Through the Looking-Glass and What Alice Found There (1872) is the sequel to Lewis Carroll’s Alice in Wonderland. Like Wonderland, the Looking-Glass world is a dream-scape but one which is also underpinned by the rigid structures and gridded form of a chessboard that determines the frame-names for different sections of the narrative as mapped here. Although strictly a bridge text – the narrative begins and ends in the ‘drawing-room’ – Through the Looking-Glass can be understood as a fantasy novel in that it contains a purely imaginative realm or what Bakhtin defines as an ‘abstract-alien’ world (‘Forms of Time and the Chronotope in the Novel’, p. 101) with its own ‘peculiar consistency and logic’ (p. 102).  Alice moves across the board-as-landscape to become a Queen and this breaks up the sections of the narrative which implicitly concern her moves across each square (although within each of these spaces little spatial logic seems to apply).  For the most part, because she is 'through the looking-glass' Alice is confronted with a back to front world with only her own experience as an anchor to the real: ‘in OUR country’, said Alice [...] ‘you'd generally get to somewhere else--if you ran very fast for a long time’. ‘A slow sort of country!’ the Queen replies. ‘Now, HERE, you see, it takes all the running YOU can do, to keep in the same place’ (Looking-Glass, 200).   The maps given here present a relative mapping of the spaces of the narrative as Alice moves, as well as a shaping of that relative map onto the underlying layer of a chessboard (as given by Carroll at the front of the book).