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The Wonderful Wizard of Oz

The Wonderful Wizard of Oz is a children's novel written by author L. Frank Baum and illustrated by W. W. Denslow.[1] It is the first novel in the Oz series of books. A Kansas farm girl named Dorothy ends up in the magical Land of Oz after she and her pet dog Toto are swept away from their home by a tornado.[2] Upon her arrival in Oz, she learns she cannot return home until she has destroyed the Wicked Witch of the West.[3]

The Wonderful Wizard of Oz
Original title page
AuthorL. Frank Baum
IllustratorW. W. Denslow
CountryUnited States
LanguageEnglish
SeriesThe Oz books
GenreFantasy, children's novel
PublisherGeorge M. Hill Company
Publication date
May 17, 1900
OCLC9506808
Followed byThe Marvelous Land of Oz 
TextThe Wonderful Wizard of Oz at Wikisource

The book was first published in the United States in May 1900 by the George M. Hill Company.[4] In January 1901, the publishing company completed printing the first edition, a total of 10,000 copies, which quickly sold out.[4] It had sold three million copies by the time it entered the public domain in 1956. It was often reprinted under the title The Wizard of Oz, which is the title of the successful 1902 Broadway musical adaptation as well as the classic 1939 live-action film.[5][6]

The ground-breaking success of both the original 1900 novel and the 1902 Broadway musical prompted Baum to write thirteen additional Oz books which serve as official sequels to the first story. Over a century later, the book is one of the best-known stories in American literature, and the Library of Congress has declared the work to be "America's greatest and best-loved homegrown fairytale."[7]

Publication

 
 
(Left) 1900 first edition cover, published by the George M. Hill Company, Chicago, New York; (right) the 1900 edition original back cover.

L. Frank Baum's story was published by George M. Hill Company.[4] The first edition had a printing of 10,000 copies and was sold in advance of the publication date of September 1, 1900.[4] On May 17, 1900, the first copy came off the press; Baum assembled it by hand and presented it to his sister, Mary Louise Baum Brewster. The public saw it for the first time at a book fair at the Palmer House in Chicago, July 5–20. Its copyright was registered on August 1; full distribution followed in September.[8] By October 1900, it had already sold out and the second edition of 15,000 copies was nearly depleted.[4]

In a letter to his brother, Baum wrote that the book's publisher, George M. Hill, predicted a sale of about 250,000 copies. In spite of this favorable conjecture, Hill did not initially predict that the book would be phenomenally successful. He agreed to publish the book only when the manager of the Chicago Grand Opera House, Fred R. Hamlin, committed to making it into a musical stage play to publicize the novel.

The play The Wizard of Oz debuted on June 16, 1902. It was revised to suit adult preferences and was crafted as a "musical extravaganza," with the costumes modeled after Denslow's drawings. When Hill's publishing company became bankrupt in 1901,[9] the Indianapolis-based Bobbs-Merrill Company resumed publishing the novel.[10][9] By 1938, more than one million copies of the book had been printed.[11] By 1956, sales had grown to three million copies.

Plot

 
Dorothy catches Toto by the ear as their house is caught up in a cyclone. First edition illustration by W. W. Denslow.

Dorothy Gale is a young girl who lives with her Aunt Em, Uncle Henry, and dog, Toto, on a farm on the Kansas prairie. One day, Dorothy and Toto are caught up in a cyclone that deposits them and the farmhouse into Munchkin Country in the magical Land of Oz. The falling house has killed the Wicked Witch of the East, the evil ruler of the Munchkins. The Good Witch of the North arrives with three grateful Munchkins and gives Dorothy the magical silver shoes that originally belonged to the Wicked Witch. The Good Witch tells Dorothy that the only way she can return home to Kansas is to follow the yellow brick road to the Emerald City and ask the great and powerful Wizard of Oz to help her. As Dorothy embarks on her journey, the Good Witch of the North kisses her on the forehead, giving her magical protection from harm.

On her way down the yellow brick road, Dorothy attends a banquet held by a Munchkin named Boq. The next day, she frees a Scarecrow from the pole on which he is hanging, applies oil from a can to the rusted joints of a Tin Woodman, and meets a Cowardly Lion. The Scarecrow wants a brain, the Tin Woodman wants a heart, and the Lion wants courage, so Dorothy encourages them to journey with her and Toto to the Emerald City to ask for help from the Wizard.

After several adventures, the travelers arrive at the Emerald City and meet the Guardian of the Gates, who asks them to wear green tinted spectacles to keep their eyes from being blinded by the city's brilliance. Each one is called to see the Wizard. He appears to Dorothy as a giant head, to the Scarecrow as a lovely lady, to the Tin Woodman as a terrible beast, and to the Lion as a ball of fire, with the intention of scaring them all, but of course choosing the wrong image to make the desired impression. He agrees to help them all if they kill the Wicked Witch of the West, who rules over Winkie Country. The Guardian warns them that no one has ever managed to defeat the witch.

The Wicked Witch of the West sees the travelers approaching with her one telescopic eye. She sends a pack of wolves to tear them to pieces, but the Tin Woodman kills them with his axe. She sends a flock of wild crows to peck their eyes out, but the Scarecrow kills them by twisting their necks. She summons a swarm of black bees to sting them, but they are killed while trying to sting the Tin Woodman while the Scarecrow's straw hides the others. She sends a dozen of her Winkie slaves to attack them, but the Lion stands firm to repel them. Finally, she uses the power of her Golden Cap to send the Winged Monkeys to capture Dorothy, Toto, and the Lion. She cages the Lion, scatters the straw of the Scarecrow, and dents the Tin Woodman. Dorothy is forced to become the witch's personal slave, while the witch schemes to steal her silver shoes.

 
The Wicked Witch melts. First edition illustration by W. W. Denslow.

The witch successfully tricks Dorothy out of one of her silver shoes. Angered, she throws a bucket of water at the witch and is shocked to see her melt away. The Winkies rejoice at being freed from her tyranny and help restuff the Scarecrow and mend the Tin Woodman. They ask the Tin Woodman to become their ruler, which he agrees to do after helping Dorothy return to Kansas. Dorothy finds the witch's Golden Cap and summons the Winged Monkeys to carry her and her friends back to the Emerald City. The King of the Winged Monkeys tells how he and his band are bound by an enchantment to the cap by the sorceress Gayelette from the North, and that Dorothy may use it to summon them two more times.

When Dorothy and her friends meet the Wizard again, Toto tips over a screen in a corner of the throne room that reveals the Wizard, who sadly explains he is a humbug—an ordinary old man who, by a hot air balloon, came to Oz long ago from Omaha. He provides the Scarecrow with a head full of bran, pins, and needles ("a lot of bran-new brains"), the Tin Woodman with a silk heart stuffed with sawdust, and the Lion a potion of "courage". Their faith in his power gives these items a focus for their desires. He decides to take Dorothy and Toto home and then go back to Omaha in his balloon. At the send-off, he appoints the Scarecrow to rule in his stead, which he agrees to do after helping Dorothy return to Kansas. Toto chases a kitten in the crowd and Dorothy goes after him, but the ropes holding the balloon break and the Wizard floats away.

 
The Winged Monkeys transport Dorothy.

Dorothy summons the Winged Monkeys and tells them to carry her and Toto home, but they explain they can't cross the desert surrounding Oz. The Soldier with the Green Whiskers informs Dorothy that Glinda, the Good Witch of the South may be able to help her return home, so the travelers begin their journey to see Glinda's castle in Quadling Country. On the way, the Lion kills a giant spider who is terrorizing the animals in a forest. They ask him to become their king, which he agrees to do after helping Dorothy return to Kansas. Dorothy summons the Winged Monkeys a third time to fly them over a hill to Glinda's castle.

Glinda greets them and reveals that Dorothy's silver shoes can take her anywhere she wishes to go. She embraces her friends, all of whom will be returned to their new kingdoms through Glinda's three uses of the Golden Cap: the Scarecrow to the Emerald City, the Tin Woodman to Winkie Country, and the Lion to the forest; after which the cap will be given to the King of the Winged Monkeys, freeing him and his band. Dorothy takes Toto in her arms, knocks her heels together three times, and wishes to return home. Instantly, she begins whirling through the air and rolling on the grass of the Kansas prairie, up to the farmhouse, though the silver shoes fall off her feet en route and are lost in the Deadly Desert. She runs to Aunt Em, saying "I'm so glad to be home again!"

Illustrations

 
Illustrator W. W. Denslow co-held the copyright.

The book was illustrated by Baum's friend and collaborator W. W. Denslow, who also co-held the copyright. The design was lavish for the time, with illustrations on many pages, backgrounds in different colors, and several color plate illustrations.[12] The typeface featured the newly designed Monotype Old Style. In September 1900, The Grand Rapids Herald wrote that Denslow's illustrations are "quite as much of the story as in the writing". The editorial opined that had it not been for Denslow's pictures, the readers would be unable to picture precisely the figures of Dorothy, Toto, and the other characters.[13]

Denslow's illustrations were so well known that merchants of many products obtained permission to use them to promote their wares. The forms of the Scarecrow, the Tin Woodman, the Cowardly Lion, the Wizard, and Dorothy were made into rubber and metal sculptures. Costume jewelry, mechanical toys, and soap were also designed using their figures.[14] The distinctive look of Denslow's illustrations led to imitators at the time, most notably Eva Katherine Gibson's Zauberlinda, the Wise Witch, which mimicked both the typography and the illustration design of Oz.[15]

A new edition of the book appeared in 1944, with illustrations by Evelyn Copelman.[16][17] Although it was claimed that the new illustrations were based on Denslow's originals, they more closely resemble the characters as seen in the famous 1939 film version of Baum's book.[18]

Creative inspiration

Baum's personal life

 
L. Frank Baum circa 1911

According to Baum's son, Harry Neal, the author had often told his children "whimsical stories before they became material for his books."[19] Harry called his father the "swellest man I knew," a man who was able to give a decent reason as to why black birds cooked in a pie could afterwards get out and sing.[19]

Many of the characters, props, and ideas in the novel were drawn from Baum's personal life and experiences.[20] Baum held different jobs, moved a lot, and was exposed to many people, so the inspiration for the story could have been taken from many different aspects of his life.[20] In the introduction to the story, Baum writes that "it aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out."[21]

Scarecrow and the Tin Woodman

As a child, Baum frequently had nightmares of a scarecrow pursuing him across a field.[22] Moments before the scarecrow's "ragged hay fingers" nearly gripped his neck, it would fall apart before his eyes. Decades later, as an adult, Baum integrated his tormentor into the novel as the Scarecrow.[23] In the early 1880s, Baum's play Matches was being performed when a "flicker from a kerosene lantern sparked the rafters", causing the Baum opera house to be consumed by flames. Scholar Evan I. Schwartz suggested that this might have inspired the Scarecrow's severest terror: "There is only one thing in the world I am afraid of. A lighted match."[24]

According to Baum's son Harry, the Tin Woodman was born from Baum's attraction to window displays. He wished to make something captivating for the window displays, so he used an eclectic assortment of scraps to craft a striking figure. From a wash-boiler he made a body, from bolted stovepipes he made arms and legs, and from the bottom of a saucepan he made a face. Baum then placed a funnel hat on the figure, which ultimately became the Tin Woodman.[25]

Dorothy, Uncle Henry, and the Witches

 
Dorothy meeting the Cowardly Lion (Denslow, 1900)

Baum's wife Maud Gage frequently visited their newborn niece, Dorothy Louise Gage, whom she adored as the daughter she never had. The infant became gravely sick and died aged five months in Bloomington, Illinois on November 11, 1898, from "congestion of the brain". Maud was devastated.[26] To assuage her distress, Frank made his protagonist of The Wonderful Wizard of Oz a girl named Dorothy, and he dedicated the book to his wife.[27] The baby was buried at Evergreen Cemetery, where her gravestone has a statue of the character Dorothy placed next to it.[28]

Decades later, Jocelyn Burdick—the daughter of Baum's other niece Magdalena Carpenter and a former Democratic U.S. Senator from North Dakota—asserted that her mother also partly inspired the character of Dorothy.[29] Burdick claimed that her great-uncle spent "considerable time at the Сarpenter homestead... and became very attached to Magdalena."[29] Burdick has reported many similarities between her mother's homestead and the farm of Aunt Em and Uncle Henry.[29]

Uncle Henry was modeled after Henry Gage, Baum's father-in-law. Bossed around by his wife Matilda, Henry rarely dissented with her. He flourished in business, though, and his neighbors looked up to him. Likewise, Uncle Henry was a "passive but hard-working man" who "looked stern and solemn, and rarely spoke".[30] The witches in the novel were influenced by witch-hunting research gathered by Matilda Gage. The stories of barbarous acts against accused witches scared Baum. Two key events in the novel involve wicked witches who meet their death through metaphorical means.[31]

The Emerald City and the Land of Oz

 
The Emerald City (Denslow, 1900)

In 1890, Baum lived in Aberdeen, South Dakota during a drought, and he wrote a witty story in his "Our Landlady" column in Aberdeen's The Saturday Pioneer about a farmer who gave green goggles to his horses, causing them to believe that the wood chips that they were eating were pieces of grass.[32] Similarly, the Wizard made the people in the Emerald City wear green goggles so that they would believe that their city was built from emeralds.[33]

During Baum's short stay in Aberdeen, the dissemination of myths about the plentiful West continued. However, the West, instead of being a wonderland, turned into a wasteland because of a drought and a depression. In 1891, Baum moved his family from South Dakota to Chicago. At that time, Chicago was getting ready for the World's Columbian Exposition in 1893. Scholar Laura Barrett stated that Chicago was "considerably more akin to Oz than to Kansas". After discovering that the myths about the West's incalculable riches were baseless, Baum created "an extension of the American frontier in Oz". In many respects, Baum's creation is similar to the actual frontier save for the fact that the West was still undeveloped at the time. The Munchkins Dorothy encounters at the beginning of the novel represent farmers, as do the Winkies she later meets.[34]

Local legend has it that Oz, also known as the Emerald City, was inspired by a prominent castle-like building in the community of Castle Park near Holland, Michigan, where Baum lived during the summer. The yellow brick road was derived from a road at that time paved by yellow bricks, located in Peekskill, New York, where Baum attended the Peekskill Military Academy. Baum scholars often refer to the 1893 Chicago World's Fair (the "White City") as an inspiration for the Emerald City. Other legends suggest that the inspiration came from the Hotel Del Coronado near San Diego, California. Baum was a frequent guest at the hotel and had written several of the Oz books there.[35] In a 1903 interview with The Publishers' Weekly,[36] Baum said that the name "Oz" came from his file cabinet labeled "O–Z".[37][22]

Some critics have suggested that Baum's Oz may have been inspired by Australia. Australia is often colloquially spelled or referred to as "Oz". Furthermore, in Ozma of Oz (1907), Dorothy gets back to Oz as the result of a storm at sea while she and Uncle Henry are traveling by ship to Australia. Like Australia, Oz is an island continent somewhere to the west of California with inhabited regions bordering on a great desert. Baum perhaps intended Oz to be Australia or a magical land in the center of the great Australian desert.[38]

Alice's Adventures in Wonderland

In addition to being influenced by the fairy-tales of the Brothers Grimm and Hans Christian Andersen,[39] Baum was significantly influenced by English writer Lewis Carroll's 1865 novel Alice's Adventures in Wonderland.[40] Although Baum found the plot of Carroll's novel to be incoherent, he identified the book's source of popularity as Alice herself—a child with whom younger readers could identify, and this influenced Baum's choice of Dorothy as his protagonist.[39]

Baum also was influenced by Carroll's views that all children's books should be lavishly illustrated, be pleasurable to read, and not contain any moral lessons.[41] During the Victorian era, Carroll had rejected the popular expectation that children's books must be saturated with moral lessons and instead he contended that children should be allowed to be children.[42]

Although influenced by Carroll's distinctly English work, Baum nonetheless sought to create a story that had recognizable American elements, such as farming and industrialization.[41] Consequently, Baum combined the conventional features of a fairy tale such as witches and wizards with well-known fixtures in his young readers' Midwestern lives such as scarecrows and cornfields.[43]

Influence of Denslow

 
Illustrator W. W. Denslow sketching circa 1900.

The original illustrator of the novel, W. W. Denslow, aided in the development of Baum's story and greatly influenced the way it has been interpreted.[22] Baum and Denslow had a close working relationship and worked together to create the presentation of the story through the images and the text.[22] Color is an important element of the story and is present throughout the images, with each chapter having a different color representation. Denslow also added characteristics to his drawings that Baum never described. For example, Denslow drew a house and the gates of the Emerald City with faces on them.

In the later Oz books, John R. Neill, who illustrated all the sequels, continued to use elements from Denslow's earlier illustrations, including faces on the Emerald City's gates.[44] Another aspect is the Tin Woodman's funnel hat, which is not mentioned in the text until later books but appears in most artists' interpretation of the character, including the stage and film productions of 1902–09, 1908, 1910, 1914, 1925, 1931, 1933, 1939, 1982, 1985, 1988, 1992, and others. One of the earliest illustrators not to include a funnel hat was Russell H. Schulz in the 1957 Whitman Publishing edition—Schulz depicted him wearing a pot on his head. Libico Maraja's illustrations, which first appeared in a 1957 Italian edition and have also appeared in English-language and other editions, are well known for depicting him bareheaded.

Allusions to 19th-century America

Many decades after its publication, Baum's work gave rise to a number of political interpretations, particularly in regards to the 19th-century Populist movement in the United States.[45] In a 1964 American Quarterly article titled "The Wizard of Oz: Parable on Populism",[46] educator Henry Littlefield posited that the book served an allegory for the late 19th-century bimetallism debate regarding monetary policy.[47][48] Littlefield's thesis achieved some support but was widely criticized by others.[49][50][51] Other political interpretations soon followed. In 1971, historian Richard J. Jensen theorized in The Winning of the Midwest that "Oz" was derived from the common abbreviation for "ounce", used for denoting quantities of gold and silver.[52]

Critical response

This last story of The Wizard is ingeniously woven out of commonplace material. It is, of course, an extravaganza, but will surely be found to appeal strongly to child readers as well as to the younger children, to whom it will be read by mothers or those having charge of the entertaining of children. There seems to be an inborn love of stories in child minds, and one of the most familiar and pleading requests of children is to be told another story.

The drawing as well as the introduced color work vies with the texts drawn, and the result has been a book that rises far above the average children's book of today, high as is the present standard....

The book has a bright and joyous atmosphere, and does not dwell upon killing and deeds of violence. Enough stirring adventure enters into it, however, to flavor it with zest, and it will indeed be strange if there be a normal child who will not enjoy the story.

The New York Times, September 8, 1900 [53]

The Wonderful Wizard of Oz received positive critical reviews upon release. In a September 1900 review, The New York Times praised the novel, writing that it would appeal to child readers and to younger children who could not read yet. The review also praised the illustrations for being a pleasant complement to the text.[53]

During the subsequent decades after the novel's publication in 1900, it received little critical analysis from scholars of children's literature. Lists of suggested reading published for juvenile readers never contained Baum's work,[54] and his works were rarely assigned in classrooms. [55] This lack of interest stemmed from the scholars' misgivings about fantasy, as well as to their belief that lengthy series had little literary merit.[54]

It frequently came under fire in later decades. In 1957, the director of Detroit's libraries banned The Wonderful Wizard of Oz for having "no value" for children of today, for supporting "negativism", and for bringing children's minds to a "cowardly level". Professor Russel B. Nye of Michigan State University countered that "if the message of the Oz books—love, kindness, and unselfishness make the world a better place—seems of no value today", then maybe the time is ripe for "reassess[ing] a good many other things besides the Detroit library's approved list of children's books".[56]

In 1986, seven Fundamentalist Christian families in Tennessee opposed the novel's inclusion in the public school syllabus and filed a lawsuit.[57] They based their opposition to the novel on its depicting benevolent witches and promoting the belief that integral human attributes were "individually developed rather than God-given".[57] One parent said, "I do not want my children seduced into godless supernaturalism".[58] Other reasons included the novel's teaching that females are equal to males and that animals are personified and can speak. The judge ruled that when the novel was being discussed in class, the parents were allowed to have their children leave the classroom.[59]

In April 2000, the Library of Congress declared The Wonderful Wizard of Oz to be "America's greatest and best-loved homegrown fairytale", also naming it the first American fantasy for children and one of the most-read children's books.[7] Leonard Everett Fisher of The Horn Book Magazine wrote in 2000 that Oz has "a timeless message from a less complex era, and it continues to resonate". The challenge of valuing oneself during impending adversity has not, Fisher noted, lessened during the prior 100 years.[60] Two years later, in a 2002 review, Bill Delaney of Salem Press praised Baum for giving children the opportunity to discover magic in the mundane things in their everyday lives. He further commended Baum for teaching "millions of children to love reading during their crucial formative years".[43] In 2012 it was ranked number 41 on a list of the top 100 children's novels published by School Library Journal.[61]

Editions

After George M. Hill's bankruptcy in 1902, copyright in the book passed to the Bowen-Merrill Company of Indianapolis.[9] The company published most of Baum's other books from 1901 to 1903 (Father Goose, His Book (reprint), The Magical Monarch of Mo (reprint), American Fairy Tales (reprint), Dot and Tot of Merryland (reprint), The Master Key, The Army Alphabet, The Navy Alphabet, The Life and Adventures of Santa Claus, The Enchanted Island of Yew, The Songs of Father Goose) initially under the title The New Wizard of Oz. The word "New" was quickly dropped in subsequent printings, leaving the now-familiar shortened title, "The Wizard of Oz," and some minor textual changes were added, such as to "yellow daises," and changing a chapter title from "The Rescue" to "How the Four Were Reunited." The editions they published lacked most of the in-text color and color plates of the original. Many cost-cutting measures were implemented, including removal of some of the color printing without replacing it with black, printing nothing rather than the beard of the Soldier with the Green Whiskers.

When Baum filed for bankruptcy after his critically and popularly successful film and stage production The Fairylogue and Radio-Plays failed to make back its production costs, Baum lost the rights to all of the books published by what was now called Bobbs-Merrill, and they were licensed to the M. A. Donahue Company, which printed them in significantly cheaper "blotting paper" editions with advertising that directly competed with Baum's more recent books, published by the Reilly & Britton Company, from which he was making his living, explicitly hurting sales of The Patchwork Girl of Oz, the new Oz book for 1913, to boost sales of Wizard, which Donahue called in a full-page ad in The Publishers' Weekly (June 28, 1913), Baum's "one pre-eminently great Juvenile Book." In a letter to Baum dated December 31, 1914, F.K. Reilly lamented that the average buyer employed by a retail store would not understand why he should be expected to spend 75 cents for a copy of Tik-Tok of Oz when he could buy a copy of Wizard for between 33 and 36 cents. Baum had previously written a letter complaining about the Donahue deal, which he did not know about until it was fait accompli, and one of the investors who held The Wizard of Oz rights had inquired why the royalty was only five or six cents per copy, depending on quantity sold, which made no sense to Baum.[62]

A new edition from Bobbs-Merrill in 1949 illustrated by Evelyn Copelman, again titled The New Wizard of Oz, paid lip service to Denslow but was based strongly, apart from the Lion, on the MGM movie. Copelman had illustrated a new edition of The Magical Monarch of Mo two years earlier.[63]

It was not until the book entered the public domain in 1956 that new editions, either with the original color plates, or new illustrations, proliferated.[64] A revised version of Copelman's artwork was published in a Grosset & Dunlap edition, and Reilly & Lee (formerly Reilly & Britton) published an edition in line with the Oz sequels, which had previously treated The Marvelous Land of Oz as the first Oz book,[65] not having the publication rights to Wizard, with new illustrations by Dale Ulrey.[17] Ulrey had previously illustrated Jack Snow's Jaglon and the Tiger-Faries, an expansion of a Baum short story, "The Story of Jaglon," and a 1955 edition of The Tin Woodman of Oz, though both sold poorly. Later Reilly & Lee editions used Denslow's original illustrations.

Notable more recent editions are the 1986 Pennyroyal edition illustrated by Barry Moser, which was reprinted by the University of California Press, and the 2000 The Annotated Wizard of Oz edited by Michael Patrick Hearn (heavily revised from a 1972 edition that was printed in a wide format that allowed for it to be a facsimile of the original edition with notes and additional illustrations at the sides), which was published by W. W. Norton and included all the original color illustrations, as well as supplemental artwork by Denslow. Other centennial editions included University Press of Kansas's Kansas Centennial Edition, illustrated by Michael McCurdy with black-and-white illustrations, and Robert Sabuda's pop-up book.

Sequels

 
 
The Marvelous Land of Oz (1904) and Ozma of Oz (1907) were the next entries in the series.

Baum wrote The Wonderful Wizard of Oz without any thought of a sequel. After reading the novel, thousands of children wrote letters to him, requesting that he craft another story about Oz. In 1904, amid financial difficulties,[66] Baum wrote and published the first sequel, The Marvelous Land of Oz,[66] declaring that he grudgingly wrote the sequel to address the popular demand.[67] He dedicated the book to stage actors Fred Stone and David C. Montgomery who played the characters of the Scarecrow and the Tin Woodman on stage.[66] Baum wrote large roles for the Scarecrow and Tin Woodman that he deleted from the stage version, The Woggle-Bug, after Montgomery and Stone had balked at leaving a successful show to do a sequel.

Baum later wrote sequels in 1907, 1908, and 1909. In his 1910 The Emerald City of Oz, he wrote that he could not continue writing sequels because Ozland had lost contact with the rest of the world. The children refused to accept this story, so Baum, in 1913 and every year thereafter until his death in May 1919, wrote an Oz book, ultimately writing 13 sequels and half a dozen Oz short stories.

Baum explained the purpose of his novels in a note he penned to his sister, Mary Louise Brewster, in a copy of Mother Goose in Prose (1897), his first book. He wrote, "To please a child is a sweet and a lovely thing that warms one's heart and brings its own reward."[68] After Baum's death in 1919, Baum's publishers delegated the creation of more sequels to Ruth Plumly Thompson who wrote 21.[43] An original Oz book was published every Christmas between 1913 and 1942.[69] By 1956, five million copies of the Oz books had been published in the English language, while hundreds of thousands had been published in eight foreign languages.[10]

Adaptations

 
Judy Garland as Dorothy discovering that she and Toto are no longer in Kansas

The Wonderful Wizard of Oz has been adapted to other media numerous times.[70] Within several decades after its publication, the book had inspired a number of stage and screen adaptations, including a profitable 1902 Broadway musical and three silent films. The most popular cinematic adaptation of the story is The Wizard of Oz, the 1939 film starring Judy Garland, Ray Bolger, Jack Haley, and Bert Lahr. The 1939 film was considered innovative because of its special effects and revolutionary use of Technicolor.[6]

The story has been translated into other languages (at least once without permission, resulting in Alexander Volkov's The Wizard of the Emerald City novel and its sequels, which were translated into English by Sergei Sukhinov) and adapted into comics several times. Following the lapse of the original copyright, the characters have been adapted and reused in spin-offs, unofficial sequels, and reinterpretations, some of which have been controversial in their treatment of Baum's characters.[71]

Influence and legacy

The Wonderful Wizard of Oz has become an established part of multiple cultures, spreading from its early young American readership to becoming known throughout the world. It has been translated or adapted into nearly every major language, at times being modified in local variations.[70] For instance, in some abridged Indian editions, the Tin Woodman was replaced with a horse.[72] In Russia, a translation by Alexander Melentyevich Volkov produced six books, The Wizard of the Emerald City series, which became progressively distanced from the Baum version, as Ellie and her dog Totoshka travel throughout the Magic Land. The 1939 film adaptation has become a classic of popular culture, shown annually on American television from 1959 to 1998 and then several times a year every year beginning in 1999.[73]

In 1974, the story was re-envisioned as The Wiz, a Tony Award winning musical featuring an all-Black cast and set in the context of modern African-American culture.[74][75] This musical was adapted in 1978 as the feature film The Wiz, a musical adventure fantasy produced by Universal Pictures and Motown Productions.

There were several Hebrew translations published in Israel. As established in the first translation and kept in later ones, the book's Land of Oz was rendered in Hebrew as Eretz Uz (ארץ עוץ)—i.e. the same as the original Hebrew name of the Biblical Land of Uz, homeland of Job. Thus, for Hebrew readers, this translators' choice added a layer of Biblical connotations absent from the English original.[citation needed]

In 2018, "The Lost Art of Oz" project was initiated to locate and catalogue the surviving original artwork John R. Neill, W. W. Denslow, Frank Kramer, Richard "Dirk" Gringhuis, and Dick Martin that was created to illustrate the Oz book series.[76] In 2020, an Esperanto translation of the novel was used by a team of scientists to demonstrate a new method for encoding text in DNA that remains readable after repeated copying.[77]

Allegorical Analysis

This book also seems to follow Joseph Campbell's a "Hero with a thousand faces" / "monomyth" theme. "To see The Wonderful Wizard of Oz simply as Dorothy's quest for a way to return to Kansas is to miss many of the sources of the books strength, for like most quest heroes, Dorothy achieves far more than simply finding her way home."[78] "The Wizard of Oz follows the course of the hero's journey in the structure of “Departure,” “Initiation,” and “Return” which Campbell describes in The Hero with a Thousand Faces".[79]

See also

References

Citations

  1. ^ Baum & Denslow 1900.
  2. ^ Greene & Martin 1977, p. 11.
  3. ^ Greene & Martin 1977, pp. 11–12.
  4. ^ a b c d e The New York Times 1900a, p. T13.
  5. ^ The New York Times 1903, p. 9.
  6. ^ a b Twiddy 2009.
  7. ^ a b Library of Congress: Oz Exhibit 2000.
  8. ^ Rogers 2002, pp. 73–94.
  9. ^ a b c Greene & Martin 1977, p. 14.
  10. ^ a b MacFall 1956.
  11. ^ Verdon 1991.
  12. ^ Baum 2000, p. xlvii.
  13. ^ New Fairy Stories 1900.
  14. ^ Starrett 1954.
  15. ^ Bloom 1994, p. 9.
  16. ^ Baum 2000, pp. lv, 7.
  17. ^ a b Greene & Martin 1977, p. 90.
  18. ^ University of Minnesota 2006.
  19. ^ a b Sweet 1944.
  20. ^ a b Schwartz 2009, p. xiv.
  21. ^ Baum 2000, p. 5.
  22. ^ a b c d Greene & Martin 1977, p. 10.
  23. ^ Gourley 1999, p. 7.
  24. ^ Schwartz 2009, p. 75.
  25. ^ Carpenter & Shirley 1992, p. 43.
  26. ^ Taylor, Moran & Sceurman 2005, p. 208.
  27. ^ Wagman-Geller 2008, pp. 39–40.
  28. ^ Elleson 2016.
  29. ^ a b c Eriksmoen 2020.
  30. ^ Schwartz 2009, p. 95.
  31. ^ Schwartz 2009, pp. 97–98.
  32. ^ Culver 1988, p. 102.
  33. ^ Hansen 2002, p. 261.
  34. ^ Barrett 2006, pp. 154–155.
  35. ^ Fokos 2006.
  36. ^ Mendelsohn 1986, p. E12.
  37. ^ Schwartz 2009, p. 273.
  38. ^ Algeo 1990, pp. 86–89.
  39. ^ a b Baum 2000, p. 38.
  40. ^ Baum 2000, p. 38; New Fairy Stories 1900.
  41. ^ a b Riley 1997, p. 51.
  42. ^ Berman, Judy (October 15, 2020). "Alice's Adventures in Wonderland by Lewis Carroll". Time. Retrieved November 24, 2021.
  43. ^ a b c Delaney 2002.
  44. ^ Riley 1997, p. 42.
  45. ^ Ritter 1997; Velde 2002; Rockoff 1990.
  46. ^ Dighe 2002, p. 2.
  47. ^ Dighe 2002, p. x.
  48. ^ Littlefield 1964, p. 50.
  49. ^ Parker 1994, pp. 49–63.
  50. ^ Sanders 1991, pp. 1042–1050.
  51. ^ Gardner 2002.
  52. ^ Jensen 1971, p. 283.
  53. ^ a b The New York Times 1900b, p. BR12.
  54. ^ a b Berman 2003, p. 504.
  55. ^ Culver 1988, p. 98.
  56. ^ Starrett 1957.
  57. ^ a b Culver 1988, p. 97.
  58. ^ Nathanson 1991, p. 301.
  59. ^ Abrams & Zimmer 2010, p. 105.
  60. ^ Fisher 2000, p. 739.
  61. ^ Bird, Elizabeth (July 7, 2012). "Top 100 Chapter Book Poll Results". A Fuse #8 Production. Blog. School Library Journal (blog.schoollibraryjournal.com).
  62. ^ Greene 1974, pp. 10–11.
  63. ^ Stillman 1996.
  64. ^ Greene & Martin 1977, p. 176.
  65. ^ Greene & Martin 1977, p. 20.
  66. ^ a b c Greene & Martin 1977, p. 17.
  67. ^ Littlefield 1964, pp. 47–48.
  68. ^ MacFall 1956; Baum & MacFall 1961.
  69. ^ Watson 2000, p. 112.
  70. ^ a b Greene & Martin 1977, Preface.
  71. ^ Baum 2000, pp. ci–cii.
  72. ^ Rutter 2000.
  73. ^ Library of Congress: Oz Adaptations 2000.
  74. ^ Martin 2015.
  75. ^ Greene & Martin 1977, p. 169.
  76. ^ "The Story Behind Oz". The Lost Art of Oz.
  77. ^ University of Texas at Austin 2020.
  78. ^ Tuerk, Richard (2015). Oz in Perspective: Magic and Myth in the L. Frank Baum Books. p. 22.
  79. ^ Durand, Kevin K. (2010). The Universe of Oz. McFarland & Company, Inc. p. 56.

Works cited

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External links

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  • Text:
    • The Wonderful Wizard of Oz at Standard Ebooks
    • The Wonderful Wizard of Oz (1900 illustrated copy) at Project Gutenberg
    • The Wonderful Wizard of Oz (1900 illustrated copy), Publisher's green and red illustrated cloth over boards; illustrated endpapers. Plate detached. Public Domain – Charles E. Young Research Library, UCLA. at Internet Archive
    • Online version of the 1900 first edition on the Library of Congress website.
  • Audio:
    •   The Wonderful Wizard of Oz public domain audiobook at LibriVox
    • , an unabridged dramatic audio performance at Wired for Books.
  • Miller, John J. (May 11, 2006). "Down the Yellow Brick Road of Over-interpretation". The Wall Street Journal. Retrieved November 13, 2020.
  • – Scream-It-Loud.com
  • Elleson, Lisa (February 19, 2016). . McLean County Museum of History. Archived from the original on May 9, 2016. Retrieved October 2, 2021.
The Oz books
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The Wonderful Wizard of Oz
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The Marvelous Land of Oz

wonderful, wizard, other, uses, disambiguation, children, novel, written, author, frank, baum, illustrated, denslow, first, novel, series, books, kansas, farm, girl, named, dorothy, ends, magical, land, after, toto, swept, away, from, their, home, tornado, upo. For other uses see The Wonderful Wizard of Oz disambiguation The Wonderful Wizard of Oz is a children s novel written by author L Frank Baum and illustrated by W W Denslow 1 It is the first novel in the Oz series of books A Kansas farm girl named Dorothy ends up in the magical Land of Oz after she and her pet dog Toto are swept away from their home by a tornado 2 Upon her arrival in Oz she learns she cannot return home until she has destroyed the Wicked Witch of the West 3 The Wonderful Wizard of OzOriginal title pageAuthorL Frank BaumIllustratorW W DenslowCountryUnited StatesLanguageEnglishSeriesThe Oz booksGenreFantasy children s novelPublisherGeorge M Hill CompanyPublication dateMay 17 1900OCLC9506808Followed byThe Marvelous Land of Oz TextThe Wonderful Wizard of Oz at WikisourceThe book was first published in the United States in May 1900 by the George M Hill Company 4 In January 1901 the publishing company completed printing the first edition a total of 10 000 copies which quickly sold out 4 It had sold three million copies by the time it entered the public domain in 1956 It was often reprinted under the title The Wizard of Oz which is the title of the successful 1902 Broadway musical adaptation as well as the classic 1939 live action film 5 6 The ground breaking success of both the original 1900 novel and the 1902 Broadway musical prompted Baum to write thirteen additional Oz books which serve as official sequels to the first story Over a century later the book is one of the best known stories in American literature and the Library of Congress has declared the work to be America s greatest and best loved homegrown fairytale 7 Contents 1 Publication 2 Plot 3 Illustrations 4 Creative inspiration 4 1 Baum s personal life 4 1 1 Scarecrow and the Tin Woodman 4 1 2 Dorothy Uncle Henry and the Witches 4 1 3 The Emerald City and the Land of Oz 4 2 Alice s Adventures in Wonderland 4 3 Influence of Denslow 4 4 Allusions to 19th century America 5 Critical response 6 Editions 7 Sequels 8 Adaptations 9 Influence and legacy 10 Allegorical Analysis 11 See also 12 References 12 1 Citations 12 2 Works cited 13 External linksPublication Edit Left 1900 first edition cover published by the George M Hill Company Chicago New York right the 1900 edition original back cover L Frank Baum s story was published by George M Hill Company 4 The first edition had a printing of 10 000 copies and was sold in advance of the publication date of September 1 1900 4 On May 17 1900 the first copy came off the press Baum assembled it by hand and presented it to his sister Mary Louise Baum Brewster The public saw it for the first time at a book fair at the Palmer House in Chicago July 5 20 Its copyright was registered on August 1 full distribution followed in September 8 By October 1900 it had already sold out and the second edition of 15 000 copies was nearly depleted 4 In a letter to his brother Baum wrote that the book s publisher George M Hill predicted a sale of about 250 000 copies In spite of this favorable conjecture Hill did not initially predict that the book would be phenomenally successful He agreed to publish the book only when the manager of the Chicago Grand Opera House Fred R Hamlin committed to making it into a musical stage play to publicize the novel The play The Wizard of Oz debuted on June 16 1902 It was revised to suit adult preferences and was crafted as a musical extravaganza with the costumes modeled after Denslow s drawings When Hill s publishing company became bankrupt in 1901 9 the Indianapolis based Bobbs Merrill Company resumed publishing the novel 10 9 By 1938 more than one million copies of the book had been printed 11 By 1956 sales had grown to three million copies Plot Edit Dorothy catches Toto by the ear as their house is caught up in a cyclone First edition illustration by W W Denslow Dorothy Gale is a young girl who lives with her Aunt Em Uncle Henry and dog Toto on a farm on the Kansas prairie One day Dorothy and Toto are caught up in a cyclone that deposits them and the farmhouse into Munchkin Country in the magical Land of Oz The falling house has killed the Wicked Witch of the East the evil ruler of the Munchkins The Good Witch of the North arrives with three grateful Munchkins and gives Dorothy the magical silver shoes that originally belonged to the Wicked Witch The Good Witch tells Dorothy that the only way she can return home to Kansas is to follow the yellow brick road to the Emerald City and ask the great and powerful Wizard of Oz to help her As Dorothy embarks on her journey the Good Witch of the North kisses her on the forehead giving her magical protection from harm On her way down the yellow brick road Dorothy attends a banquet held by a Munchkin named Boq The next day she frees a Scarecrow from the pole on which he is hanging applies oil from a can to the rusted joints of a Tin Woodman and meets a Cowardly Lion The Scarecrow wants a brain the Tin Woodman wants a heart and the Lion wants courage so Dorothy encourages them to journey with her and Toto to the Emerald City to ask for help from the Wizard After several adventures the travelers arrive at the Emerald City and meet the Guardian of the Gates who asks them to wear green tinted spectacles to keep their eyes from being blinded by the city s brilliance Each one is called to see the Wizard He appears to Dorothy as a giant head to the Scarecrow as a lovely lady to the Tin Woodman as a terrible beast and to the Lion as a ball of fire with the intention of scaring them all but of course choosing the wrong image to make the desired impression He agrees to help them all if they kill the Wicked Witch of the West who rules over Winkie Country The Guardian warns them that no one has ever managed to defeat the witch The Wicked Witch of the West sees the travelers approaching with her one telescopic eye She sends a pack of wolves to tear them to pieces but the Tin Woodman kills them with his axe She sends a flock of wild crows to peck their eyes out but the Scarecrow kills them by twisting their necks She summons a swarm of black bees to sting them but they are killed while trying to sting the Tin Woodman while the Scarecrow s straw hides the others She sends a dozen of her Winkie slaves to attack them but the Lion stands firm to repel them Finally she uses the power of her Golden Cap to send the Winged Monkeys to capture Dorothy Toto and the Lion She cages the Lion scatters the straw of the Scarecrow and dents the Tin Woodman Dorothy is forced to become the witch s personal slave while the witch schemes to steal her silver shoes The Wicked Witch melts First edition illustration by W W Denslow The witch successfully tricks Dorothy out of one of her silver shoes Angered she throws a bucket of water at the witch and is shocked to see her melt away The Winkies rejoice at being freed from her tyranny and help restuff the Scarecrow and mend the Tin Woodman They ask the Tin Woodman to become their ruler which he agrees to do after helping Dorothy return to Kansas Dorothy finds the witch s Golden Cap and summons the Winged Monkeys to carry her and her friends back to the Emerald City The King of the Winged Monkeys tells how he and his band are bound by an enchantment to the cap by the sorceress Gayelette from the North and that Dorothy may use it to summon them two more times When Dorothy and her friends meet the Wizard again Toto tips over a screen in a corner of the throne room that reveals the Wizard who sadly explains he is a humbug an ordinary old man who by a hot air balloon came to Oz long ago from Omaha He provides the Scarecrow with a head full of bran pins and needles a lot of bran new brains the Tin Woodman with a silk heart stuffed with sawdust and the Lion a potion of courage Their faith in his power gives these items a focus for their desires He decides to take Dorothy and Toto home and then go back to Omaha in his balloon At the send off he appoints the Scarecrow to rule in his stead which he agrees to do after helping Dorothy return to Kansas Toto chases a kitten in the crowd and Dorothy goes after him but the ropes holding the balloon break and the Wizard floats away The Winged Monkeys transport Dorothy Dorothy summons the Winged Monkeys and tells them to carry her and Toto home but they explain they can t cross the desert surrounding Oz The Soldier with the Green Whiskers informs Dorothy that Glinda the Good Witch of the South may be able to help her return home so the travelers begin their journey to see Glinda s castle in Quadling Country On the way the Lion kills a giant spider who is terrorizing the animals in a forest They ask him to become their king which he agrees to do after helping Dorothy return to Kansas Dorothy summons the Winged Monkeys a third time to fly them over a hill to Glinda s castle Glinda greets them and reveals that Dorothy s silver shoes can take her anywhere she wishes to go She embraces her friends all of whom will be returned to their new kingdoms through Glinda s three uses of the Golden Cap the Scarecrow to the Emerald City the Tin Woodman to Winkie Country and the Lion to the forest after which the cap will be given to the King of the Winged Monkeys freeing him and his band Dorothy takes Toto in her arms knocks her heels together three times and wishes to return home Instantly she begins whirling through the air and rolling on the grass of the Kansas prairie up to the farmhouse though the silver shoes fall off her feet en route and are lost in the Deadly Desert She runs to Aunt Em saying I m so glad to be home again Illustrations Edit Illustrator W W Denslow co held the copyright The book was illustrated by Baum s friend and collaborator W W Denslow who also co held the copyright The design was lavish for the time with illustrations on many pages backgrounds in different colors and several color plate illustrations 12 The typeface featured the newly designed Monotype Old Style In September 1900 The Grand Rapids Herald wrote that Denslow s illustrations are quite as much of the story as in the writing The editorial opined that had it not been for Denslow s pictures the readers would be unable to picture precisely the figures of Dorothy Toto and the other characters 13 Denslow s illustrations were so well known that merchants of many products obtained permission to use them to promote their wares The forms of the Scarecrow the Tin Woodman the Cowardly Lion the Wizard and Dorothy were made into rubber and metal sculptures Costume jewelry mechanical toys and soap were also designed using their figures 14 The distinctive look of Denslow s illustrations led to imitators at the time most notably Eva Katherine Gibson s Zauberlinda the Wise Witch which mimicked both the typography and the illustration design of Oz 15 A new edition of the book appeared in 1944 with illustrations by Evelyn Copelman 16 17 Although it was claimed that the new illustrations were based on Denslow s originals they more closely resemble the characters as seen in the famous 1939 film version of Baum s book 18 Creative inspiration EditBaum s personal life Edit L Frank Baum circa 1911 According to Baum s son Harry Neal the author had often told his children whimsical stories before they became material for his books 19 Harry called his father the swellest man I knew a man who was able to give a decent reason as to why black birds cooked in a pie could afterwards get out and sing 19 Many of the characters props and ideas in the novel were drawn from Baum s personal life and experiences 20 Baum held different jobs moved a lot and was exposed to many people so the inspiration for the story could have been taken from many different aspects of his life 20 In the introduction to the story Baum writes that it aspires to being a modernized fairy tale in which the wonderment and joy are retained and the heart aches and nightmares are left out 21 Scarecrow and the Tin Woodman Edit As a child Baum frequently had nightmares of a scarecrow pursuing him across a field 22 Moments before the scarecrow s ragged hay fingers nearly gripped his neck it would fall apart before his eyes Decades later as an adult Baum integrated his tormentor into the novel as the Scarecrow 23 In the early 1880s Baum s play Matches was being performed when a flicker from a kerosene lantern sparked the rafters causing the Baum opera house to be consumed by flames Scholar Evan I Schwartz suggested that this might have inspired the Scarecrow s severest terror There is only one thing in the world I am afraid of A lighted match 24 According to Baum s son Harry the Tin Woodman was born from Baum s attraction to window displays He wished to make something captivating for the window displays so he used an eclectic assortment of scraps to craft a striking figure From a wash boiler he made a body from bolted stovepipes he made arms and legs and from the bottom of a saucepan he made a face Baum then placed a funnel hat on the figure which ultimately became the Tin Woodman 25 Dorothy Uncle Henry and the Witches Edit Dorothy meeting the Cowardly Lion Denslow 1900 Baum s wife Maud Gage frequently visited their newborn niece Dorothy Louise Gage whom she adored as the daughter she never had The infant became gravely sick and died aged five months in Bloomington Illinois on November 11 1898 from congestion of the brain Maud was devastated 26 To assuage her distress Frank made his protagonist of The Wonderful Wizard of Oz a girl named Dorothy and he dedicated the book to his wife 27 The baby was buried at Evergreen Cemetery where her gravestone has a statue of the character Dorothy placed next to it 28 Decades later Jocelyn Burdick the daughter of Baum s other niece Magdalena Carpenter and a former Democratic U S Senator from North Dakota asserted that her mother also partly inspired the character of Dorothy 29 Burdick claimed that her great uncle spent considerable time at the Sarpenter homestead and became very attached to Magdalena 29 Burdick has reported many similarities between her mother s homestead and the farm of Aunt Em and Uncle Henry 29 Uncle Henry was modeled after Henry Gage Baum s father in law Bossed around by his wife Matilda Henry rarely dissented with her He flourished in business though and his neighbors looked up to him Likewise Uncle Henry was a passive but hard working man who looked stern and solemn and rarely spoke 30 The witches in the novel were influenced by witch hunting research gathered by Matilda Gage The stories of barbarous acts against accused witches scared Baum Two key events in the novel involve wicked witches who meet their death through metaphorical means 31 The Emerald City and the Land of Oz Edit The Emerald City Denslow 1900 In 1890 Baum lived in Aberdeen South Dakota during a drought and he wrote a witty story in his Our Landlady column in Aberdeen s The Saturday Pioneer about a farmer who gave green goggles to his horses causing them to believe that the wood chips that they were eating were pieces of grass 32 Similarly the Wizard made the people in the Emerald City wear green goggles so that they would believe that their city was built from emeralds 33 During Baum s short stay in Aberdeen the dissemination of myths about the plentiful West continued However the West instead of being a wonderland turned into a wasteland because of a drought and a depression In 1891 Baum moved his family from South Dakota to Chicago At that time Chicago was getting ready for the World s Columbian Exposition in 1893 Scholar Laura Barrett stated that Chicago was considerably more akin to Oz than to Kansas After discovering that the myths about the West s incalculable riches were baseless Baum created an extension of the American frontier in Oz In many respects Baum s creation is similar to the actual frontier save for the fact that the West was still undeveloped at the time The Munchkins Dorothy encounters at the beginning of the novel represent farmers as do the Winkies she later meets 34 Local legend has it that Oz also known as the Emerald City was inspired by a prominent castle like building in the community of Castle Park near Holland Michigan where Baum lived during the summer The yellow brick road was derived from a road at that time paved by yellow bricks located in Peekskill New York where Baum attended the Peekskill Military Academy Baum scholars often refer to the 1893 Chicago World s Fair the White City as an inspiration for the Emerald City Other legends suggest that the inspiration came from the Hotel Del Coronado near San Diego California Baum was a frequent guest at the hotel and had written several of the Oz books there 35 In a 1903 interview with The Publishers Weekly 36 Baum said that the name Oz came from his file cabinet labeled O Z 37 22 Some critics have suggested that Baum s Oz may have been inspired by Australia Australia is often colloquially spelled or referred to as Oz Furthermore in Ozma of Oz 1907 Dorothy gets back to Oz as the result of a storm at sea while she and Uncle Henry are traveling by ship to Australia Like Australia Oz is an island continent somewhere to the west of California with inhabited regions bordering on a great desert Baum perhaps intended Oz to be Australia or a magical land in the center of the great Australian desert 38 Alice s Adventures in Wonderland Edit In addition to being influenced by the fairy tales of the Brothers Grimm and Hans Christian Andersen 39 Baum was significantly influenced by English writer Lewis Carroll s 1865 novel Alice s Adventures in Wonderland 40 Although Baum found the plot of Carroll s novel to be incoherent he identified the book s source of popularity as Alice herself a child with whom younger readers could identify and this influenced Baum s choice of Dorothy as his protagonist 39 Baum also was influenced by Carroll s views that all children s books should be lavishly illustrated be pleasurable to read and not contain any moral lessons 41 During the Victorian era Carroll had rejected the popular expectation that children s books must be saturated with moral lessons and instead he contended that children should be allowed to be children 42 Although influenced by Carroll s distinctly English work Baum nonetheless sought to create a story that had recognizable American elements such as farming and industrialization 41 Consequently Baum combined the conventional features of a fairy tale such as witches and wizards with well known fixtures in his young readers Midwestern lives such as scarecrows and cornfields 43 Influence of Denslow Edit Illustrator W W Denslow sketching circa 1900 The original illustrator of the novel W W Denslow aided in the development of Baum s story and greatly influenced the way it has been interpreted 22 Baum and Denslow had a close working relationship and worked together to create the presentation of the story through the images and the text 22 Color is an important element of the story and is present throughout the images with each chapter having a different color representation Denslow also added characteristics to his drawings that Baum never described For example Denslow drew a house and the gates of the Emerald City with faces on them In the later Oz books John R Neill who illustrated all the sequels continued to use elements from Denslow s earlier illustrations including faces on the Emerald City s gates 44 Another aspect is the Tin Woodman s funnel hat which is not mentioned in the text until later books but appears in most artists interpretation of the character including the stage and film productions of 1902 09 1908 1910 1914 1925 1931 1933 1939 1982 1985 1988 1992 and others One of the earliest illustrators not to include a funnel hat was Russell H Schulz in the 1957 Whitman Publishing edition Schulz depicted him wearing a pot on his head Libico Maraja s illustrations which first appeared in a 1957 Italian edition and have also appeared in English language and other editions are well known for depicting him bareheaded Allusions to 19th century America Edit See also Political interpretations of The Wonderful Wizard of Oz and Populist movement United States 19th Century Many decades after its publication Baum s work gave rise to a number of political interpretations particularly in regards to the 19th century Populist movement in the United States 45 In a 1964 American Quarterly article titled The Wizard of Oz Parable on Populism 46 educator Henry Littlefield posited that the book served an allegory for the late 19th century bimetallism debate regarding monetary policy 47 48 Littlefield s thesis achieved some support but was widely criticized by others 49 50 51 Other political interpretations soon followed In 1971 historian Richard J Jensen theorized in The Winning of the Midwest that Oz was derived from the common abbreviation for ounce used for denoting quantities of gold and silver 52 Critical response EditThis last story of The Wizard is ingeniously woven out of commonplace material It is of course an extravaganza but will surely be found to appeal strongly to child readers as well as to the younger children to whom it will be read by mothers or those having charge of the entertaining of children There seems to be an inborn love of stories in child minds and one of the most familiar and pleading requests of children is to be told another story The drawing as well as the introduced color work vies with the texts drawn and the result has been a book that rises far above the average children s book of today high as is the present standard The book has a bright and joyous atmosphere and does not dwell upon killing and deeds of violence Enough stirring adventure enters into it however to flavor it with zest and it will indeed be strange if there be a normal child who will not enjoy the story The New York Times September 8 1900 53 The Wonderful Wizard of Oz received positive critical reviews upon release In a September 1900 review The New York Times praised the novel writing that it would appeal to child readers and to younger children who could not read yet The review also praised the illustrations for being a pleasant complement to the text 53 During the subsequent decades after the novel s publication in 1900 it received little critical analysis from scholars of children s literature Lists of suggested reading published for juvenile readers never contained Baum s work 54 and his works were rarely assigned in classrooms 55 This lack of interest stemmed from the scholars misgivings about fantasy as well as to their belief that lengthy series had little literary merit 54 It frequently came under fire in later decades In 1957 the director of Detroit s libraries banned The Wonderful Wizard of Oz for having no value for children of today for supporting negativism and for bringing children s minds to a cowardly level Professor Russel B Nye of Michigan State University countered that if the message of the Oz books love kindness and unselfishness make the world a better place seems of no value today then maybe the time is ripe for reassess ing a good many other things besides the Detroit library s approved list of children s books 56 In 1986 seven Fundamentalist Christian families in Tennessee opposed the novel s inclusion in the public school syllabus and filed a lawsuit 57 They based their opposition to the novel on its depicting benevolent witches and promoting the belief that integral human attributes were individually developed rather than God given 57 One parent said I do not want my children seduced into godless supernaturalism 58 Other reasons included the novel s teaching that females are equal to males and that animals are personified and can speak The judge ruled that when the novel was being discussed in class the parents were allowed to have their children leave the classroom 59 In April 2000 the Library of Congress declared The Wonderful Wizard of Oz to be America s greatest and best loved homegrown fairytale also naming it the first American fantasy for children and one of the most read children s books 7 Leonard Everett Fisher of The Horn Book Magazine wrote in 2000 that Oz has a timeless message from a less complex era and it continues to resonate The challenge of valuing oneself during impending adversity has not Fisher noted lessened during the prior 100 years 60 Two years later in a 2002 review Bill Delaney of Salem Press praised Baum for giving children the opportunity to discover magic in the mundane things in their everyday lives He further commended Baum for teaching millions of children to love reading during their crucial formative years 43 In 2012 it was ranked number 41 on a list of the top 100 children s novels published by School Library Journal 61 Editions EditAfter George M Hill s bankruptcy in 1902 copyright in the book passed to the Bowen Merrill Company of Indianapolis 9 The company published most of Baum s other books from 1901 to 1903 Father Goose His Book reprint The Magical Monarch of Mo reprint American Fairy Tales reprint Dot and Tot of Merryland reprint The Master Key The Army Alphabet The Navy Alphabet The Life and Adventures of Santa Claus The Enchanted Island of Yew The Songs of Father Goose initially under the title The New Wizard of Oz The word New was quickly dropped in subsequent printings leaving the now familiar shortened title The Wizard of Oz and some minor textual changes were added such as to yellow daises and changing a chapter title from The Rescue to How the Four Were Reunited The editions they published lacked most of the in text color and color plates of the original Many cost cutting measures were implemented including removal of some of the color printing without replacing it with black printing nothing rather than the beard of the Soldier with the Green Whiskers When Baum filed for bankruptcy after his critically and popularly successful film and stage production The Fairylogue and Radio Plays failed to make back its production costs Baum lost the rights to all of the books published by what was now called Bobbs Merrill and they were licensed to the M A Donahue Company which printed them in significantly cheaper blotting paper editions with advertising that directly competed with Baum s more recent books published by the Reilly amp Britton Company from which he was making his living explicitly hurting sales of The Patchwork Girl of Oz the new Oz book for 1913 to boost sales of Wizard which Donahue called in a full page ad in The Publishers Weekly June 28 1913 Baum s one pre eminently great Juvenile Book In a letter to Baum dated December 31 1914 F K Reilly lamented that the average buyer employed by a retail store would not understand why he should be expected to spend 75 cents for a copy of Tik Tok of Oz when he could buy a copy of Wizard for between 33 and 36 cents Baum had previously written a letter complaining about the Donahue deal which he did not know about until it was fait accompli and one of the investors who held The Wizard of Oz rights had inquired why the royalty was only five or six cents per copy depending on quantity sold which made no sense to Baum 62 A new edition from Bobbs Merrill in 1949 illustrated by Evelyn Copelman again titled The New Wizard of Oz paid lip service to Denslow but was based strongly apart from the Lion on the MGM movie Copelman had illustrated a new edition of The Magical Monarch of Mo two years earlier 63 It was not until the book entered the public domain in 1956 that new editions either with the original color plates or new illustrations proliferated 64 A revised version of Copelman s artwork was published in a Grosset amp Dunlap edition and Reilly amp Lee formerly Reilly amp Britton published an edition in line with the Oz sequels which had previously treated The Marvelous Land of Oz as the first Oz book 65 not having the publication rights to Wizard with new illustrations by Dale Ulrey 17 Ulrey had previously illustrated Jack Snow s Jaglon and the Tiger Faries an expansion of a Baum short story The Story of Jaglon and a 1955 edition of The Tin Woodman of Oz though both sold poorly Later Reilly amp Lee editions used Denslow s original illustrations Notable more recent editions are the 1986 Pennyroyal edition illustrated by Barry Moser which was reprinted by the University of California Press and the 2000 The Annotated Wizard of Oz edited by Michael Patrick Hearn heavily revised from a 1972 edition that was printed in a wide format that allowed for it to be a facsimile of the original edition with notes and additional illustrations at the sides which was published by W W Norton and included all the original color illustrations as well as supplemental artwork by Denslow Other centennial editions included University Press of Kansas s Kansas Centennial Edition illustrated by Michael McCurdy with black and white illustrations and Robert Sabuda s pop up book Sequels EditSee also List of Oz books The Marvelous Land of Oz 1904 and Ozma of Oz 1907 were the next entries in the series Baum wrote The Wonderful Wizard of Oz without any thought of a sequel After reading the novel thousands of children wrote letters to him requesting that he craft another story about Oz In 1904 amid financial difficulties 66 Baum wrote and published the first sequel The Marvelous Land of Oz 66 declaring that he grudgingly wrote the sequel to address the popular demand 67 He dedicated the book to stage actors Fred Stone and David C Montgomery who played the characters of the Scarecrow and the Tin Woodman on stage 66 Baum wrote large roles for the Scarecrow and Tin Woodman that he deleted from the stage version The Woggle Bug after Montgomery and Stone had balked at leaving a successful show to do a sequel Baum later wrote sequels in 1907 1908 and 1909 In his 1910 The Emerald City of Oz he wrote that he could not continue writing sequels because Ozland had lost contact with the rest of the world The children refused to accept this story so Baum in 1913 and every year thereafter until his death in May 1919 wrote an Oz book ultimately writing 13 sequels and half a dozen Oz short stories Baum explained the purpose of his novels in a note he penned to his sister Mary Louise Brewster in a copy of Mother Goose in Prose 1897 his first book He wrote To please a child is a sweet and a lovely thing that warms one s heart and brings its own reward 68 After Baum s death in 1919 Baum s publishers delegated the creation of more sequels to Ruth Plumly Thompson who wrote 21 43 An original Oz book was published every Christmas between 1913 and 1942 69 By 1956 five million copies of the Oz books had been published in the English language while hundreds of thousands had been published in eight foreign languages 10 Adaptations EditMain article Adaptations of The Wizard of Oz Judy Garland as Dorothy discovering that she and Toto are no longer in Kansas The Wonderful Wizard of Oz has been adapted to other media numerous times 70 Within several decades after its publication the book had inspired a number of stage and screen adaptations including a profitable 1902 Broadway musical and three silent films The most popular cinematic adaptation of the story is The Wizard of Oz the 1939 film starring Judy Garland Ray Bolger Jack Haley and Bert Lahr The 1939 film was considered innovative because of its special effects and revolutionary use of Technicolor 6 The story has been translated into other languages at least once without permission resulting in Alexander Volkov s The Wizard of the Emerald City novel and its sequels which were translated into English by Sergei Sukhinov and adapted into comics several times Following the lapse of the original copyright the characters have been adapted and reused in spin offs unofficial sequels and reinterpretations some of which have been controversial in their treatment of Baum s characters 71 Influence and legacy EditThe Wonderful Wizard of Oz has become an established part of multiple cultures spreading from its early young American readership to becoming known throughout the world It has been translated or adapted into nearly every major language at times being modified in local variations 70 For instance in some abridged Indian editions the Tin Woodman was replaced with a horse 72 In Russia a translation by Alexander Melentyevich Volkov produced six books The Wizard of the Emerald City series which became progressively distanced from the Baum version as Ellie and her dog Totoshka travel throughout the Magic Land The 1939 film adaptation has become a classic of popular culture shown annually on American television from 1959 to 1998 and then several times a year every year beginning in 1999 73 In 1974 the story was re envisioned as The Wiz a Tony Award winning musical featuring an all Black cast and set in the context of modern African American culture 74 75 This musical was adapted in 1978 as the feature film The Wiz a musical adventure fantasy produced by Universal Pictures and Motown Productions There were several Hebrew translations published in Israel As established in the first translation and kept in later ones the book s Land of Oz was rendered in Hebrew as Eretz Uz ארץ עוץ i e the same as the original Hebrew name of the Biblical Land of Uz homeland of Job Thus for Hebrew readers this translators choice added a layer of Biblical connotations absent from the English original citation needed In 2018 The Lost Art of Oz project was initiated to locate and catalogue the surviving original artwork John R Neill W W Denslow Frank Kramer Richard Dirk Gringhuis and Dick Martin that was created to illustrate the Oz book series 76 In 2020 an Esperanto translation of the novel was used by a team of scientists to demonstrate a new method for encoding text in DNA that remains readable after repeated copying 77 Allegorical Analysis EditThis book also seems to follow Joseph Campbell s a Hero with a thousand faces monomyth theme To see The Wonderful Wizard of Oz simply as Dorothy s quest for a way to return to Kansas is to miss many of the sources of the books strength for like most quest heroes Dorothy achieves far more than simply finding her way home 78 The Wizard of Oz follows the course of the hero s journey in the structure of Departure Initiation and Return which Campbell describes in The Hero with a Thousand Faces 79 See also Edit Novels portal1900 in literature The Baum Bugle Wizard of Oz Club The Wiz Wicked Tin Man miniseries Lost in Oz TV series Dorothy and the Wizard of OzReferences EditCitations Edit Baum amp Denslow 1900 Greene amp Martin 1977 p 11 Greene amp Martin 1977 pp 11 12 a b c d e The New York Times 1900a p T13 The New York Times 1903 p 9 a b Twiddy 2009 a b Library of Congress Oz Exhibit 2000 Rogers 2002 pp 73 94 a b c Greene amp Martin 1977 p 14 a b MacFall 1956 Verdon 1991 Baum 2000 p xlvii New Fairy Stories 1900 Starrett 1954 Bloom 1994 p 9 Baum 2000 pp lv 7 a b Greene amp Martin 1977 p 90 University of Minnesota 2006 a b Sweet 1944 a b Schwartz 2009 p xiv Baum 2000 p 5 a b c d Greene amp Martin 1977 p 10 Gourley 1999 p 7 Schwartz 2009 p 75 Carpenter amp Shirley 1992 p 43 Taylor Moran amp Sceurman 2005 p 208 Wagman Geller 2008 pp 39 40 Elleson 2016 a b c Eriksmoen 2020 Schwartz 2009 p 95 Schwartz 2009 pp 97 98 Culver 1988 p 102 Hansen 2002 p 261 Barrett 2006 pp 154 155 Fokos 2006 Mendelsohn 1986 p E12 Schwartz 2009 p 273 Algeo 1990 pp 86 89 a b Baum 2000 p 38 Baum 2000 p 38 New Fairy Stories 1900 a b Riley 1997 p 51 Berman Judy October 15 2020 Alice s Adventures in Wonderland by Lewis Carroll Time Retrieved November 24 2021 a b c Delaney 2002 Riley 1997 p 42 Ritter 1997 Velde 2002 Rockoff 1990 Dighe 2002 p 2 Dighe 2002 p x Littlefield 1964 p 50 Parker 1994 pp 49 63 Sanders 1991 pp 1042 1050 Gardner 2002 Jensen 1971 p 283 a b The New York Times 1900b p BR12 a b Berman 2003 p 504 Culver 1988 p 98 Starrett 1957 a b Culver 1988 p 97 Nathanson 1991 p 301 Abrams amp Zimmer 2010 p 105 Fisher 2000 p 739 Bird Elizabeth July 7 2012 Top 100 Chapter Book Poll Results A Fuse 8 Production Blog School Library Journal blog schoollibraryjournal com Greene 1974 pp 10 11 Stillman 1996 Greene amp Martin 1977 p 176 Greene amp Martin 1977 p 20 a b c Greene amp Martin 1977 p 17 Littlefield 1964 pp 47 48 MacFall 1956 Baum amp MacFall 1961 Watson 2000 p 112 a b Greene amp Martin 1977 Preface Baum 2000 pp ci cii Rutter 2000 Library of Congress Oz Adaptations 2000 Martin 2015 Greene amp Martin 1977 p 169 The Story Behind Oz The Lost Art of Oz University of Texas at Austin 2020 Tuerk Richard 2015 Oz in Perspective Magic and Myth in the L Frank Baum Books p 22 Durand Kevin K 2010 The Universe of Oz McFarland amp Company Inc p 56 Works cited Edit Abrams Dennis Zimmer Kyle 2010 L Frank Baum New York Infobase Publishing ISBN 978 1 60413 501 5 Algeo J 1990 Australia as the Land of Oz American Speech 65 1 86 89 doi 10 2307 455941 JSTOR 455941 Barrett Laura 2006 From Wonderland to Wasteland The Wonderful Wizard of Oz The Great Gatsby and the New American Fairy Tale Papers on Language amp Literature Southern Illinois University 42 2 150 180 ISSN 0031 1294 Archived from the original on December 24 2009 Retrieved March 7 2011 Baum Frank Joslyn MacFall Russell P 1961 To Please a Child Chicago Reilly amp Lee via Google Books Baum Lyman Frank 2000 1973 Hearn Michael Patrick ed The Annotated Wizard of Oz The Wonderful Wizard of Oz New York W W Norton amp Company ISBN 0 393 04992 2 via Google Books Baum L Frank Denslow W W 1900 The Wonderful Wizard of Oz by L Frank Baum with Pictures by W W Denslow Chicago George M Hill Company Retrieved February 6 2018 via Internet Archive Berman Ruth November 2003 The Wizardry of Oz Science Fiction Studies DePauw University 30 3 504 509 Archived from the original on October 2 2010 Retrieved November 27 2010 Bloom Harold 1994 Classic Fantasy Writers New York Chelsea House Publishers ISBN 0 7910 2204 8 Books and Authors The New York Times September 8 1900b p BR12 Retrieved September 10 2021 Carpenter Angelica Shirley Shirley Jean 1992 L Frank Baum Royal Historian of Oz Minneapolis Lerner Publishing Group ISBN 0 8225 9617 2 Culver Stuart 1988 What Manikins Want The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows Representations University of California Press 21 97 116 doi 10 2307 2928378 JSTOR 2928378 Delaney Bill March 2002 The Wonderful Wizard of Oz Salem Press Archived from the original on July 18 2011 Retrieved November 25 2010 Dighe Ranjit S 2002 The Historian s Wizard of Oz Reading L Frank Baum s Classic as a Political and Monetary Allegory Praeger ISBN 978 0 275 97418 3 Elleson Lisa 2016 Dorothy Louise Gage June 11 1898 November 15 1898 McLean County Museum of History Eriksmoen Curt July 11 2020 North Dakota girl was the likely inspiration for Dorothy in The Wizard of Oz The Dickinson Press Retrieved June 26 2021 Fisher Leonard Everett 2000 Future Classics The Wonderful Wizard of Oz The Horn Book Magazine Library Journals 76 6 739 ISSN 0018 5078 Fokos Barbarella November 2 2006 Coronado and Oz San Diego Reader Archived from the original on November 2 2014 Gardner Martin Nye Russel B 1994 The Wizard of Oz and Who He Was East Lansing Michigan State University Press ISBN 9780870133664 via Google Books Gardner Todd 2002 Responses to Littlefield Archived from the original on April 16 2013 Gourley Catherine 1999 Media Wizards A Behind the Scene Look at Media Manipulations Brookfield CT Twenty First Century Books ISBN 0 7613 0967 5 via Internet Archive Greene David L Spring 1974 A Case of Insult The Baum Bugle 16 1 10 11 Greene David L Martin Dick 1977 The Oz Scrapbook New York Random House ISBN 0 394 41054 8 via Internet Archive Hanff Peter E Greene Douglas G 1976 Bibliographia Oziana A Concise Bibliographical Checklist The International Wizard of Oz Club ISBN 978 1 930764 03 3 Hansen Bradley A 2002 The Fable of the Allegory The Wizard of Oz in Economics Journal of Economic Education Taylor amp Francis 33 3 254 264 doi 10 1080 00220480209595190 JSTOR 1183440 S2CID 15781425 Jensen Richard J 1971 The Winning of the Midwest Social and Political Conflict 1888 1896 Chicago University of Chicago Press ISBN 0 226 39825 0 LCCN 71 149802 via Internet Archive Littlefield Henry M 1964 The Wizard of Oz Parable on Populism American Quarterly Johns Hopkins University Press 16 1 47 58 doi 10 2307 2710826 JSTOR 2710826 Archived from the original on August 19 2010 Martin Michel December 20 2015 The Wiz Live Defied The Skeptics Returns for a Second Round NPR Archived from the original on January 25 2016 Retrieved January 28 2016 MacFall Russell May 13 1956 He created The Wizard L Frank Baum Whose Oz Books Have Gladdened Millions Was Born 100 Years Ago Tuesday PDF Chicago Tribune Archived from the original PDF on November 28 2010 Retrieved November 28 2010 Mendelsohn Ink May 25 1986 As a piece of fantasy Baum s life was a working model The Spokesman Review Sunday ed p E12 Retrieved February 13 2011 Notes and News The New York Times October 27 1900 p T13 Retrieved September 10 2021 Nathanson Paul 1991 Over the Rainbow The Wizard of Oz as a Secular Myth of America Albany State University of New York Press ISBN 0 7914 0709 8 via Internet Archive New Fairy Stories The Wonderful Wizard of Oz by Authors of Father Goose PDF Grand Rapids Herald September 16 1900 Archived from the original PDF on February 3 2011 Retrieved February 2 2011 Parker David B 1994 The Rise and Fall of The Wonderful Wizard of Oz as a Parable on Populism Journal of the Georgia Association of Historians 16 49 63 Riley Michael O 1997 Oz and Beyond The Fantasy World of L Frank Baum University of Kansas Press ISBN 0 7006 0832 X via Internet Archive Ritter Gretchen August 1997 Silver slippers and a golden cap L Frank Baum s The Wonderful Wizard of Oz and historical memory in American politics Journal of American Studies 31 2 171 203 doi 10 1017 S0021875897005628 S2CID 144369952 Rockoff Hugh 1990 The Wizard of Oz as a Monetary Allegory Journal of Political Economy 98 4 739 60 doi 10 1086 261704 S2CID 153606670 Rogers Katharine M 2002 L Frank Baum Creator of Oz New York St Martin s Press ISBN 0 312 30174 X via Internet Archive Rutter Richard June 2000 Follow the yellow brick road to Speech Indiana Memorial Union Indiana University Bloomington Indiana Archived from the original on June 10 2000 Sanders Mitch July 1991 Setting the Standards on the Road to Oz The Numismatist 1042 1050 Archived from the original on June 17 2013 Schwartz Evan I 2009 Finding Oz how L Frank Baum discovered the Great American story Boston Houghton Mifflin Harcourt ISBN 978 0 547 05510 7 Starrett Vincent May 12 1957 L Frank Baum s Books Alive PDF Chicago Tribune Archived from the original PDF on November 28 2010 Retrieved November 28 2010 Starrett Vincent May 2 1954 The Best Loved Books PDF Chicago Tribune Archived from the original PDF on November 28 2010 Retrieved November 28 2010 Stillman William Winter 1996 The Lost Illustrator of Oz and Mo The Baum Bugle 40 3 Sweet Oney Fred February 20 1944 Tells How Dad Wrote Wizard of Oz Stories PDF Chicago Tribune Archived from the original PDF on November 28 2010 Retrieved November 28 2010 Taylor Troy Moran Mark Sceurman Mark 2005 Weird Illinois Your Travel Guide to Illinois Local Legends and Best Kept Secrets Weird US New York Sterling Publishing ISBN 0 7607 5943 X The Wizard of Oz A Warm Welcome at the North Pole of Broadway The New York Times January 21 1903 p 9 Retrieved September 10 2021 The Wizard of Oz An American Fairy Tale Library of Congress April 21 2000 Archived from the original on February 7 2016 To See The Wizard Oz on Stage and Film Library of Congress 2000 Archived from the original on April 5 2011 Twiddy David September 23 2009 Wizard of Oz goes hi def for 70th anniversary The Florida Times Union Associated Press Archived from the original on August 13 2012 Retrieved February 13 2011 University of Texas at Austin Power of DNA to store information gets an upgrade Physics org Retrieved July 26 2020 Velde Francois R 2002 Following the Yellow Brick Road How the United States Adopted the Gold Standard Economic Perspectives 26 2 Verdon Michael 1991 The Wonderful Wizard of Oz Salem Press Wagman Geller Marlene 2008 Once Again to Zelda The Stories Behind Literature s Most Intriguing Dedications New York Penguin Books ISBN 978 0 399 53462 1 Watson Bruce 2000 The Amazing Author of Oz Smithsonian Smithsonian Institution 31 3 112 ISSN 0037 7333 Welcome to the Oz Collection Pictures by Evelyn Copelman Children s Literature Research Collection University of Minnesota Libraries Archived from the original on June 1 2009 External links Edit Wikimedia Commons has media related to The Wonderful Wizard of Oz Wikisource has the complete text of The Wonderful Wizard of Oz Wikiquote has quotations related to The Wonderful Wizard of Oz Listen to this article 22 minutes source source This audio file was created from a revision of this article dated 8 January 2006 2006 01 08 and does not reflect subsequent edits Audio help More spoken articles Text The Wonderful Wizard of Oz at Standard Ebooks The Wonderful Wizard of Oz 1900 illustrated copy at Project Gutenberg The Wonderful Wizard of Oz 1900 illustrated copy Publisher s green and red illustrated cloth over boards illustrated endpapers Plate detached Public Domain Charles E Young Research Library UCLA at Internet Archive Online version of the 1900 first edition on the Library of Congress website Audio The Wonderful Wizard of Oz public domain audiobook at LibriVox The Wonderful Wizard of Oz by L Frank Baum an unabridged dramatic audio performance at Wired for Books Miller John J May 11 2006 Down the Yellow Brick Road of Over interpretation The Wall Street Journal Retrieved November 13 2020 A Long and Dangerous Journey A History of The Wizard of Oz on the Silver Screen Scream It Loud com Elleson Lisa February 19 2016 Dorothy Louise Gage June 11 1898 November 15 1898 McLean County Museum of History Archived from the original on May 9 2016 Retrieved October 2 2021 The Oz booksPrevious book N A The Wonderful Wizard of Oz1900 Next book The Marvelous Land of Oz Retrieved from https en wikipedia org w index php title The Wonderful Wizard of Oz amp oldid 1130772439, wikipedia, wiki, book, books, library,

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