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It's been a while since an occult post and the second half of the White Rabbit is past due (click for part 1). We split it in two when we realized how dependent the symbol was on the writings of Lewis Carroll. Now we'll gather the main points from that one and look at the patterns in white rabbit symbolism after Alice. The themes are very dark - we have been careful with our image choices, but this was still a slog. We are not given a spirit of fear, but the dark wears on the psyche all the same.
Before Carroll, the rabbit had ancient associations of fertility and purity - two broad sets of meanings that could apply to almost anything and can even contradict each other given different contexts.
Piero di Cosimo, Venus, Mars and Cupid, between 1490 and 1505, oil on panel, Berlin State Museums
In the context of an obviously post-coital Mars and Venus, the rabbit symbolizes sexual lust. With the Madonna and Child, it represents purity and positive aspects of fertility - the rebirth of Jesus and the new life for humanity that follows the Resurrection.
Just "fertility" as a concept is not morally directed. It requires context for that. Carroll provides the context for the modern occult.
It is easiest to think about the white rabbit not as a direct symbol - like a dollar sign for money or a green light for go - or even a clear correlation - like blue checkmarks and lying maggots on Twitter. It is best understood as indicating an attitude or orientation, or range of attitudes and orientations, based on a cluster of associations. What makes it hard to pin down is that the attitudes and associations span a moral range between diametric opposites - purity and lasciviousness are contrary, but the rabbit can be applied to both. And in doing so, it brings together things that should be furthest apart. This is not the fault of the rabbit - it's a gentle and timid creature with amazing reproductive powers that avoids danger and an archetype of mindless gluttony and lusts.
The Ladder of Divine Ascent or The Ladder of Paradise, 12th-century icon, Monastery of St Catherine, Mount Sinai
It's a moral continuum...
The fault is with the human shitstains that that are sexually stimulated by childhood innocence and try to mask depraved desire under a transparent pretense of normal appreciation. This is why we went so hard at Carroll in the last rabbit post - he fits a pattern.
There is a certain type of filth that is always hovering around children in a fascinated way, generally tries to get them alone, and has various "interests" and props designed to capture child attention. One cannot read about Lewis Carroll after learning about Walter Breen and not be struck by underlying similarities. We have mentioned this book as a horrifying look into the tacitly-accepted depravity in science fiction. Greyland's mother - Breen's wife Marion Zimmer Bradly - comes off as equally monstrous, but it's Breen who's the Carroll-style prowling groomer.
The pattern extends to the secondary filth that aids and abets the abuse by apologizing for the child rapist. Like author John D. Wright in this link. Would anyone be surprised if the pedo-apologists fantasize about child rape themselves, but lack the evil will to act on it?
Once you can see the pattern, the breezy dismissals from over a century later are appalling. Like this blurb from SJW mouthpiece Kirkus "Reviews" - "the bulk of the book details the peculiar ups and downs of the friendship between the child and the confirmed bachelor (whose best friends were always little girls, although there's no hint that these ties were anything but deliciously whimsical and rather cerebral). This is a patent lie. There's no direct admission, but there's enough smoke for a forest fire.
Just set aside the preconceptions and look at the cover. Seriously, look at the cover. And this is a book that presents this as harmless, whimsical fun.
The illustrations are similar - depictions of supposedly whimsical bonding that stinks of wrong to eyes that can see.
The Band is not above a rhetorical flourish, but we generally try and proceed in a logical way - explaining the contradictions we uncover and showing the evidence and reasoning for for our conclusions. But child abusers challenge our ability to maintain intellectual detachment. We despise them beyond words, and must consciously maintain frame to discuss this issue in a rational manner. There is a reason why this isn't a topic we have been in a hurry to take on.
Old millstone from the Dalgarven Mill, Museum of Ayrshire Country Life and Costume, North Ayrshire, Scotland
But it is an important one.
These freaks with their silly stories and little eye-catching mannerisms are easily detected by vigilant adults. And parents whose children are victimized are often more ignorant and self-absorbed than actually wicked themselves. No matter how unpleasant to consider, this is a major vein of corruption at the heart of the West that needs exposure. If one ostrich pulls their head out of their ass and takes interest in the well-being of their children, than wading through this putrescence was worth it.
Joseph Bouvier, A Sylph Distributing the Early Morning Dew, 1858, oil on canvas, private collection
No need to recap Carroll here - the last post highlights the main points of his depraved psyche and how that echoes in his famous Alice books.
We also saw notions of "fairyland" as a venue for sexualized images of children. This is not an extreme example, but enough to make the point and puncture the illusion of Victorian "propriety". And that's all we're going to show or share of this.
While Carroll wasn't writing about Victorian fairies, he does fit perfectly with the convention of a fantasy other-realm and childhood sexuality. Only he is too clever to present it as blatantly as Victorian fairy-painters. What he does can be explained with Tolkien's term "applicability". This appears in the introduction to The Lord of the Rings and has gotten a lot of attention in the last couple of regular Band posts. Occult posts have more readers though, so we will briefly define it here for those who aren't interested in regular Band
Joe Gilronan, Bilbo's Eleventy-first” Birthday
Applicability describes how imaginary stories can comment on or open insights into the real world, without direct one-to-one symbolism. Think of it as patterns in the story - events, relationships, characters - that helps us better understand things that appear superficially different in our world function in the same way. Like the Shire as an insight into the natural health that comes from living in organic communities.
When we call the White Rabbit and the Alice stories applicable to pedophilic fantasy, we are NOT claiming that the story narrates sexual abuse, or even represents it with clear symbols or allegories. Applicability is subtler. It depicts relationships that reflect on - that are applicable to - real patterns of psychological manipulation that lead the victim into the abusive situation. And this extends well beyond child abuse and into the full range of exploitative and manipulative experiences that the White Rabbit has been connected to.
Olga Kovalyova, illustration for the Alice 150,
This is why we did not reject the Alice books as categorically unfit for children and focused on the narrative pattern rather than the details. To repeat, the books don't overtly reference sexual deviancy, and can be enjoyed by children in healthy and safe settings.
SHU (Shuichi Mizoguchi), Alice In Wonderland 300 piece APPLEONE Jigsaw Puzzle
The White Rabbit's symbolic applicability kicks in when the situation - for adults or children - stops being healthy or safe. The problem is that this seems to be a norm. Searching images for this post has been more disturbing and unpleasant then we expected, and if you've read part one, you know we weren't exactly naive going in. If the results from both Duckduckgo and Google images are any indication, Alice is an absolute magnet for freaks and degenerates. Picture after picture imagines her in in inappropriate and sexually threatening poses and scenes - this one is quite tame.
This isn't "proof" of anything, but it is significant that the story resonates this way with the wicked. It lends itself to perversion. The patterns that we have identified intellectually and critically seem to be something that human garbage are drawn to intuitively.
Jesus Blasco, Alice In Wonderland
Is anyone surprised to see red stockings make an appearance?
Anyone...?
The question: what it is about the underlying pattern that makes it so amenable to toxic activities?
The biggest thing that jumps out at the structural-pattern level is dissociation.
The Band has been understandably critical of psychology, but for the nonsense claims that fail even to reach the level of junk science. But there can be value in observing and naming consistent recurring behavior patterns - like dissociation. According to one link, "dissociation is a psychological experience in which people feel disconnected from their sensory experience, sense of self, or personal history. It is usually experienced as a feeling of intense alienation or unreality, in which the person suddenly loses their sense of where they are, who they are, of what they are doing". A quick search will show a lots of similar definitions - it is a common and easily recognized condition.
What that stands out about dissociation besides how common it is is the wide rage of severity. The mildest form isn't much different from basic distraction or day-dreaming - when one is preoccupied and time passes unnoticed. The severe cases shatter psyches and are more relevant to this post. This bit from Infogalactic on pathological dissociation is a good summary:
Pathological dissociation involves dissociative disorders, like dissociative fugue and depersonalization disorder. These alterations can include: a sense that self or the world is unreal (depersonalization and derealization); a loss of memory (amnesia); forgetting identity or assuming a new self (fugue); and fragmentation of identity or self into separate streams of consciousness (dissociative identity disorder, formerly termed multiple personality disorder) and complex post-traumatic stress disorder.
The thing to remember when using psychological terms is that they are observations. There's no "dissociation bug" that can be tested for or cultured in a lab. Observe traits and draw conclusions. They're biologically imprecise, which is fine, so long as you aren't using them for more than they are. Observation suggests that the cluster of dissociative disorders can have different causes or none at all - Infogalactic again: "dissociative disorders are sometimes triggered by trauma, but may be preceded only by stress, psychoactive substances, or no identifiable trigger at all".
It would be easy to take a shot at Science! here, but we aren't critiquing the status of the social sciences in general. And there is nothing objectionable about noting that certain abnormal behavior patterns come about for different reasons. Individuals are complex, and what may cause one person to break and retreat inward psychically can just wash off another. What is relevant here is the observable correlation between severe dissociation and trauma.
At the extreme, dissociation produces what are called "alters" - distinct, fragmented personalities that used to be called split-personality disorder. As an aside, psychology keeps changing terms because it is strictly observational labeling. Observe something different and you may need a new name. Which is why we don't put stock in much beyond the observations. But whatever the mechanism that produces them, alters are observably real, really disturbing, and potentially destructive. Here's a lengthy overview of the severe end of dissociative alters. And a more practical piece for families dealing with this.
It appears that alters are created as a response to trauma so severe that the mind constructs distinct alternative identities to escape. And this can be so powerful that the victim is unaware of these to the point that personalities can operate completely separately from each other - even in opposition to each other. The entire MK-Ultra / Monarch mind-control research and it's current descendants are based on using controlled trauma to create specific alters that can act without the victims knowledge.
This makes sense - the idea of telepathically controlling someone remotely is far-fetched enough that most will dismiss it out of hand. But the idea that splinter personalities can be created that operate independently when triggered is way more plausible. Similar processes are observed in survivors of ritual child abuse - and there are numerous accounts of the deliberate creation of specific alters based on fictional characters. Is anyone surprised to see the Alice in Wonderland characters high on that list?
Click for image source.
What struck us when writing the last post about the Carroll books was how dissociative they are. Alice isn't splitting into alters, but she does move from impossible scene to impossible scene with a weird emotional detachment that is utterly at odds with the actual scenarios she encounters. If there is something in the stories that makes it catnip for human garbage looking to project their pathology, it is probably this. The isolated child in a strange place projects an inherent vulnerability, but if she were frightened, moving quickly, and scrambling to figure out a way to escape, it is more difficult to imagine her a "willing victim".
The original beloved John Tenniel drawings capture the dissociated flavor of both the Alice books. No scenario, no matter how frightening or shocking creates much response at all.
The stories have been misrepresented as versions of the archetypal hero's journey, except they aren't. They don't have any of the knowledge-gaining, transformative, or ultimately beneficial outcomes that define the hero's journey. It is a journey, but adjectives matter. She returns no different than when she left, and no one else even noticed her absence. And consider how little agency she has, or power to influence what is happening. There is no choice here beyond the decision to follow the odd White Rabbit in the first place. Once she does that, the rest just unfolds.
There are two possibilities - the people calling it a hero's journey are idiot ignoramuses, or the transforming knowledge and experience is implied "between the lines". Both is an acceptable answer too. The stories aren't overtly sexually abusive on the surface but the pattern of the preternaturally-composed child floating through a sequence of nightmare scenarios is exactly the same as an abuser projecting willingness on their dissociated, psychically-fleeing victims. Then you think of
Look further if you are skeptical, but for once we aren't strongly recommending it. What you will read is awful.
Now we bring in the White Rabbit - that centuries-old symbol of lust and innocence - to guide the dissociated girl on her involuntary nightmare journey, and we've found the transforming, between-the-lines content in this inverted "hero's journey".
Put that symbol together with the strange dissociated structure of the stories and the implied "experience" looks like the initiation of an innocent child into a perverse world of adult sexuality.
This is applicability - not beat for beat allegory or direct symbolism, but relationships that illuminate or offer insight into things in reality. It is a pretty abstract interpretation, but applicability is indirect, which means it can't be pinned to a single clear interpretation. And that brings us to the wide range of meanings connected to the White Rabbit post-Carroll and Alice. They are all applications of the figure to different aspects of real world. In other words, the different people will apply the idea of the rabbit from the books to their own circumstances, and these are as diverse as people and their interests.
Lewis Carroll, Alice in Wonderland and Through the Looking Glass, Collins 1939, colored plates by A.H. Watson
Not all the interpretations are perverse, manipulative, or sexualized. The Alice books are classics of children's literature for a reason, and are filled with memorable scenes and moments that aren't particularly sinister. The literal level of the story is fantastical, imaginative, intelligently written, and Alice gets home safe and unharmed.
And it is possible to depict a montage of things from the story without teasing violence, perversion, or the like.
One of the most common general applications is the notion of the fantastical journey - either positive or negative in its relation to the truth. This is an important point, because the whole reason for using analogies and metaphors from beloved and popular stories like Carroll's is to make the point more compelling or persuasive. One is more likely to respond favorably to something when it is related to something else - like a beloved or popular story - that he feels positive about and connected to. Liars understand this and can use warm association of this kind to reduce skepticism and enhance compliance on a subconscious level at least.
Think of the common phrase - "going down the rabbit hole". It is used to refer to the realization that something strange or off leads to a chain of revelations that turns your understanding of the world, or a big part of the world, upside-down. A really famous pop-culture variation appears in The Matrix:
Take the red pill is more iconic - probably because it is more original. But the sentiment here is basically the same as "down the rabbit hole" - a Carroll-themes journey into a reality very different than the one you think you live in.
But there's an inversion.
The Alice stories presume that her everyday life is reality and Wonderland the dream escape place - at least on the surface. You can play "was it really all a dream" or "what's reality anyhow" interpretation games, but on the literal level, the stories make it clear that Alice's life out of Wonderland is the real one.
Now consider the variations on down the rabbit hole or following the white rabbit. These imply that the "real" world is the illusion and the "Wonderland" that you roll into is the truth. The journey seems unbelievable, but the experience turns out to be more "truthful" than what you thought reality is.
In The Matrix, following the white rabbit leads to a more real world outside of a computer simulation [in the Band's reality, the sequels never happened].
Going down the rabbit hole refers to strings of connections that can make you dizzy with how deeply they can rock your world. But they do that because they reveal truths that seem impossible.
It is a complete inversion of Carroll's plots and tells us to think more carefully about applicability. The idea that following the white rabbit reveals hidden "truth" is consistent with the journey of experience that we just mentioned. In both cases, the traveler returns to their "real world" with a different set of knowledge and perspectives. More simply, what "truths" might a symbol of purity and lust lead an innocent girl into?
So we have to pay attention to truth and falsehood with rabbits and rabbit holes - they all claim to be opening your eyes to what's real but some of them are lying. What's at the end - escape from illusion, or Pedoland? Dissection or Dissociation?
This makes the white rabbit difficult to analyze in terms of a specific type of journey, and this is made worse in a modern world where every "mystical" clown with a keyboard can enlighten us with their personal declaration of what a symbol "really" means. No history or background is needed - just empty feel good crystal shoppe crappe. Like a "spiritual living blogger", which may be moron for "shill"...
Start with the requisite Alice reference for subconscious appeal, then connect to the fantastic journey. Only the fiction is that the journey is into some kind of "true self" and not the inverted nonsense realm of Carroll. We even have the dissociation, in the form of "laugh at the madness".
And how does a symbol "akin" to Alice's guide anyone anywhere worthwhile? Enough on this D-grade charlatan - it's beyond retarded.
Or this pearl from the Astrology Web:
Apparently the rabbit stands for things with nothing to do with rabbits - smart, nurturing, modest - whatever sells "readings". It appears that these pop occult morons don't even try to make something up that's coherent. Just spam positive adjectives so that even dumber marks send money.
How about a "professional psychic consultant":
This journey involves "the hollow" and "the opportunity to be filled"...
We can't make this up.
Well, that's the sorry gist of the White Rabbit as a spirit guide and as an occult symbol. It['s a group of variations on a group of associations that mix and match depending on where and when. Sometimes they can even be incompatible - like rabbit holes leading to and away from the truth. And because rabbits are so common all over the world, there's tons of other associations that can shade the dominant Carroll model.
Nanabozho is an important spirit in Anishinaabe mythology that generally takes rabbit form. This deity is a trickster and shape-shifter involved in the creation of the world, inventor of culture, and teacher of men. Likewise the rabbit-trickster god of the Cherokee - Jistu. Just one example, of the different sources of rabbit symbolism.
Native American legends are popular, and there are plenty of sites claiming the rabbit as a clever, tricky, perceptive spirit animal. These beings are shape-shifters - they act out the transformation that the the Carroll-type White Rabbit symbol leads you into. Is it positive or negative?
Variations on sets of associations.
A more worldly symbol suggests a different kind of transformation - empty hedonism, licentiousness, and exploitation. This one presented the journey as one of freedom, but turned out to be lying to cash in on a de-moralizing society.
Variations on sets of associations.
A good place to end this is with a return to the Psychedelic Occult - the weird blend of mass-manipulation, drugs, and bizarre fake metaphysics that the occult posts had been looking at. What better than Jefferson Airplane's White Rabbit - the Alice-inspired anthem of the Height-Ashbury psy-op. Here's the studio version and, in a surprise boomergasm, the Woodstock version. Whatever else you can say, Grace Slick had a strong voice.
Jefferson Airplane, White Rabbit / Plastic Fantastic Lover, vinyl, 7", 45 RPM, single, RCA Victor, 1967
According to Jefferson Airplane singer Grace Slick, she wrote White Rabbit while listened to Miles Davis’ Sketches of Spain album on LSD.
The song is unforgettable - a driving military march and Slick's powerful trippy vocals leading to a psychedelic crescendo. Apparently, the intent was to mirror psychedelic sensory distortions.
And it was a psy-op. Piecing together all the details is too much for this post, but it's nothing we're unfamiliar with. The connections are all in the open - they're just not spoken of in venues where you'd come across them. They're rabbit holes - you have to take the initiative and piece it together.
Here are two pieces to show how to string together connections against the grain.
Start with someone like R.D. Laing - an inhuman blend of demented Postmodern psychology, and drug abuse. Connected of course to London’s Tavistock Institute, his theories on schizophrenia, sanity and altered states were toxic. He argued that there essentially was no sanity in the modern world - which is true in the sense that the material world is de-moralized. But rather than recognize that, this soulless husk and his fellow travelers abandoned the distinction between sanity and insanity altogether.
His big idea - ontological insecurity - was just fear of loss of identity. He then set out to induce it.
63 room Hitchcock mansion in Millbrook, New York; Timothy Leary and Rosemary Woodruff work on Leary’s lecture in one of the rooms in1967
Then consider the prelude to the "Summer of Love" with Timothy Leary, Richard Alpert, millionaire, stockbroker and LSD entrepreneur Billy Mellon Hitchcock, and their absurd collection of acid freaks at Hitchcock's sprawling Millbrook, NY estate. You have to pay attention to the article to see that Laing turns up at Millbrook. The rabbit hole here is the web of connections that ties all these characters, the CIA, and other shadowy quasi-official actors together. The 3.6 million hits of 250 microgram Orange Sunshine acid that Hitchcock - an heir to the Mellon fortune - dumped on San Francisco was done with the permission of the authorities.
What the "Summer of Love" looks like is a grand social experiment. This link points out how much of a hothouse the Haight-Ashbury district was. Consider - within the same tiny area you had:
Jefferson Airplane, Grateful Dead, Big Brother and the Holding Company, poster for September 15, 1967 concert at the Hollywood Bowl
Multiple bands living in close proximity, including "scene" leaders The Grateful Dead, Janis Joplin, Country Joe and the Fish, and Jefferson Airplane, This show by Bill Graham featuring "the San Francisco Scene" had the Airplane, the Dead, and Joplin's band, Big Brother and the Holding Company.
Scene and logo of the Process Church of the Final Judgement and the Manson and Hell's Angel's houses.
Then there are the obvious villains, who are left out of all the sunny accounts of freedom, love, and music. The Hell's Angels in particular were on hand from the first Acid Tests - it is most likely that their "security" was more of a protection racket. The Satanic Process Church of the Final Judgement preached the reconciliation of Jesus and Satan and was typical of the darker side of Age of Aquarius gullibility, evil, manipulation, and sheer stupidity.
The Haight Ashbury Free Medical Clinic in the late 60s and today; CIA programmer Dr. Louis Joyon "Jolly" West
There were the doctors - the free clinic is generally held up as an enlightened step towards free health-care by idiot Kool-Ade drinkers, and still operates today. What is conveniently left out is the involvement of West, a CIA MK-Ultra subcontractor who set up shop at the clinic to "recruit" experimental volunteers from the hippy street population. West went on to provide cover for pedophiles as head of the monstrous False Memory Syndrome Foundation.
Louis J. West editor, Hallucinations, Grune and Stratton, New York, 1962; 2nd edition with R. K. Siegel, John Wiley & Sons, 1975
And some not-so-jolly theorizing from West's book - with covers of the 1975 edition. Note the publisher - Wiley (also Wiley-Blackwell) is a huge academic / scientific publisher. This is the opposite of fringe. And he was in the direct employ of the CIA, attempting this very thing.
The most revolting thing about boomertards isn't the naivety - that's understandable given the grotesque media-produced, de-moralized materialism that replaced healthy socialization and coherent values. It's the inability to move past the retarded myths they were fed in their youths, process new information, and evolve intellectually. It's like their brains were broken then frozen in amber - a singular generational phenomenon that may be post-war mind-control's greatest feat.
The Psychedelic Shop - San Francisco's first head shop and protesting a bust in 1966 (top; bottom left) and in 1967 with the Grateful Dead.
This was an epicenter of Haight-Ashbury drug culture and the prototype for the head shops that proliferated across America.
Cover of the San Francisco Oracle, vol. 1 no. 5, January, 1967
The San Francisco Oracle was the psychedelic underground newspaper that was the voice of the Haight scene for a year. It's pages are filled with a mix of music, drugs, the whole gamut of b.s. alternative "spiritualities", local goings on, etc.
And an article from that issue: "The New Science" by Mukunda Das, San Francisco Oracle, 1, 5 promoting the Bhaktivedanta Swami's visit to San Francisco
And the event ad itself - because if there is one thing "Krishna Consciousness" needs is a "Mantra-rock festival dance" with degenerate parasite Alan Gisnberg:
Experimental theater and social groups like the San Francisco Mime Troop and the Diggers brought absurdist theater to the streets, gave away free food and stuff, and promoted nonsense ideologies.
The Diggers and their nonsense ideology.
To be clear, the Band is very sympathetic to non-materialism - material greed and lust is a key source of modern demoralization.
But if your rationalization involves dressing like clowns, free flows of "energy" and it all somehow ending violence... you're as likely to have as much long-term impact as they did.
Contrast the myth of free love to the reality of exploitation in the sex trade. Fortunately, this petri dish ensured a steady stream of drugged-out broke girls. That is, "amateur entertainers" with no one to protect them.
Clifford Seeley, poster for Jefferson Airplane, Gabor Szabo, Jimi Hendrix shows, 6/20-25/1967, Fillmore Auditorium
Psychedelic concerts at the Avalon Ballroom, the Family Dog and the Fillmore created the dissociative mental states that we've been discussing.
This is the context for the Jefferson Airplane's White Rabbit. As Paul Kantner put it: “sex, drugs, rock’n’roll, freedom, art, literature, poetry, Haight Street – it was just Heaven on Earth.” But then he also observed that this new rock music was intended to broaden the generation gap by alienating parents from children, and prepare for revolution.
There isn't much point in deep diving into the lyrics - it's a blend of oblique references to things from the Carroll books that most suggest drug use - hookah-smoking caterpillars and mushrooms.
But the overall effect simulates the dissociative state that ties all the threads we've been looking together - abuse, manipulation, trama, psychedelics, insanity, and fleeing reality into madness while claiming enlightenment.
Sets of variations on sets of associations
That's enough white rabbit. It's an unpleasant topic. But it is enough to get a handle on how this occult symbol operates. There isn't one fixed meaning, and the versions aren't all unequivocally negative. But the overall structure stinks and the most of the variations are terrible. As a rule of thumb, if you are a logos-facing person, be very wary of this one - probably best to give it a pass altogether.
Close with a proof of concept, or meet human filth Trevor Brown, a British "artist" based in Japan. His work is filled with violent pedophilic themes - much like fellow shit-stain Ray from the red shoes post. Here too, we see his perversion soft-peddled by likely fellow travelers and enablers. Here's one that calls it "brutally provacative" by a writer that probably should ensure his computer is never closely examined.
We aren't interested in reproducing his porn - it isn't art by any legitimate Western standard, and we'd prefer not to pollute this site with it. It's a gratuitous panty shot. We also utterly reject his boomertard (born 1959 of course) concept of depravity as some sort of free expression virtue. It isn't. If you must see more, here's the link.
It's a pattern.
That's enough Trevor hopefully forever - we are just using him as one of too many examples of how Alice and the White Rabbit keep turning up along the path through depravity, pedophilia, the destruction of innocence - naked evil. And this is where applicability comes back in. The Alice stories and their long-eared guide are not overtly perverse. There are some disturbing themes, but tame stuff by ordinary fantasy standards. As we've noted, there is no reason for a parent grounded in logos not to share them with their children. So why is this character such a magnet for human garbage? To the point where this post barely scratches the surface.
The answer is that it is applicable. It's the structure - the weird dissociated tone, the meaningless "hero's journey", the isolated "curious" child alone in an inverted place - is the same as the ghastly situations that the white rabbit has come to be associated with. The content is radically different, so if you aren't either depraved or specifically looking for it, you probably don't even notice. That's applicability - it's just that Tolkien saw it as a way to illuminate something good, beautiful, or true in the chaos of real life and Carroll has special child friends...
By all means, keep exploring rabbit holes, but give following the white rabbit a healthy pass.
Earlier on, we considered a millstone.
We are assured that that would be preferable.
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