Anyone would have to grant that, if nothing else, Carroll’s books have come to exercise an influence on the English language rivaled only by Shakespeare’s. Not only does Alice echo on in a host of common expressions—Cheshire cat smile, down the rabbit-hole, through the looking-glass, “Curiouser and curiouser,” “Off with her head!” and so on—but even many of Carroll’s nonsense words have become redoubtable fixtures of the lexicon. “Jabberwocky” alone gave us such indispensable locutions as “galumph,” “frabjous,” “chortle,” “mimsy,” “slithy,” “vorpal blade,” “tulgey,” “uffish,” “Bandersnatch,” “Jubjub bird,” “Tumtum tree,” “Calooh! Callay!”—why, the OED even includes “outgrabe” and “brillig”—while Humpty Dumpty’s magisterial exegesis of that mighty poem gave us the concept of the “portmanteau” word. That scarcely touches the surface of the matter, however. In a very real sense, the Alice books, along with all of Carroll’s nonsense verse, constitute a kind of revolutionary manifesto of a uniquely English style of genius: that special capacity for elaborate whimsy, precise nonsense, absurdity burnished to an exquisitely delicate sheen—which the French admire but cannot imitate, the Germans dread but cannot resist, the Italians love but cannot understand. . . . If, for instance, The Faerie Queene or Paradise Lost is the great English epic in the simple sense of being the most distinguished long narrative poem in the language, The Hunting of the Snark is the great English epic in the sense of being a work no other people could have produced. Other examples of the art abound, obviously: Lear’s nonsense verse, Gilbert’s Bab Ballads, Belloc’s Cautionary Tales for Children, and so on. But none achieves quite the purity, tireless wit, and ingenious invention of Carroll’s works.
One point from David Bentley Hart’s 2016 essay on the value and importance of Lewis Carroll’s Alice. Did you know there are Wonderland-themed chess sets? I know themed chess sets abound, but I hadn’t heard of this before.