In this article we examine eighteen selected nonsense anthologies published in the UK since the 1920s, working on the assumption that they define, re-shape, and visually reinterpret the genre for a general audience in parallel to scholarly approaches to nonsense. In the first part of our paper we look at the process of anthologising and its main functions, followed by an overview of key nonsense anthologies. In the second part, we inspect peritexts that influence the reception of these collections and, by extension, the perception of literary nonsense, looking specifically at book titles, cover designs, tables of contents, prefaces, postfaces, and annexes. In doing so we hope to reveal the implied reader of the anthologies, comment on their coverage relative to the established Victorian canon and recognise the distinctive features of the genre, foregrounded by the anthologists' editorial and aesthetic choices.

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The article discusses the reception and impact of Sven Wernström's views and works in Iceland. In particular, it retraces the controversy which surrounded the 1978 translation of his book Kamrat Jesus (1971) and recounts the heated debate over the book which took place both in the press and in the Icelandic parliament. Wernström's prose and critical voice is also considered within the context of the so-called social realist movement in Icelandic literature for children and young adults.

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