路易斯·卡羅的《愛麗絲夢遊仙境》從1865年出版，持續再版至今已超過150年，乃文學經典之作。在超過一個半世紀的時間中，由於卡羅的書寫保有相當詮釋解讀空間，吸引了無數的插畫家、藝術家、作家和電影製作人，重新插畫、改寫，甚至改編成電影。在各種作品中，不同時代的插畫呈現了許多不同的閱讀及再現卡羅作品的角度。安東尼·布朗恩在1988年出版他的《愛麗絲夢遊仙境》插畫版本，他雖採用超寫實繪畫技巧，卻呈現了一個形象鮮明的愛麗絲。不同於薩爾瓦多·達利在1969年所勾勒的抽象愛麗絲，布朗恩的超寫實愛麗絲，形象具體、色彩鮮明，卻又超越一般圖像的認知和指涉，更新閱/讀者在文本中的看見和感受。另外，為了突破坦尼爾的愛麗絲經典插畫框架，布朗恩藉由對卡羅文本的個人解讀，讓閱/讀者看見不同的《愛麗絲夢遊仙境》。為了凸顯愛麗絲的超寫實形象，布朗恩加入了許多以文本為主的視覺影像，如:凸顯的身體區塊、漠然的臉部表情和哭喪著臉的愛麗絲，這些都未在坦尼爾的插畫中出現。再者，布朗恩插畫也呈現他個人一貫的風格，一是借用許多名畫的構圖延展圖像的象徵意義，一是再現他個人作品常見的動物角色。不同的是，動物不再以擬人化的方式呈現，而是刻意強化動物的不可知性，引發閱/讀者的不同想像和解讀。另一特色是布朗恩的愛麗絲，這個好奇卻孤單的小女孩，巧妙地呼應布朗恩一直以來對當代兒童的關懷。布朗恩的《愛麗絲夢遊仙境》除了再現超寫實的愛麗絲外，也延伸他獨特的超寫實風格，用以詮釋卡羅文本中的動物角色和童年概念，增加文本閱/讀的豐富性。

Lewis Carroll’s Alice’s Adventures in Wonderland (1865) is a classic that has been continuously published for more than 150 years. During this time, it creates a wonderland for numerous illustrators, artists, writers, and movie makers. They keep adapting, re-writing, and re-illustrating the work owing to its potential for new comprehensions and interpretations. Among these efforts and devotions, the re-illustrations in different eras provide noteworthy images demonstrating diverse ways to read, visualize, and re-present Carroll’s work. As one of the illustrators after Sir John Tenniel, Anthony Browne uses a distinct style in re-illustrating Alice’s Adventures in Wonderland, published in 1988. He presents an accessible Alice with surreal techniques. Being not as abstract and obscure as the volume by Salvador Dali (1969), Browne’s surreal Alice is marked by the vivid images and distinctive colors, and intriguingly transcends the recognizable signifiers. First of all, challenging Tenniel’s iconic illustrations, Browne’s work renders a different way to see Alice’s story by re-interpreting and visualizing Carroll’s text. Except for the surreal images of the heroine, Browne adds some imaginary but text-based images that are not present in Tenniel’s version such as separate body parts, aloof facial expressions and even the image of a crying Alice. Moreover, Browne marks his individual style by alluding to well-known paintings and presenting alternative animal characters. Browne appropriates the noted paintings to bring forth the rich connotations and symbolic meanings deftly echoing the elusive language of Carroll’s text. As for the animal characters, they preserve their animalistic opaqueness eliciting the reader’s/viewer’s different imagination instead of being anthropomorphic. Last but not least, Browne reconfigures Alice as a curious but lonely child corresponding to his consistent concern about contemporary children. Browne’s Alice’s Adventures in Wonderland makes a wonderland that presents a surreal Alice, sustains his distinct style, and further explores the ideas of animals and childhood as suggested in Carroll’s text.