If you’ve ever cried during any Christmas movie (or Christmas special, or stop-motion

animation, or advertisement) ever, then you’ve been moved by Ebenezer Scrooge. It’s a Won-derful Life, for instance, chose to split Scrooge up into a hero (George Bailey) and a villain (Mr. Potter), but also managed to incorpo-rate the original story’s parallel universe idea. And Bad Santa, Elf, and Scrooged, for instance, simply transformed the Scrooge character into different forms (a thief, a workaholic, and Bill Murray, respectively). Even Die Hard is, at its core, a redemption story, with Bruce Willis in the role of the jaded, single-minded anti-hero. And Love Actually can’t resist the impulse to bring all of its characters back into line with their better selves by the end.

In fact, A Christmas Carol is so essential to our modern idea of Christmas that it’s now often hard to spot. But wherever you look, there it is.

This isn’t just due to the fact that the re-demption story at its core is so archetypal (not to mention so Christian); it’s also owing to the fact that Dickens — no stranger to tomes — managed to pack so much in to such a small space. The first edition of the book was only seventy-eight pages long, but in those seventy-age pages Dickens managed to include a ghost story, time travel, comedic scenes, a romance, a party, a roast goose, and of course (the Dickens staple) a sickly, suffering child.

That’s a lot to cover, but nothing feels rushed. If anything, it feels like Scrooge’s re-demption comes just in time. Like traditional Christmas carols, the book is broken up into five separate staves — showing Scrooge’s prog-ress from his meeting with Marley to Christ-mases past, present, future, and present again. These maps attempt to render that same jour-ney in purely visual terms. •

Ebenezer Scrooge: Time Traveler

From A Christmas CarolBy Charles Dickens

1843

4.

It’s commonly said of great books that they show us a new way of looking at

the world. In Richard Adams’s (incredibly adult) children’s classic, that is literally the case. He took an area that he knew extremely well — the area that surrounded his home in the English countryside — and then made it home to an entirely new world: a world where rabbits talk and reason a lot like humans do, but in which they also remain, in a very real sense, rabbits. There is very little else like it in this regard. And perhaps that’s the reason why so many publishers turned it down before it was finally released, won the Carnegie Medal, and sold millions upon millions of copies.

The humanish rabbits (or rabbity humans — whichever you prefer) of Watership Down show us a world that is both utterly recog-nizable and yet entirely new, with plants that smell more vivid, human symbols that seem more mysterious, and natural clues that offer far more information than we would normally expect. The essential nature of these rabbits

— timid yet capable of real bravery; limited in imagination but creative when occasion de-mands; and generally imbued with the poten-tial to exceed their natural limits — is the thing that binds us to them, and which makes their story matter. When Blackberry figures out how the rabbits can utilize a raft, Fiver gets it; but Hazel — who’s a very clever rabbit in his own right, just cant grasp it. It’s those little things that keep the rabbits in scale.

Scale was also an interesting problem to con-sider in creating these three maps. How to show how intimidatingly large the world beyond the Sandleford warren must appear, while at the same time offering an intimate glimpse of the rabbits’ lives underground. Whether that life is under threat, as at Sandleford; defeated, as in Cowslip’s warren; belligerent, as at Efrafa; or a true home, as Watership Down finally becomes. On this question of scale, Richard Adams has, in a way, already provided the answer. We must see the rabbits as he understands them: on their own terms, but through a human lens. •

The WarrensFrom Watership Down

By Richard Adams1972

12. 13.

14. 15.

18. 19.

This wide-ranging collection of maps — all inspired by literary classics — offers readers a new way of looking at their favorite fictional worlds.

Acclaimed pop cartographer Andrew DeGraff’s stunningly detailed artwork takes readers deep into the landscapes from The Odyssey, Hamlet, Pride and Prejudice, Invisible Man, Lord of the Flies, A Wrinkle in Time, Watership Down, The Handmaid’s Tale, and more. Sure to reignite a love for old favorites and spark fresh interest in more recent works as well, Plotted provides a unique new way of appreciating the lands of the human imagination. •

PlottedA Literary Atlas

By Andrew DeGraff

Art / Popular Culture

ISBN: 978-1-936976-86-7

$24.99 | 8 x 10 |

Publication Date: 10/ /2015PR Contact: publicity@zestbooks.net

Distributed by Houghton Mifflin Harcourt

35 Stillman Street, Suite 121, San Francisco, CA 94107 | 415-777-8654 | www.zestbooks.net/plotted