The work of Lewis Carroll has everything required to please the modern reader: children's books or, rather, books for little girls; splendidly bizarre and esoteric words; grids; codes and decodings; drawings and photographs; a profound psychoanalytic content; and an exemplary logical and linguistic formalism. Over and above the immediate pleasure, though, there is something else, a play of sense and nonsense, a chaoscosmos. But since the marriage of language and the unconscious has already been consummated and celebrated in so many ways, it is necessary to examine the precise qllture of this union in Carroll's work: what else is this marriage connected with, and what is it that, thanks to him, this marriage celebrates?