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Neill , who illustrated all of the sequels, continued to include these faces on gates. One of the earliest illustrators not to include a funnel hat was Russell H.

Schulz in the Whitman Publishing edition--Schulz depicted him wearing a pot on his head. Libico Maraja 's illustrations, which first appeared in a Italian edition and have also appeared in English-language and other editions, are well known for depicting him bareheaded.

Baum did not offer any conclusive proof that he intended his novel to be a political allegory, and for 60 years after the book's publication "virtually nobody" had such an interpretation.

Then, in a American Quarterly article entitled "The Wizard of Oz: Parable on Populism", [35] the American teacher Henry Littlefield posited that the book contained an allegory of the late 19th-century bimetallism debate regarding monetary policy.

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 well over fifty languages, at times being modified in local variations. For instance, in some abridged Indian editions, the Tin Woodman was replaced with a horse.

The film adaptation has become a classic of popular culture, shown annually on American television from to and then several times a year every year beginning in There were several Hebrew translations published in Israel.

Thus, for Hebrew readers, this translators' choice added a layer of Biblical connotations absent from the English original. The New York Times , September 8, [46].

The Wonderful Wizard of Oz received positive critical reviews upon release. In a September 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. During the first 50 years after The Wonderful Wizard of Oz ' s publication in , it received little critical analysis from scholars of children's literature.

According to Ruth Berman of Science Fiction Studies , the lists of suggested reading published for juvenile readers never contained Baum's work.

The lack of interest stemmed from the scholars' misgivings about fantasy, as well as to their belief that lengthy series had little literary merit.

It has frequently come under fire over the years. In , the director of Detroit's libraries banned The Wonderful Wizard of Oz for having "no value" for children of his day, 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".

In , seven Fundamentalist Christian families in Tennessee opposed the novel's inclusion in the public school syllabus and filed a lawsuit.

The judge ruled that when the novel was being discussed in class, the parents were allowed to have their children leave the classroom.

Leonard Everett Fisher of The Horn Book Magazine wrote in 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 years.

In a 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". The Library of Congress has 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.

After George M. 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.

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.

Copelman had illustrated a new edition of The Magical Monarch of Mo two years earlier. It was not until the book entered the public domain in that new editions, either with the original color plates, or new illustrations, proliferated.

Notable more recent editions are the Pennyroyal edition illustrated by Barry Moser , which was reprinted by the University of California Press , and the The Annotated Wizard of Oz edited by Michael Patrick Hearn heavily revised from a edition that was printed in a wide format that allowed for it to be a facsimile of he original edition with notes and additional illustrations at the sides , which was published by W.

Norton and included all the original color illustrations, as well as supplemental artwork by Denslow. 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 , he wrote and published the first sequel, The Marvelous Land of Oz , explaining that he grudgingly wrote the sequel to address the popular demand.

Baum also wrote sequels in , , and In his 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 and every year thereafter until his death in May , wrote an Oz book, ultimately writing 13 sequels and half a dozen Oz short stories.

He wrote, "To please a child is a sweet and a lovely thing that warms one's heart and brings its own reward. Until this version, the book had inspired a number of now less well known stage and screen adaptations, including a profitable Broadway musical and three silent films.

The film was considered innovative because of its songs, special effects , and revolutionary use of the new Technicolor. 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.

In , an Esperanto translation of the novel was used by a team of scientists to demonstrate a new method for encoding text in DNA which remains readable after repeated copying [60].

Neill, W. From Wikipedia, the free encyclopedia. Frank Baum. For other uses, see The Wonderful Wizard of Oz disambiguation.

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.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.

See also: List of Oz books. Main article: Adaptations of The Wizard of Oz. Novels portal. Frank Baum with Pictures by W.

Chicago: Geo. Hill Co. Retrieved February 6, — via the Internet Archive. Rogers, L. Frank Baum, pp. The New York Times. October 27, Archived from the original on January 18, Retrieved December 3, Chicago Tribune.

Archived from the original PDF on November 28, Retrieved November 28, Salem Press. Grand Rapids Herald. September 16, Archived from the original PDF on February 3, Retrieved February 2, Frank ; Hearn, Michael Patrick The Annotated Wizard of Oz.

New York: C. West Fargo Pioneer. Retrieved July 13, The Spokesman-Review. Retrieved February 13, Archived from the original on July 18, Retrieved November 25, Frank Baum".

Lawrence, University of Kansas Press, , p. The Wonderful Wizard of Oz. Harpers Collins, , p. Archived from the original on April 16, Retrieved October 29, University of Chicago Press Retrieved December 23, Follow the yellow brick road to Archived from the original on June 10, Library of Congress , December 20, Archived from the original on January 25, Retrieved January 28, Archived from the original on October 22, Retrieved October 22, September 8, Archived from the original PDF on January 18, Retrieved November 26, The Horn Book Magazine.

Library Journals. Library of Congress. Archived from the original on February 7, Greene and Dick Martin. The Oz Scrapbook. Smithsonian Institution.

The Florida Times-Union. Associated Press. Archived from the original on August 13, Retrieved July 26, Abrams, Dennis; Zimmer, Kyle New York: Infobase Publishing.

Aycock, Colleen and Mark Scott Barrett, Laura Southern Illinois University. Archived from the original on December 24, Retrieved March 7, To Please a Child.

Berman, Ruth November Science Fiction Studies. DePauw University. Archived from the original on October 2, Retrieved November 27, Bloom, Harold Classic Fantasy Writers.

New York: Chelsea House Publishers. Carpenter, Angelica Shirley; Shirley, Jean Frank Baum: Royal Historian of Oz. Minneapolis: Lerner Publishing Group.

Culver, Stuart. Culver, Stuart University of California Press 21 : 97— Dighe, Ranjit S. Greene, David L. Random House. Hanff, Peter E and Douglas G.

Greene The International Wizard of Oz Club. Journal of Economic Education. Hearn, Michael Patrick ed. Florida State University. Retrieved June 14, Littlefield, Henry M.

American Quarterly. Johns Hopkins University Press. Archived from the original on August 19, Nathanson, Paul Parker, David B.

Rockoff, Hugh. Frank Baum: Creator of Oz. New York: St. Martin's Press. Schwartz, Evan I. Finding Oz: how L. Frank Baum discovered the Great American story.

Boston: Houghton Mifflin Harcourt. Sherman, Fraser A. The Wizard of Oz catalog: L. Frank Baum's novel, its sequels and their adaptations for stage, television, movies, radio, music videos, comic books, commercials and more.

Jefferson, N. Oz Before the Rainbow: L. Weird US. Glinda summons the Winged Monkeys so that they can take the Tin Woodman back to rule the Winkies, the Scarecrow back to Emerald City, and the Cowardly Lion to the forest to be king of the beasts.

Then she tells Dorothy how to use the silver shoes to take her back to Kansas. As well as being a wonderful and exciting adventure for children, the novel shows that each of the travelers already possessed what they had thought they lacked.

Baum wrote 13 more Oz books, and the series was continued by another writer after his death. A successful stage adaptation of the book opened in Chicago in and moved to Broadway the following year, and the musical film version starring Judy Garland became a cinema classic, made famous to later generations of children through frequent showings on television.

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The Wonderful Wizard of Oz is vulnerable to attacks on its prose style, incarnating mediocrity. But there is something in it, for all its doctrinaire moralism, that lends it permanent appeal: a prairie freshness, a joy in sheer invention, the simple, satisfying characterization of….

Several directors subsequently worked on the production, though Fleming was the only one to receive credit; King Vidor was responsible for the black-and-white Kansas scenes.

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