropriate training for forensic analysis.

The library to which Lee donated a thousand books on the topic was named in his honor.

The homemade dioramas offered a more vivid experience than could be found in any book.

Each Nutshell Study required almost half a year’s work, and cost about the same as a house would have at the time. ($6000 in the 1940s.)

“Luckily, I was born with a silver spoon in my mouth,” Lee remarked. “It gives me the time and money to follow my hobby of scientific crime detection.”

Although Lee had been brought up in a luxurious 13 bedroom home (8 were for servants’ use), the domestic settings of the Nutshell Studies are more modest, reflective of the victims’ circumstances.

She drew inspiration from actual crimes, but had no interest in replicating their actual scenes. The crimes she authored for her little rooms were composites of the ones she had studied, with invented victims and in rooms decorated according to her imagination.

Her intent was to provide investigators with virgin crime scenes to meticulously examine, culling indirect evidence from the painstakingly detailed props she was a stickler for getting right.

Students were provided with a flashlight, a magnifying glass, and witness statements. Her attention to detail ensured that they would use the full ninety minutes they had been allotted analyzing the scene. Their goal was not to crack the case but to carefully document observations on which a case could be built.

The flawlessness of her 1:12 scale renderings also speaks to her determination to be taken seriously in what was then an exclusively male world. (Women now dominate the field of forensic science.)

Nothing was overlooked.

As she wrote to Dr. Alan Moritz, the Department of Legal Medicine’s second chair, in a letter reviewing proposed changes to some early scenes:

I found myself constantly tempted to add more clues and details and am afraid I may get them “gadgety” in the process. I hope you will watch over this and stop me when I go too far. Since you and I have perpetrated these crimes ourselves we are in the unique position of being able to give complete descriptions of them even if there were no witnesses—very much in the manner of the novelist who is able to tell the inmost thoughts of his characters.

It’s no accident that many of the Nutshell Studies’ little corpses are female.

Lee did not want officers to treat victims dismissively because of gender-related assumptions, whether the scenario involved a prostitute whose throat has been cut, or a housewife dead on the floor of her kitchen, the burners of her stove all switched to the on position.

Would you like to test your powers of observation?

Above are the remains of Maggie Wilson, discovered in the Dark Bathroom‘s tub by a fellow boarder, Lizzie Miller, who gave the following statement:

I roomed in the same house as Maggie Wilson, but knew her only from we met in the hall. I think she had ‘fits’ [seizures]. A couple of male friends came to see her fairly regularly. On Sunday night, the men were there and there was a lot of drinking going on. Some time after the men left, I heard the water running in the bathroom. I opened the door and found her as you see her.

Grim, eh?

Not nearly as grim as what you’ll find in the Parsonage or the Three-Room Dwelling belonging to shoe factory foreman Robert Judson, his wife, Kate, and their baby, Linda Mae.

The period-accurate mini furnishings and fashions may create a false impression that the Mother of Forensic Science’s Nutshell Studies should be relegated to a museum.

In truth, their abundance of detail remains so effective that the Office of the Chief Medical Examiner in Baltimore continues to use 18 of them in training seminars to help homicide investigators “convict the guilty, clear the innocent, and find the truth in a nutshell.”

Explore 5 Nutshell Studies—Woodman’s Shack, Attic, Living Room, Garage, and Parsonage Parlor—in 360º compliments of The Smithsonian American Art Museum Renwick Gallery’s exhibit Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

When Edward Gorey Created Set Designs & Tony Award-Winning Costumes for a Broadway Production of Dracula (1977)

Edward Gorey and Halloween go together as well as Dracula and Halloween. Bring the three together (well, it’s almost Halloween), and you’ve got a triumvirate of classic, wicked, scary fun. The alignment of these dark stars first occurred, Olivia Rutigliano writes at CrimeReads, when a Gorey-designed production of Draculapremiered on Broadway at the Martin Beck Theater on October 20th, 1977, just in time for Halloween.” Starring Frank Langella in the title role, “the production was a smash,” and Gorey, who designed the sets, costumes, posters, playbills, and merchandise, won a Tony the following year.

To hear Gorey tell it, in Episode 4 of “Goreytelling,” an animated series of previously unheard recorded interviews with the reclusive writer/illustrator, he was “only too conscious of not being a real set designer or a real costume designer or a real anything…. I designed it the only way I could.” His seeming pain over the whole thing extends to the play itself. “I don’t know what anybody saw in it, exactly,” he says, “but it was a big hit.”




The play was first staged in 1973, and for years, Gorey says, each time a theater company decided to put it on, he was called up to consult. He dutifully turned up each time, scowling glumly and wondering why. When it finally hit Broadway, he saw two-thirds of a rehearsal and left “jaundiced.” The final product left an even more sour taste. It was, he says, “absurd,” but very lucrative. As for the Tony, he says ironically, the award turned out to be “the cross I had to bear,” an embarrassing accolade for costumes he deemed unworthy of the honor.

Rutigliano deems the set designs “gorgeous… three giant tableaux, in his familiar inky, meticulous style” and features a few photographs from a production in Houston. We would not expect otherwise from Gorey, who was always himself and always a professional. The sets have lived on in photos—some featuring Langella, some his successor, Raul Julia—in miniature models, and in the brief but sort-of compelling production of “Dracula: Starring Edward Gorey’s Toy Theatre,” just below. Gorey also created an illustrated edition of Dracula in 1996.

“It should be noted,” Goreyana writes, “that all the sets for Dracula were hand painted by talented scene shop artists. Every cross hatched line on the walls, furniture, and floor had to be recreated to size by hand.” This is indeed impressive, and Gorey is probably right: the sets, which he also seemed to loathe, were probably more deserving of the Tony than the costumes. “The overall aesthetic,” says Rutigliano, “matches the period of the original Broadway run, the 1920s.” (The production won another Tony for Most Innovative Revival.)

The original theater adaptation was commissioned by Bram Stoker’s widow, Florence, “as part of her copyright crusade against F.W. Murnau’s Nosferatu.” It debuted in England in 1924, then premiered on Broadway in 1927 with a then-unknown Bela Lugosi. “This production would be adapted, in turn, by the director Tod Browning into the famous 1931 Dracula film.” Gorey himself may have hated it, but the play he so meticulously brought back to life in the 70s descended, in a way, in a long, venerable, undead line, from the original Dracula himself.

via CrimeReads

Related Content: 

Edward Gorey Talks About His Love Cats & More in the Animated Series, “Goreytelling”

When Edward Gorey Designed Book Covers for Classic Novels: See His Ironic-Gothic Take on Dickens, Conrad, Poe & More

Horror Legend Christopher Lee Reads Bram Stoker’s Dracula

Watch Nosferatu, the Seminal Vampire Film, Free Online (1922)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

The Secret to High Performance and Fulfilment: Psychologist Daniel Goleman Explains the Power of Focus

“Concentration is one of the happiest things in my life,” says novelist Haruki Murakami in a 2011 New York Times Magazine profile. “If you cannot concentrate, you are not so happy.” In this, the author of A Wild Sheep Chase surely has the agreement of the author of Emotional Intelligence, the psychologist and writer Daniel Goleman. But Goleman expresses it a bit differently, as you can hear — in detail and at length — in “Focus: The Secret to High Performance and Fulfillment,” an Intelligence Squared talk based on the book he published eighteen years after the bestselling Emotional IntelligenceFocus: The Hidden Driver of Excellence.

Attention, Goleman tells us, is under siege, not least by devices “devised to interrupt us, to seduce us, to draw our attention from this to that.” He quotes the famed economist, political scientist, and cognitive psychologist Herbert Simon’s observation that “information consumes attention. Hence a wealth of information creates a poverty of attention” — but he doesn’t mention that Simon made it nearly fifty years ago, long before the invention of most of what besieges our attention today. (Then again, even medieval monks complained of constant distraction.) Most of us can feel, on some level, that to the extent we have trouble focusing, we also have trouble performing at the level we’d like to in our professional and social life.

You can take this class by signing up for a MasterClass’ All Access Pass. For $180, the All Access Pass will give you instant access to this course and 85 others for a 12-month period. (That’s a little more than $2 per course.)

What can we do about it? After offering psychological explanations of what’s going on with our ability to focus (or lack thereof), Goleman suggests strategies we can use to master our “emotional distractors” and work out the “mental muscle” that is our attention. (This analogy with physical exercise would get no argument from Murakami, who runs as rigorously as he writes.) Though “mind-wandering is absolutely essential for creative insight,” as we’ve previously discussed here on Open Culture, the critical skill is to bring our mind back from its wandering at will. This we can practice through Buddhist-style breathing meditation, a subject to which Goleman has since devoted a good deal of research, and just one of the practices that can help us live our lives to the fullest by allowing us to see, hear, consider, and engage with what’s right in front of us.

As Goleman lays out a suite of attention-building techniques and their benefits, he touches on theories and findings from cognitive psychology that have by now been popularized into familiarity: the Stanford “marshmallow test,” for example, which appears to show that children who can delay gratification have better life outcomes than those who cannot. Such outcomes can be ours as well, he argues, if we make a habit of “lengthening the gap between impulse and action” in our own habits. “I’m not a fast thinker, but once I am interested in something, I am doing it for many years,” as Murakami says. “I’m kind of a big kettle. It takes time to get boiled, but then I’m always hot.” As for the rest of us, couldn’t we all stand to become bigger kettles than we are?

Related Content:

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How to Take Advantage of Boredom, the Secret Ingredient of Creativity

How Meditation Can Change Your Brain: The Neuroscience of Buddhist Practice

Medieval Monks Complained About Constant Distractions: Learn How They Worked to Overcome Them

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

Watch a Surreal 1933 Animation of Snow White, Featuring Cab Calloway & Betty Boop: It’s Ranked as the 19th Greatest Cartoon of All Time

Of the three collaborations jazz singer Cab Calloway made with cute cartoon legend Betty Boop, this 1933 Max Fleischer-directed “Snow White” is probably the most successful. It certainly is the most strange—more hallucinatory than the first in the series “Minnie the Moocher”, and less slapstick-driven than “The Old Man of the Mountain.” It is a singular marvel and rightly deserves being deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry in 1994. It was also voted #19 of the 50 Greatest Cartoons of all time in a poll of leading animators.

When she made her debut in 1930, Betty Boop would have been recognizable to audiences as the embodiment of the flapper and the sexual freedom of the Jazz Age that was currently in free-fall after the Wall Street crash of 1929. Only a few years before her premiere, Boop would have been the mascot of the age; now she was a bittersweet reminder of a time that had already passed. With a champagne bubble of a voice, kiss curls, daring hemline, plunging neckline, and the ever present garter belt, she was a cartoon character definitely not designed for kids. That her best films are collaborations with Cab Calloway attest to that. Calloway would make sure his Betty Boop cartoons would screen in a city a week or two before he would play a gig. His “advance woman” as he called her helped sell more tickets.




Accompanying her in this film are the Fleischer’s original character Koko the Clown and Bimbo the Pup, which for this film are sort of empty vessels: they protect Betty, they get knocked out, and Koko gets inhabited by the spirit of Cab Calloway, who then turns into a ghost, all legs and head, no torso. (The ghost is animated through rotoscoping over Calloway’s own film footage.) The Queen, whose talking mirror changes his mind over “the fairest in the land” once seeing Betty Boop, sentences her to death, and then chases her through the underworld before turning into a dragon. At the end, Boop and her gang turn the dragon inside out like a sock, a gross gag not seen again (I’m going to guess) until one of the Simpsons’ Halloween Specials.

In the middle of all this bouncy, surreal mayhem is Calloway’s ghost singing “St. James Infirmary Blues,” a mournful tale of a dead girlfriend and the singers plans for the funeral. The origin of the song is shrouded in mystery, possibly a folk ballad by way of New Orleans jazz. Whatever the source, Koko/Cab sings it to the now frozen and entombed Betty Boop, with the seven dwarves as pallbearers. Koko/Cab turns into a number of objects during his dance, including a bottle of booze and a coin on a chain.

This Snow White does in fact take place during winter and writer Anne Blakeley makes the case that the flapper, the snow, the ice, the passage through the underworld, and Calloway’s song allude to a fall from grace, innocence to experience, through drug abuse—in particular the very snowy cocaine. (I mean, could be! But the film is so odd as to refute any definitive reading.)

The animation was designed and completed by one man: Roland Crandall, possibly as a reward from Fleischer for not leaving for the sunny west coast and the more profitable Disney. Crandall worked half a year on the project and that’s really what gives it its one of a kind nature. Every element, whether animated or in the background, has been lovingly rendered. Foreground and background fight for your attention, and when the film finishes, you want to start all over again to see what you missed.

Lastly, let’s praise the vibe of this film, which places its “star” on ice for half the film, and seems none the worse for it. “Snow White”—four years before Disney’s feature version—is a hypnogogic vision, a half-remembered daydream that takes place while the radio is turned down imperceptibly low.

The animation will be added to our collection, 1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc..

Related Content:

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The Trick That Made Animation Realistic: Watch a Short History of Rotoscoping

The Harlem Jazz Singer Who Inspired Betty Boop: Meet the Original Boop-Oop-a-Doop, “Baby Esther”

Ted Mills is a freelance writer on the arts who currently hosts the Notes from the Shed podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, and/or watch his films here.

Karen O & Willie Nelson Release a New Cover Bowie & Queen’s “Under Pressure”

Today, Karen O and Willie Nelson unveiled their cover of the iconic David Bowie and Queen classic “Under Pressure.” Thematically, it’s a song for our pressure-filled times. But this version will keep you centered and calm. Put it on endless loop through next Tuesday.

Would you like to support the mission of Open Culture? Please consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere.

Also consider following Open Culture on Facebook and Twitter and sharing intelligent media with your friends. Or sign up for our daily email and get a daily dose of Open Culture in your inbox. 

Related Content:

Listen to Freddie Mercury and David Bowie on the Isolated Vocal Track for the Queen Hit ‘Under Pressure,’ 1981

Watch David Bowie & Annie Lennox in Rehearsal, Singing “Under Pressure,” with Queen (1992)

Watch Queen’s Stunning Live Aid Performance: 20 Minutes Guaranteed to Give You Goose Bumps (July 13, 1985)





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