Books: Little Wizard Stories Of Oz By L. Frank Baum

1905 first edition front cover image is © John R. Neill via Wikipedia

The Little Wizard Stories of Oz is related to the Oz series of books.

Click here to download this book.

Read this book online and get more download options and a bibliographic record on Project Gutenberg by clicking here.

You can download the main fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About Little Wizard Stories Of Oz

Little Wizard Stories of Oz is a set of six short stories written for young children by L. Frank Baum.  The six tales were published in separate small booklets, Oz books in miniature, in 1913, and then in a collected edition in 1914 with illustrations by John R. Neill.  Each booklet is 29 pages long, and printed in blue ink rather than black.

Development

The stories were part of a project, by Baum and his publisher Reilly & Britton, to revitalize and continue the series of Oz books that Baum had written up to that date.  The story collection effectively constitutes a fifteenth Oz book by Baum.

Baum had attempted to end the Oz series with the sixth book, The Emerald City of Oz (1910).  In the final chapter of that book, he sealed off the Land of Oz from the outside world.  He began a new series of books with The Sea Fairies (1911) and Sky Island (1912).  Also, he reacted to his 1911 bankruptcy by increasing his literary output.  He produced five books that year, his greatest output since 1907.  Baum tried to launch two other juvenile novel series in 1911, with The Daring Twins, released under his own name, and The Flying Girl, under his Edith Van Dyne pseudonym.

None of the new series was as successful as the previous Baum and Van Dyne series, the Oz books and Aunt Jane’s Nieces.  Both the Flying Girl and Daring Twins series ended with their second volumes, The Flying Girl and Her Chum and Phoebe Daring, both published in 1912.  Disappointing sales through 1911 and 1912 convinced Baum and Reilly & Britton that a return to Oz was needed.  Baum wrote The Patchwork Girl of Oz for a 1913 release, and in the same year, his publisher issued the six Little Wizard stories in individual booklets at a cost of $0.15 each.  The goal was to reach the youngest beginning readers and create in them an interest in the larger Oz canon, as part of a promotion of L. Frank Baum and all of his books.

Content And Publication

The six tales in the Little Wizard Stories are:

The Cowardly Lion and the Hungry Tiger.

Little Dorothy and Toto.

Tiktok and the Nome King.

Ozma and the Little Wizard.

Jack Pumpkinhead and the Sawhorse.

The Scarecrow and the Tin Woodman.

The strategy of reaching beginning readers was successful enough for Reilly & Britton to repeat it within a few years.  The publisher released selections from L. Frank Baum’s Juvenile Speaker (1910) in six smaller books called The Snuggle Tales in 1916 – 1917, and again as The Oz-Man Tales in 1920.

Four of the Little Wizard Stories were re-issued in 1932 in a new form, as The Little Oz Books with Jig Saw Oz Puzzles.  A year or two later the four tales were released again, as part of a promotion for a Wizard of Oz radio program. Rand McNally published the six stories in three booklets in 1939.  

Read more about Little Wizard Stories here.

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Notes And Links

The 1905 first edition front cover image shown at the top of this page is copyright of John R. Neill and is in the Public Domain via Wikipedia.  It has a fair use licence.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: The Woggle-Bug Book By L. Frank Baum

1905 front cover image is © Ike Morgan and is in the Public Domain via Wikipedia

The Woggle-Bug Book is related to the Oz series of books.

Click here to download this book.

Read this book online and get more download options and a bibliographic record on Project Gutenberg by clicking here.

You can download the main fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About The Woggle-Bug Book

The Woggle-Bug Book has long been one of the rarest items in the Baum bibliography.

The book grew out of another promotional project, Queer Visitors from the Marvelous Land of Oz (1904 – 1905), a popular comic strip that promoted Baum’s second Oz book, The Marvelous Land of Oz (1904).   The comic strip, written by Baum and illustrated by Walt McDougall, brought Oz characters including the Scarecrow, the Tin Woodman, and others to the United States for various humorous adventures.  The Woggle-Bug Book employs the same concept.  H. M. Woggle-Bug, T. E. is shown maladjusted to life in an unnamed American city.  The book’s artist, Ike Morgan, was a Chicago cartoonist who had earlier provided illustrations for Baum’s American Fairy Tales (1901).

Baum’s Woggle-Bug was a popular character at the time.  There were Woggle-Bug postcards and buttons, a Woggle-Bug song, and a Woggle-Bug board game from Parker Brothers.   Baum and Morgan’s picture book was published in January 1905, to help publicize a new musical play, The Woggle-Bug,  that was being mounted that year.  The play flopped.  The book was copiously illustrated, with pictures and text alternating on recto and verso pages; it was printed in bright colours in a large format, eleven by fifteen inches.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

The Woggle-Bug Book features the broad ethnic humour that was accepted and popular in its era, and which Baum employed in various works.  The Woggle-Bug favours flashy clothes with bright colours.  He dresses in gorgeous reds and yellows and blues and greens and carries a pink handkerchief. One day he falls in love with a gaudy Wagnerian plaid dress that he sees on a mannequin in a department store window.  Being a woggle bug, he has trouble differentiating between the dress and its wearers, wax or human.  The dress is on sale for $7.93 with GREATLY REDUCED written on the tag.  The Bug works for two days as a ditch digger for money to buy the dress. He earns double pay since he digs with four hands. 

He arrives too late, though and the dress has been sold and makes its way through the second-hand market.  The Bug pursues his love through the town, ineptly courting the Irish, Swedish, and African-American women and even one Chinese man who had the dress in turn.  His pursuit eventually leads to an accidental balloon flight to Africa.  There, menacing Arabs want to kill the Woggle-Bug, but he convinces them that his death will bring bad luck.  In the jungle, he falls in with the talking animals that are the hallmark of Baum’s imaginative world.

In the end, the Bug makes his way back to the city, with a necktie made from the dress’s loud fabric.  He wisely reconciles himself to his fate.  “After all, this necktie is my love” he said, “and my love is now mine forevermore! Why should I not be happy and content?”

There are plot exploit elements that occur in other Baum works such as an accidental balloon flight that took the Wizard to Oz in Baum’s most famous book and hostile Arabs are a feature of John Dough and the Cherub (1906).

Blog Posts

Notes And Links

The 1905 front cover image shown at the top of this page is copyright of Ike Morgan and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.    

Books: Queer Visitors From The Marvelous Land Of Oz By L. Frank Baum

Image © Walt McDougall and is in the Public Domain via Wikipedia

Queer Visitors from the Marvelous Land of Oz is not a book in itself but is related to the Oz series of books which is why it is headed under Books and included here.

You can download the main fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.  

About Queer Visitors From The Marvelous Land Of Oz

Queer Visitors from the Marvelous Land of Oz was a newspaper comic strip written by L. Frank Baum and illustrated by Walt McDougall, a political cartoonist for the Philadelphia North American.  Queer Visitors appeared in the North American, the Chicago Record-Herald and other newspapers from the 28th of August 1904 to the 26th of February 1905.  The series chronicles the misadventures of the Scarecrow, the Tin Woodman, the Woggle-Bug, Jack Pumpkinhead, and the Sawhorse, as the Gump flies them to various cities in the United States.  The comic strip in turn produced its own derivation, The Woggle-Bug Book (1905).

Queer Visitors was formatted as a series of prose stories, surrounded by large illustrations, therefore not a comic strip in the modern sense.

Development

The project was designed to promote The Marvelous Land of Oz.  Coincidentally, it ran at the same time as a comic strip featuring Oz characters visiting America, that was written and drawn by W. W. Denslow.  Denslow drew the illustrations for The Wonderful Wizard of Oz and shared in its copyright.  After Baum and Denslow had a falling out, Denslow exercised his copyright through his strip, called Denslow’s Scarecrow and Tin-Man, which ran in relatively few newspapers from December 1904 to March 1905.  It was an artistic and commercial failure.

Re-Publication

Image © Walt McDougall and is in the Public Domain via Wikipedia

How the Wogglebug got a Thanksgiving dinner from Queer Visitors from The Marvelous Land of Oz, published November 20th, 1904.  

The Visitors from Oz, published by Reilly and Lee in 1960, includes about half of Baum’s Visitors stories rewritten and illustrated by Dick Martin.

The 27 Queer Visitors stories have been republished in book form as The Third Book of Oz (1989) from Buckethead Enterprises, which was censored.  The Buckethead Edition was a reprint under a new cover of an earlier edition, and Dulabone was not aware at the time that it was censored.  The Third Book of Oz also includes another early promotion project, The Woggle-Bug Book (written by Baum and illustrated by Ike Morgan); the volume is illustrated by Eric Shanower. Hungry Tiger Press corrected the censoring from the Buckethead edition but used The Visitors from Oz as the title, like the 1960 adaptation. 

In June, 2009, Sunday Press Books released a collected edition of the newspaper strips in their original format and colouring.  The book also included W. W. Denslow’s competing strip Denslow’s Scarecrow And Tin-Man as well as other comic strips by Walt McDougall, W. W. Denslow, and John R. Neill.

Image © unknown and is in the Public Domain via Wikipedia

A caricature of L. Frank Baum And Walt McDougall, from 1904, from a cartoon announcing the comic strip Queer Visitors from the Marvelous Land of Oz. 

Read more about Queer Visitors from The Marvelous Land of Oz here.   

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Notes And Links

The 1900 first edition front cover image shown at the top of this page is copyright of W. W. Denslow.

The caricature of L. Frank Baum And Walt McDougall, from 1904 image is copyright unknown.

All the above images are in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.   

Christmas: A Christmas Carol By Charles Dickens – Screen Versions

Image © of Liliboas via iStock

I LOVE A CHRISTMAS CAROL!

Obviously, the original book is the best version of any format because it is the original source material but as long as other versions stick close to that source then I will more than likely enjoy it.

Below are just some of the MANY film and TV versions out there for your viewing pleasure.  Enjoy.

Read more about A Christmas Carol here

1900’s

I haven’t watched this version but I have included it as it is a silent movie piece of history and the earliest screen version that was made.

Read more about Scrooge, or, Marley’s Ghost (1901), starring Daniel Smith, here.

1910’s

Another version I  haven’t watched but again I have included it as it is a silent movie piece of history.  This one was made in America by the Edison Film Company and is the second earliest screen version after Scrooge, or, Marley’s Ghost (1901)  

Read more about A Christmas Carol (1910), starring Marc McDermott, here.

1930’s

Another version I haven’t watched but I have included it as it is a very early screen version.

Read more about Scrooge (1935), starring Seymour Hicks, here.

1950’s

This is a great screen version.

Read more about Scrooge (1951), starring Alastair Sim, here.

1970’s

This is my all-time favourite screen version and always brings fond memories of my Mom as we watched this every year together.

Read more about Scrooge (1970, starring Albert Finney, here.

This is a good screen-animated version. 

Read more about A Christmas Carol (1971), starring Alastair Sim, here.

1980’s

This is a great screen version.

Read more about A Christmas Carol (1984), starring George C. Scott, here.

1990’s

This is a great screen version.

Read more about A Christmas Carol (1999), starring Patrick Stewart, here.

Blog Posts

Notes And Links

Liliboas on iStock.  The image shown at the top of this page of a Christmas tree and presents is the copyright of Liliboas.  You can find more great work from the photographer Lili and lots more free stock photos at iStock.

Charles Dickens Museum – Official website.  The museum is situated at 48 Doughty Street, Dickens’s London home from 1837-1839.  He moved there with his wife Catherine and their eldest son Charlie.   After the Dickenses left Doughty Street, the property was largely used as a boarding house until the Dickens Fellowship purchased it as their headquarters in 1923.  The house opened to the public in 1925 and houses a significant collection linked to Dickens and his works. 

Today the Charles Dickens Museum is set up as though Dickens himself had just left.  It appears as a fairly typical middle-class Victorian home, complete with furnishings, portraits and decorations which are known to have belonged to Dickens.  A visit to the museum allows you to step back into 1837 and to see a world which is at once both intimately familiar, yet astonishingly different.  A world in which one of the greatest writers in the English language, found his inspiration. 

Charles Dickens Museum official Facebook page.

Charles Dickens Museum official Twitter page.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

All videos are via YouTube and their copyright belongs to whoever. 

Books: A Christmas Carol By Charles Dickens

A Christmas Carol 1843 first edition front cover via Project Gutenberg

This original illustration by John Leech is from the 1843 edition and is in the public domain. 

If you really know me well then you will know that Charles Dickens is my favourite author and A Christmas Carol is my favourite book by him.  I LOVE IT.

I have film and TV versions on DVD.  I have books of it.  I have it via a e-book and audiobook too. I can’t get enough of it.  Obviously the original book is the best because it is the original source material but as long as other versions  sticks close to that source then I will more than likely enjoy it.

Dickens changed the face of Christmas and made it into what we know it is today.  He has inspired many writers, myself included.  If I could jump in a time machine I would go back to Victorian times on Christmas Day and shake his hand and say thank you Charles for everything you have done and MERRY CHRISTMAS!

Read this book online, and get more download options and a bibliographic record on Project Gutenberg by clicking here.

For screen versions click here.

Listen to Neil Gaiman, via Open Culture,  read A Christmas Carol just like Charles Dickens read it by clicking here.

Below is the 1939 radio play to listen to that features not one old star legend but two, the late greats Lionel Barrymore and Orson Wells. 

About A Christmas Carol

A Christmas Carol 1843 first edition front cover: This original illustration by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

A Christmas Carol.  In Prose.  Being a Ghost Story of Christmas, commonly known as A Christmas Carol, is a novella by Charles Dickens, first published in London by Chapman & Hall in 1843 and illustrated by John Leech.  A Christmas Carol recounts the story of Ebenezer Scrooge, an elderly miser who is visited by the ghost of his former business partner Jacob Marley and the spirits of Christmas Past, Present and Yet to Come.  After their visits, Scrooge is transformed into a kinder, gentler man.

Dickens wrote A Christmas Carol during a period when the British were exploring and re-evaluating past Christmas traditions, including carols, and newer customs such as cards and Christmas trees.  He was influenced by the experiences of his own youth and by the Christmas stories of other authors, including Washington Irving and Douglas Jerrold.  Dickens had written three Christmas stories prior to the novella and was inspired following a visit to the Field Lane Ragged School, one of several establishments for London’s street children.  The treatment of the poor and the ability of a selfish man to redeem himself by transforming into a more sympathetic character are the key themes of the story.  There is discussion among academics as to whether this is a fully secular story, or if it is a Christian allegory.

Published on the 19th of December, the first edition sold out by Christmas Eve.  By the end of 1844 thirteen editions had been released.  Most critics reviewed the novella favourably.  The story was illicitly copied in January 1844 and Dickens took legal action against the publishers, who went bankrupt, further reducing Dickens’s small profits from the publication.  He went on to write four other Christmas stories in subsequent years.  In 1849 he began public readings of the story, which proved so successful he undertook 127 further performances until 1870, the year of his death.  A Christmas Carol has never been out of print and has been translated into several languages.  The story has been adapted many times for film, stage, opera and other media.

A Christmas Carol captured the zeitgeist of the mid-Victorian revival of the Christmas holiday.  Dickens had acknowledged the influence of the modern Western observance of Christmas and later inspired several aspects of Christmas, including family gatherings, seasonal food and drink, dancing, games and a festive generosity of spirit.

1843 first edition title page: This original illustration by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Charles Dickens (in 1842, the year before the publication of A Christmas Carol) by Francis Alexander. Image via Wikipedia
John Leech by unknown is in the public domain. Image via Wikipedia

Characters

The central character of A Christmas Carol is Ebenezer Scrooge, a miserly London-based businessman, described in the story as “a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner!” Richard Michael Kelly, from Broadway Press noted that Scrooge may have been influenced by Dickens’s conflicting feelings for his father, whom he both loved and demonised.  This psychological conflict may be responsible for the two radically different Scrooges in the tale (one a cold, stingy and greedy semi-recluse, the other a benevolent, sociable man).  The professor of English literature Robert Douglas-Fairhurst considers that in the opening part of the book covering young Scrooge’s lonely and unhappy childhood, and his aspiration for money to avoid poverty “is something of a self-parody of Dickens’s fears about himself”.   The post-transformation parts of the book are how Dickens optimistically sees himself.

Scrooge could also be based on two misers.  One being the eccentric John Elwes, M.P. or Jemmy Wood, the owner of the Gloucester Old Bank and also known as The Gloucester Miser.  According to the sociologist Frank W. Elwell, Scrooge’s views on the poor are a reflection of those of the demographer and political economist Thomas Malthus, while the miser’s questions “Are there no prisons? … And the Union workhouses? … The treadmill and the Poor Law are in full vigour, then?” are a reflection of a sarcastic question raised by the philosopher Thomas Carlyle, “Are there not treadmills, gibbets; even hospitals, poor-rates, New Poor-Law?”

There are literary precursors for Scrooge in Dickens’s own works. Peter Ackroyd, Dickens’s biographer, sees similarities between the character and the elder Martin Chuzzlewit character, although the miser is “a more fantastic image” than the Chuzzlewit patriarch.  Ackroyd observes that Chuzzlewit’s transformation to a charitable figure is a parallel to that of the miser.  Douglas-Fairhurst sees that the minor character Gabriel Grub from The Pickwick Papers was also an influence when creating Scrooge.  It is possible that Scrooge’s name came from a tombstone Dickens had seen on a visit to Edinburgh.  The grave was for Ebenezer Lennox Scroggie, whose job was given as a meal man (a corn merchant).  Dickens misread the inscription as mean man.  This theory has been described as a probable Dickens hoax for which no one could find any corroborating evidence.

When Dickens was young he lived near a tradesman’s premises with the sign Goodge and Marney, which may have provided the name for Scrooge’s former business partner.  For the chained Marley, Dickens drew on his memory of a visit to the Western Penitentiary in Pittsburgh, Pennsylvania, in March 1842, where he saw, and was affected by seeing fettered prisoners.  For the character Tiny Tim, Dickens used his nephew Henry, a disabled boy who was five at the time A Christmas Carol was written.  The two figures of Want and Ignorance, sheltering in the robes of the Ghost of Christmas Present, were inspired by the children Dickens had seen on his visit to a ragged school in the East End of London. 

John Elwes by John Meggot Elwes is in the public domain. Image via Wikipedia

Reception

The transformation of Scrooge is central to the story.  Writer Paul Davis considers Scrooge to be “a protean figure always in process of reformation”.  Michael Kelly writes that the transformation is reflected in the description of Scrooge, who begins as a two-dimensional character, but who then grows into one who “possesses an emotional depth and a regret for lost opportunities”.  Some writers, including Grace Moore, the Dickens scholar, consider that there is a Christian theme running through A Christmas Carol, and that the novella should be seen as an allegory of the Christian concept of redemption.  Dickens’s biographer, Claire Tomalin, sees the conversion of Scrooge as carrying the Christian message that “even the worst of sinners may repent and become a good man”.  Dickens’s attitudes towards organised religion were complex.  He based his beliefs and principles on the New Testament.  Dickens’s statement that Marley “had no bowels” is a reference to the bowels of compassion mentioned in the First Epistle of John, the reason for his eternal damnation.

Other writers, including Kelly, consider that Dickens put forward a “secular vision of this sacred holiday”.  The Dickens scholar John O. Jordan argues that A Christmas Carol shows what Dickens referred to in a letter to his friend John Forster as his “Carol philosophy, cheerful views, sharp anatomisation of humbug, jolly good temper … and a vein of glowing, hearty, generous, mirthful, beaming reference in everything to Home and Fireside”.  From a secular viewpoint, the cultural historian Penne Restad suggests that Scrooge’s redemption underscores “the conservative, individualistic and patriarchal aspects” of Dickens’s “Carol philosophy” of charity and altruism.

Dickens wrote A Christmas Carol in response to British social attitudes towards poverty, particularly child poverty, and wished to use the novella as a means to put forward his arguments against it.  The story shows Scrooge as a paradigm for self-interest, and the possible repercussions of ignoring the poor, especially children in poverty (personified by the allegorical figures of Want and Ignorance).  The two figures were created to arouse sympathy with readers, as was Tiny Tim.  Douglas-Fairhurst observes that the use of such figures allowed Dickens to present his message of the need for charity, without alienating his largely middle-class readership.

William Makepeace Thackeray by unknown is in the public domain. Image via Wikipedia

The Plot

The book is divided into five chapters, which Dickens titled staves.

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Stave One

A Christmas Carol opens on a bleak, cold Christmas Eve in London, seven years after the death of Ebenezer Scrooge’s business partner, Jacob Marley.  Scrooge, an ageing miser, dislikes Christmas and refuses a dinner invitation from his nephew Fred (the son of Fan, Scrooge’s dead sister).  He turns away two men who seek a donation from him to provide food and heating for the poor and only grudgingly allows his overworked, underpaid clerk, Bob Cratchit, Christmas Day off with pay to conform to the social custom.

That night Scrooge is visited at home by Marley’s ghost, who wanders the Earth entwined by heavy chains and money boxes forged during a lifetime of greed and selfishness.  Marley tells Scrooge that he has a single chance to avoid the same fate and he will be visited by three spirits.  He must listen to them or be cursed to carry much heavier chains of his own.

Marley's Ghost: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Wretched woman with an infant: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Stave Two

The first spirit, the Ghost of Christmas Past, takes Scrooge to the Christmas scenes of Scrooge’s boyhood, reminding him of a time when he was more innocent.  The scenes reveal Scrooge’s lonely childhood at boarding school, his relationship with his beloved sister Fan, and a Christmas party hosted by his first employer, Mr Fezziwig, who treated him like a son.  Scrooge’s neglected fiancée Belle is shown ending their relationship, as she realises that he will never love her as much as he loves money.  Finally, they visit a now-married Belle with her large, happy family on the Christmas Eve that Marley died.  Scrooge, upset by hearing Belle’s description of the man that he has become, demands that the ghost remove him from the house.

Mr. Fezziwig’s Ball: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
The Ghost of Christmas Past gets extinguished by Scrooge: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Stave Three

The second spirit, the Ghost of Christmas Present, takes Scrooge to a joyous market with people buying the makings of Christmas dinner.  The Ghost then takes Scrooge to Bob Cratchit’s family feast and introduces his youngest son, Tiny Tim, a happy boy who is seriously ill.  The spirit informs Scrooge that Tiny Tim will die unless the course of events changes.  Afterwards, the spirit and Scrooge travel to celebrations of Christmas in a miner’s cottage, in a lighthouse, and on a ship at sea.  Scrooge and the ghost then visit Fred’s Christmas party.  Before disappearing, the spirit shows Scrooge two hideous, emaciated children named Ignorance and Want.  He tells Scrooge to beware them and mocks Scrooge’s concern for their welfare.

Scrooge’s Third Visitor: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Ignorance and Want: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Stave Four

The third spirit, the Ghost of Christmas Yet to Come, shows Scrooge a Christmas Day in the future.  The silent ghost reveals scenes involving the death of a disliked man whose funeral is attended by local businessmen only on condition that lunch is provided.  His charwoman, laundress and the local undertaker steal his possessions to sell to a fence.  When he asks the spirit to show a single person who feels emotion over his death, he is only given the pleasure of a poor couple who rejoice that his death gives them more time to put their finances in order.  When Scrooge asks to see tenderness connected with any death, the ghost shows him Bob Cratchit and his family mourning the death of Tiny Tim.  The ghost then allows Scrooge to see a neglected grave, with a tombstone bearing Scrooge’s name.  Sobbing, Scrooge pledges to change his ways.

Stave Five

Scrooge awakens on Christmas morning a changed man.  He makes a large donation to the charity he rejected the previous day, anonymously sends a large turkey to the Cratchit home for Christmas dinner and spends the afternoon with Fred’s family.  The following day he gives Cratchit an increase in pay, and begins to become a father figure to Tiny Tim.  From then on Scrooge treats everyone with kindness, generosity and compassion, embodying the spirit of Christmas.

The Last of the Spirits: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg
Scrooge and Bob Cratchit celebrate Christmas: This original illustration is by John Leech is from the 1843 edition and is in the public domain. Image via Project Gutenberg

Publication

As the result of the disagreements with Chapman and Hall over the commercial failures of Martin Chuzzlewit, Dickens arranged to pay for the publishing himself, in exchange for a percentage of the profits.  Production of A Christmas Carol was not without problems.  The first printing contained drab olive endpapers that Dickens felt were unacceptable, and the publisher Chapman and Hall quickly replaced them with yellow endpapers, but, once replaced, those clashed with the title page, which was then redone.  The final product was bound in red cloth with gilt-edged pages, completed only two days before the publication date of the 19th of December 1843.  Following publication, Dickens arranged for the manuscript to be bound in red Morocco leather and presented as a gift to his solicitor, Thomas Mitton.

Priced at five shillings (equal to £26 in 2022 pounds), the first run of 6,000 copies sold out by Christmas Eve.  Chapman and Hall issued second and third editions before the new year, and the book continued to sell well into 1844.  By the end of 1844 eleven more editions had been released.  Since its initial publication the book has been issued in numerous hardback and paperback editions, translated into several languages and has never been out of print.  It was Dickens’s most popular book in the United States, and sold over two million copies in the hundred years following its first publication there.

The high production costs upon which Dickens insisted led to reduced profits, and the first edition brought him only £230 (equal to £24,000 in 2022 pounds)  rather than the £1,000 (equal to £104,000 in 2022 pounds) he expected.  A year later, the profits were only £744, and Dickens was deeply disappointed.

Reception

According to Douglas-Fairhurst, contemporary reviews of A Christmas Carol “were almost uniformly kind”.  The Illustrated London News described how the story’s “impressive eloquence… its unfeigned lightness of heart… its playful and sparkling humour… its gentle spirit of humanity” all put the reader “in good humour with ourselves, with each other, with the season and with the author”.  The critic from The Athenaeum, the literary magazine, considered it a “tale to make the reader laugh and cry… to open his hands, and open his heart to charity even toward the uncharitable… a dainty dish to set before a King.”  William Makepeace Thackeray, writing in Fraser’s Magazine, described the book as “a national benefit and to every man or woman who reads it, a personal kindness.  The last two people I heard speak of it were women; neither knew the other, or the author, and both said, by way of criticism, ‘God bless him!'”

The poet Thomas Hood, in his own journal, wrote that “If Christmas, with its ancient and hospitable customs, its social and charitable observances, were ever in danger of decay, this is the book that would give them a new lease.”  The reviewer for Tait’s Edinburgh Magazine Theodore Martin, who was usually critical of Dickens’s work spoke well of A Christmas Carol, noting it was “a noble book, finely felt and calculated to work much social good”.  After Dickens’s death, Margaret Oliphant deplored the turkey and plum pudding aspects of the book but admitted that in the days of its first publication it was regarded as “a new gospel”, and noted that the book was unique in that it made people behave better.  The religious press generally ignored the tale but, in January 1884, Christian Remembrancer thought the tale’s old and hackneyed subject was treated in an original way and praised the author’s sense of humour and pathos.  The writer and social thinker John Ruskin told a friend that he thought Dickens had taken the religion from Christmas, and had imagined it as “mistletoe and pudding, neither resurrection from the dead, nor rising of new stars, nor teaching of wise men, nor shepherds”.

There were critics of the book. The New Monthly Magazine praised the story, but thought the book’s physical excesses, the gilt edges and expensive binding, kept the price high, making it unavailable to the poor.  The review recommended that the tale should be printed on cheap paper and priced accordingly.  An unnamed writer for The Westminster Review mocked Dickens’s grasp of economics, asking “Who went without turkey and punch in order that Bob Cratchit might get them for, unless there were turkeys and punch in surplus, someone must go without”.

Following criticism of the US in American Notes and Martin Chuzzlewit, American readers were less enthusiastic at first, but by the end of the American Civil War, copies of the book were in wide circulation.  In 1863 The New York Times published an enthusiastic review, noting that the author brought the “old Christmas… of bygone centuries and remote manor houses, into the living rooms of the poor of today”.

Aftermath

In January 1844 Parley’s Illuminated Library published an unauthorised version of the story in a condensed form which they sold for twopence.  Dickens wrote to his solicitor and said. “I have not the least doubt that if these Vagabonds can be stopped they must… Let us be the sledge-hammer in this, or I shall be beset by hundreds of the same crew when I come out with a long story.”

Two days after the release of the Parley version, Dickens sued on the basis of copyright infringement and won.  The publishers declared themselves bankrupt and Dickens was left to pay £700 in costs.  The small profits Dickens earned from A Christmas Carol further strained his relationship with his publishers, and he broke with them in favour of Bradbury and Evans, who had been printing his works to that point.

Dickens returned to the tale several times during his life to amend the phrasing and punctuation.  He capitalised on the success of the book by publishing other Christmas stories: The Chimes (1844), The Cricket on the Hearth (1845), The Battle of Life (1846) and The Haunted Man and the Ghost’s Bargain (1848).  These were secular conversion tales which acknowledged the progressive societal changes of the previous year, and highlighted those social problems which still needed to be addressed.  While the public eagerly bought the later books, the reviewers were highly critical of the stories.

Performances And Adaptations

By 1849 Dickens was engaged with David Copperfield and had neither the time nor the inclination to produce another Christmas book.  He decided the best way to reach his audience with his Carol philosophy was by public readings.  During Christmas 1853 Dickens gave a reading in Birmingham Town Hall to the Industrial and Literary Institute. The performance was a great success.  Thereafter, he read the tale in an abbreviated version 127 times, until 1870 (the year of his death), including at his farewell performance.

In the years following the book’s publication, responses to the tale were published by W. M. Swepstone (Christmas Shadows, 1850), Horatio Alger (Job Warner’s Christmas, 1863), Louisa May Alcott (A Christmas Dream, and How It Came True, 1882), and others who followed Scrooge’s life as a reformed man, or some who thought Dickens had got it wrong and needed to be corrected.

The novella was adapted for the stage almost immediately.  Three productions opened on the 5th of February 1844, one by Edward Stirling being sanctioned by Dickens and running for more than 40 nights.  By the close of February 1844 eight rival A Christmas Carol theatrical productions were playing in London.  The story has been adapted for film and television more than any of Dickens’s other works.  In 1901 it was produced as Scrooge, or, Marley’s Ghost, a silent black-and-white British film.  It was one of the first known adaptations of a Dickens work on film, but it is now largely lost.  The story was adapted in 1923 for BBC radio.  The story has been adapted to other media, including opera, ballet, animation, stage musicals and a BBC mime production starring Marcel Marceau.

Davis considers the adaptations have become better remembered than the original.  Some of Dickens’s scenes, such as visiting the miners and lighthouse keepers, have been forgotten by many, while other events often added, such as Scrooge visiting the Cratchits on Christmas Day are now thought by many to be part of the original story.  Accordingly, Davis distinguishes between the original text and the “remembered version”.

Read more here.

Charles Dickens’ hand-edited copy of A Christmas Carol. Image via Open Culture
Charles Dickens’ hand-edited copy of A Christmas Carol. Image via Open Culture

You can read more about Charles Dickens’ hand-edited copy of A Christmas Carol here.

Legacy

The phrase Merry Christmas had been around for many years. The earliest known written use was in a letter in 1534 but Dickens’s use of the phrase in A Christmas Carol popularised it among the Victorian public.  The exclamation Bah! Humbug! entered popular use in the English language as a retort to anything sentimental or overly festive. The name Scrooge became used as a designation for a miser and was added to the Oxford English Dictionary as such in 1982

In the early 19th century the celebration of Christmas was associated in Britain with the countryside and peasant revels, disconnected to the increasing urbanisation and industrialisation taking place.  Davis considers that in A Christmas Carol, Dickens showed that Christmas could be celebrated in towns and cities, despite increasing modernisation.  The modern observance of Christmas in English-speaking countries is largely the result of a mid-Victorian revival of the holiday.  The Oxford Movement of the 1830’s and 1840’s had produced a resurgence of the traditional rituals and religious observances associated with Christmastide and, with A Christmas Carol, Dickens captured the zeitgeist while he reflected and reinforced his vision of Christmas.

Dickens advocated a humanitarian focus of the holiday, which influenced several aspects of Christmas that are still celebrated in Western culture, such as family gatherings, seasonal food and drink, dancing, games and a festive generosity of spirit.  The historian Ronald Hutton writes that Dickens “linked worship and feasting, within a context of social reconciliation”.

The novelist William Dean Howells, analysing several of Dickens’s Christmas stories, including A Christmas Carol, considered that by 1891 the “pathos appears false and strained; the humor largely horseplay; the characters theatrical; the joviality pumped; the psychology commonplace; the sociology alone funny”.   The writer James Joyce considered that Dickens took a childish approach with A Christmas Carol, producing a gap between the naïve optimism of the story and the realities of life at the time.

Ruth Glancy, the professor of English literature, states that the largest impact of A Christmas Carol was the influence felt by individual readers.  In early 1844 The Gentleman’s Magazine attributed a rise of charitable giving in Britain to Dickens’s novella.  In 1874, Robert Louis Stevenson, after reading Dickens’s Christmas books, vowed to give generously to those in need, and Thomas Carlyle expressed a generous hospitality by hosting two Christmas dinners after reading the book.  In 1867 one American businessman was so moved by attending a reading that he closed his factory on Christmas Day and sent every employee a turkey, while in the early years of the 20th century Maud of Wales (the Queen of Norway) sent gifts to London’s crippled children signed “With Tiny Tim’s Love”.  On the novella, the author G. K. Chesterton wrote “The beauty and blessing of the story… lie in the great furnace of real happiness that glows through Scrooge and everything around him… Whether the Christmas visions would or would not convert Scrooge, they convert us.”

Analysing the changes made to adaptations over time, Davis sees changes to the focus of the story and its characters to reflect mainstream thinking of the period.  While Dickens’s Victorian audiences would have viewed the tale as a spiritual but secular parable, in the early 20th century it became a children’s story, read by parents who remembered their parents reading it when they were younger.  In the lead-up to and during the Great Depression, Davis suggests that while some saw the story as a “denunciation of capitalism…most read it as a way to escape oppressive economic realities”.  The film versions of the 1930’s were different in the UK and US.  British-made films showed a traditional telling of the story, while US-made works showed Cratchit in a more central role, escaping the depression caused by European bankers and celebrating what Davis calls “the Christmas of the common man”.  In the 1960’s, Scrooge was sometimes portrayed as a Freudian figure wrestling with his past.  By the 1980’s he was again set in a world of depression and economic uncertainty.

Read more here

Blog Posts

Notes And Links

The images above are in the Public Domain via Wikipedia and Project Gutenberg.

Charles Dickens Museum – Official website.  The museum is situated at 48 Doughty Street, Dickens’s London home from 1837-1839.  He moved there with his wife Catherine and their eldest son Charlie.   After the Dickenses left Doughty Street, the property was largely used as a boarding house until the Dickens Fellowship purchased it as their headquarters in 1923.  The house opened to the public in 1925 and houses a significant collection linked to Dickens and his works. 

Today the Charles Dickens Museum is set up as though Dickens himself had just left.  It appears as a fairly typical middle-class Victorian home, complete with furnishings, portraits and decorations which are known to have belonged to Dickens.  A visit to the museum allows you to step back into 1837 and to see a world which is at once both intimately familiar, yet astonishingly different.  A world in which one of the greatest writers in the English language, found his inspiration. 

Charles Dickens Museum official Facebook page.

Charles Dickens Museum official Twitter page.

Project Gutenberg – Official website.  Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

Open Culture – Official website.  Open Culture scours the web for the best educational media.  They find the free courses and audio books you need, the language lessons and educational videos you want, and plenty of enlightenment in between.

Books: Glinda Of Oz By L. Frank Baum

1920 first edition front cover: © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking on the link in Blog Posts below.

About Glinda Of Oz

Glinda of Oz is the fourteenth Land of Oz book written by children’s author L. Frank Baum, published on July 10, 1920.  It is the last book of the original Oz series, which was later continued by other authors.  Like most of the Oz books, the plot features a journey through some of the remoter regions of Oz; though in this case the pattern is doubled: Dorothy and Ozma travel to stop a war between the Flatheads and Skeezers; then Glinda and a cohort of Dorothy’s friends set out to rescue them.  The book was dedicated to Baum’s second son, Robert Stanton Baum.

Original Manuscript

The printed text of the book features one significant change from Baum’s manuscript.  In the manuscript, Red Reera first appears as a skeleton, its bones wired together, with glowing red eyes in the sockets of its skull.  The printed text makes Reera the Red first appear as a grey ape in an apron and lace cap — a comical sight rather than a frightening and disturbing spectre.  The change was most likely made by Baum at the suggestion of his editors.  Other changes in the manuscript, made by an unknown editor at Reilly & Lee, are relatively trivial and do not always improve the text.

The submerged city of the Skeezers in this book may have been suggested to Baum by the semi-submerged Temple of Isis at Philae in Egypt, which the Baums had seen on their trip to Europe and Egypt in the first six months of 1906.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Princess Ozma and Dorothy travel to an obscure corner of the Land of Oz, in order to prevent a war between two local powers, the Skeezers and the Flatheads.  The leaders of the two tribes prove obstinate and are determined to fight in spite of Ozma and Dorothy.  Unable to prevent the war, Dorothy and Ozma find themselves imprisoned on the Skeezers’ glass-covered island, which has been magically submerged to the bottom of its lake.  Their situation worsens when the warlike queen Coo-ee-oh, who is holding them captive and who alone knows how to raise the island back to the surface of the lake, loses her battle and gets transformed into a swan, forgetting all her magic in the process, and leaving the inhabitants of the island, with Ozma and Dorothy, trapped at the bottom of the lake.  Ozma and Dorothy summon Glinda, who, with help from several magicians and magical assistants, must find a way to raise the island to the surface of the lake again, and liberate its inhabitants.

Read more about Glinda Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.    

Blog Posts

Notes And Links

The image shown at the top of this page is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: The Magic Of Oz By L. Frank Baum

1919 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.  

About The Magic Of Oz

The Magic of Oz is the thirteenth Land of Oz book written by L. Frank Baum. Published on June 7, 1919, one month after the author’s death, The Magic of Oz relates the unsuccessful attempt of the Munchkin boy Kiki Aru and former Nome King Ruggedo to conquer Oz.

The novel was dedicated to “the Children of our Soldiers, the Americans and their Allies, with unmeasured Pride and Affection.”

Release

The upsurge in sales that had greeted the previous Oz book, The Tin Woodman of Oz, in 1918 also affected The Magic of Oz, which sold 26,200 copies.  The Oz books in total sold almost twice as many copies in 1919 as in 1918, and 1918 had been an exceptionally good year.  The high sales were most likely influenced by the death of Baum earlier in 1919.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

At the top of Mount Munch lives a group of people known as the Hyups.  One of their numbers, a Munchkin named Bini Aru, discovered a method of transforming people and objects by merely saying the word “Pyrzqxgl”.  After Princess Ozma decreed that no one could practise magic in Oz except for Glinda the Good Witch and the Wizard of Oz, Bini wrote down the directions for pronouncing “Pyrzqxgl” and hid them in his magical laboratory.

When Bini and his wife are at a fair one day, their son Kiki Aru, who thirsts for adventure, finds the directions and afterwards transforms himself into a hawk and visits various countries outside the land of Oz.  When he alights in the land of Ev, Kiki Aru learns that he needs money to pay for a night’s lodging (versus Oz, where the money is not used at all) and changes himself into a magpie to steal a gold piece from an old man.  A sparrow confronts the then-human Kiki Aru with knowledge of the theft, and Kiki says that he did not know what it was like to be wicked before, he is glad that he is now.  This conversation is overheard by Ruggedo, the Nome who was exiled to the Earth’s surface in Tik-Tok of Oz, and he sees through Kiki Aru’s power a chance to get revenge on the people of Oz.

Kiki changes himself and Ruggedo into birds and they fly over the Deadly Desert into the Land of Oz.  They enter Oz as animals to escape detection by Glinda and to recruit an army of conquest from the country’s wild animal population.  When they first appear in the Forest of Gugu in the Gillikin Country, Kiki changes himself and Ruggedo into Li-Mon-Eags (fictional creatures with the heads of lions, the bodies of monkeys, and the wings of eagles as well as having the tails of donkeys) and lies that they’ve seen the people of the Emerald City plan to enslave the animal inhabitants of the Forest.  Ruggedo claims that the Li-Mon-Eags will transform the animals into humans and march on the Emerald City and transform its inhabitants into animals, driving them into the forest.  Ruggedo proves their power (for Kiki’s the only one who knows “Pyrzqxgl”) by having Kiki transform one of the leopard king Gugu’s advisors, Loo the unicorn, into a man and back again.  Gugu offers to meet with the leaders of the other animal tribes to decide on this matter of invasion.

Dorothy and the Wizard arrive with the Cowardly Lion and the Hungry Tiger in the Forest of Gugu during this council of war with a request for monkeys to train in time for Ozma’s upcoming birthday party.  Ruggedo recognizes his old enemies and inspires Kiki to begin transforming people and animals left and right — including Ruggedo, whom Kiki turns against by transforming him into a goose, a transformation that the Nome most fears because as a goose he might lay an egg.  (In Baum’s universe, all eggs are a deadly poison to nomes.)

The Wizard, whom Kiki transformed into a fox, follows the Li-Mon-Eag with his magic bag, the transformed Kiki, deep into the forest where he begins transforming monkeys into giant human soldiers.  However, Kiki makes them so big that they cannot move through the trees.  The Wizard, however, heard how to correctly pronounce “Pyrzqxgl” and first stops Kiki and Ruggedo by transforming them into a walnut and a hickory nut.  Then the Wizard resumes his rightful form and changes Dorothy, the Cowardly Lion, the Hungry Tiger, and Gugu back to their forms, and he agrees to change the soldiers back into monkeys.  The Wizard recruits several of the grateful monkeys and shrinks them down to bring them back to the Emerald City and train.

On arriving there, Dorothy and the Wizard are dispatched to a magic island where Cap’n Bill and Trot went to get a magic flower for Ozma’s birthday.  However, the island itself causes anything living that touches it to take root there, and that is how the sailor and his friend are found when Dorothy and the Wizard arrive.  The Wizard uses “Pyrzqxgl” to change Cap’n Bill and Trot into honeybees which narrowly avoid being eaten by the Cowardly Lion and the Hungry Tiger.  When they are human again, Cap’n Bill retrieves the flower by strapping a wood plank onto his good leg, walks with that and his wooden leg onto the island, and retrieves the flower.

Back at the Emerald City, Ozma and her friends celebrate her birthday (though without quite the pomp and fanfare from The Road to Oz) and then decide how to deal with the evil magicians transformed into nuts.  The Wizard uses “Pyrzqxgl” to change them back to Kiki Aru and Ruggedo and make them thirsty enough to drink the Water of Oblivion, which will make them forget all that they have ever known.  The now-blank slate Kiki Aru and Ruggedo will live in the Emerald City and learn to be good and kind.

Read more about The Magic Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.   

Blog Posts

Notes And Links

The 1919 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz. 

Books: The Tin Woodman Of Oz By L. Frank Baum

1918 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About The Tin Woodman Of Oz

The Tin Woodman of Oz is the twelfth Land of Oz book written by L. Frank Baum and was originally published on May 13, 1918.  The Tin Woodman is reunited with his Munchkin sweetheart Nimmie Amee from the days when he was flesh and blood.  This was a back-story from Baum’s 1900 novel, The Wonderful Wizard of Oz.

The book was dedicated to the author’s grandson Frank Alden Baum.

Context And Reception

The Tin Woodman of Oz provides the backstory for Oz itself; it was not always a fairyland and became one by being enchanted by the Fairy Queen Lurline, who left a fairy behind to rule it.  In Glinda of Oz Ozma says that she herself was that fairy, though in The Marvelous Land of Oz we are told of her restoration to a throne long held by her ancestors.

In any event, this novel marks a clear maturation of Ozma’s character, now said to appear significantly older than Dorothy (in Ozma of Oz they appeared the same age) and a fairy working her own innate magic.

Baum’s Oz books had entered a trend of declining sales after 1910.  The Tin Woodman of Oz reversed this trend; its first-year sales of 18,600 were enough to make it a bestselling success.  Significantly, the sales of earlier Oz titles also rebounded from previous declines, many selling 3000 copies that year, and two, The Marvelous Land of Oz (1904) and the previous year’s The Lost Princess of Oz (1917), selling 4000 copies. Baum earned $6,742.52 from his Oz books that year.  In 1918 the average annual salary of a clerical worker was $940.  Even Baum’s non-Oz-related early works were affected by the upsurge: John Dough and the Cherub (1906) sold 1,562 copies in 1918.

The reason for this reversal of fortune is harder to specify.  The psychological shock of the trench-warfare carnage of World War I may have inspired a wave of nostalgia for a simpler time, with Baum’s books representing a lost age of innocence.

A new edition of the book was illustrated by Dale Ulrey in 1955.  She illustrated a new edition of The Wizard of Oz for Reilly & Lee the following year, but sales did not warrant her continuing to provide new illustrations.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

The Tin Woodman and the Scarecrow are regaling each other with tales at the Woodman’s palace in the Winkie Country when a Gillikin boy named Woot wanders in.  After he is fed and rested, Woot asks the Woodman how he came to be made of tin.

He relates how the Wicked Witch of the East enchanted his axe and caused him to chop his body parts off limb by limb because he was in love with her ward, Nimmie Amee.  Each chopped limb was replaced by the tinsmith Ku-Klip with a counterpart made of tin.  (Since Oz is a fairyland, no one can die, even when the parts of their body are separated from each other unless those people are witches and someone drops a house onto them. )  Without a heart, the Tin Woodman felt he could no longer love Nimmie Amee and he left her.  Dorothy and the Scarecrow found him after he had rusted in the forest (an event-related in The Wonderful Wizard of Oz) and went with him to the Emerald City where the Wizard gave him a heart.  Woot suggests that the heart may have made him kind, but it did not make him loving, or he would have returned to Nimmie Amee.  This shames the Tin Woodman and inspires him to journey to the Munchkin Country and find her.

The Tin Woodman, the Scarecrow, and Woot journey into the Gillikin Country and encounter the inflatable Loons of Loonville, whom they escape by popping several of them.  They descend into Yoop Valley, where the giantess Mrs. Yoop dwells, who transforms the travellers into animals for her amusement, just as she has already done to Polychrome, the Rainbow’s Daughter.  Woot steals a magic apron that opens doors and barriers at the wearer’s request, enabling the four to escape.  Woot, as a green monkey, narrowly avoids becoming a jaguar’s meal by descending further into a den of subterranean dragons.  After escaping that ordeal, Woot, the Tin Woodman as a tin owl, the Scarecrow as a straw-stuffed bear, and Polychrome as a canary turn south into the Munchkin Country.

They arrive at the farm of Jinjur, who renews her acquaintance with them and sends them to the Emerald City for help.  Dorothy and Ozma arrive and Ozma easily restores the Scarecrow and the Tin Woodman to their rightful forms.  Polychrome takes several steps to restore to her true form.  However, Ozma discovers that the Green Monkey into which Woot is transformed has to be someone’s form; it cannot be destroyed.  Polychrome suggests as a punishment for wickedness that Mrs. Yoop the giantess be made into the Green Monkey, and Ozma thus succeeds in restoring Woot to his proper form.

The Tin Woodman, the Scarecrow, Woot, and Polychrome resume their quest and come upon the spot where the Tin Woodman had rusted and find another tin man there.  After they oil his joints, he identifies himself as Captain Fyter, a soldier who courted Nimmie Amee after the Woodman had left her.  The Wicked Witch of the East had made Fyter’s sword do what the Woodman’s axe had done—cut off his limbs, which Ku-Klip replaced with tin limbs.  He does not have a heart either, but this does not bother him.  However, he can rust, which he does one day during a rainstorm.  Both woodmen now seek the heart of Nimmie Amee, agreeing to let her choose between them.

The five come to the dwelling of the tinsmith Ku-Klip where the Tin Woodman talks to himself—that is, to the head of the man (Nick Chopper) he once was.  The Tin Woodman and the Tin Soldier also find a barrel of assorted body parts that once belonged to each of them, but some, like Captain Fyter’s head, are conspicuously missing.  Ku-Klip reveals that he used Fyter’s head and many body parts from each of them (which never decayed) to create his assistant Chopfyt.  Chopfyt complained about missing an arm until Ku-Klip made him a tin one, and he departed for the east.

The companions leave Ku-Klip and continue east themselves to find Nimmie Amee and find themselves crossing the Invisible Country, where a massive Hip-po-gy-raf helps them across in return for the Scarecrow’s straw.  Reluctantly, he gives it and consents to being stuffed with available hay, which makes his movements awkward.  They rest for the night at the house of Professor and Mrs. Swynne, pigs whose nine children live in the Emerald City under the care of the Wizard.

They leave the Swynnes and arrive at the foot of Mount Munch on the eastern border of the Munchkin Country.  At its summit is a cottage where a rabbit tells them Nimmie Amee now lives happily.  The Tin Woodman and Tin Soldier knock and are admitted by Nimmie Amee, who is now married to Chopfyt.  She refuses to leave her domestic life, even to become Empress of the Winkies (which she would become as the Tin Woodman’s wife), saying “All I ask is to be left alone and not be disturbed by visitors.”  The four return to the Emerald City and relate their adventures.  Woot is allowed free rein to roam where he pleases, Captain Fyter is dispatched by Ozma to guard duty in the Gillikin Country, and the Tin Woodman and Scarecrow return to his palace in the Winkie Country where the story began.

Read more about The Tin Woodman Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.

Blog Posts

Notes And Links

The 1918 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: The Lost Princess Of Oz By L. Frank Baum

1917 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.      

About The Lost Princess Of Oz

The Lost Princess of Oz is the eleventh canonical Oz book written by L. Frank Baum.  Published on June 5, 1917, it begins with the disappearance of Princess Ozma, the ruler of Oz and covers Dorothy and the Wizard’s efforts to find her.  The introduction to the book states that its inspiration was a letter a young girl had written to Baum: “I suppose if Ozma ever got hurt or losted [sic], everybody would be sorry.”

The book was dedicated to the author’s newborn granddaughter Ozma Baum, child of his youngest son Kenneth Gage Baum.

Ruth Plumly Thompson borrowed the plot of this novel for her 1937 Oz book Handy Mandy in Oz. The Frogman and Cayke’s dishpan re-appear in Jeff Freedman’s 1994 novel The Magic Dishpan of Oz.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Dorothy has risen from bed for the day and is seeing to her friends in the Emerald City and notices that Ozma has not awakened yet.  Dorothy goes into Ozma’s chambers only to find she is not there.

Glinda awakens in her palace in the Quadling Country and finds her Great Book of Records is missing. She goes to prepare a magic spell to find it- only to see her magic tools are gone as well.  She dispatches a messenger to the Emerald City to relay news of the theft.  Receiving the news, the Wizard hastily offers his magic tools to assist Glinda, however, these are missing as well.  Glinda, Dorothy, and the Wizard organize search parties to find Ozma and the missing magic.  Accompanying them are Button-Bright, Trot, and Betsy Bobbin. Dorothy and the Wizard’s party begins to search the Winkie Country to the west of the Emerald City.

Meanwhile, in the southwestern corner of the Winkie Country on a plateau belonging to the Yips, and Cayke the cookie cook has had her diamond-studded gold dishpan stolen.  The self-proclaimed adviser to the Yips, a human-sized dandy of a frog called the Frogman, hears Cayke’s story and offers to help her find the dishpan.  When they have gotten down the mountain, Cayke reveals to the Frogman that the dishpan has magic powers, for her cookies come out perfect every time.

Dorothy, the Wizard, and their party enter the previously unknown communities of Thi and Herku.  The citizens of Thi are ruled by the High Coco-Lorum (really the King, but the people do not know it) and repeat the same story about the Herkus: they keep giants for their slaves.  In the Great Orchard between Thi and Herku, the party enjoys a variety of fruits. Button-Bright eats from the one peach tree in the orchard.  When he reaches the peach’s centre he discovers it to be made of gold.  He pockets the gold peach pit to show Dorothy, Betsy, and Trot later – despite warnings from the local animals that the evil Ugu the Shoemaker has enchanted it.

In the city of Herku, Dorothy and the Wizard’s party are greeted by the emaciated but jovial Czarover of Herku, who has invented a pure energy compound called zosozo that can make his people strong enough to keep giants as slaves.  The Czarover offers them six doses to use in their travels and casually reveals that Ugu the Shoemaker came from Herku.  Ugu found magic books in his attic one day because he was descended from the greatest enchanter ever known and learned over time to do a great many magical things.  The Shoemaker has since moved from Herku and built a castle high in the mountains.  This clue leads Dorothy and the Wizard to think that Ugu might be behind all the recent thefts of magic and the ruler of Oz.  They proceed from Herku toward the castle and meet with the Frogman, Cayke the Cookie Cook, and the Lavender Bear the stuffed bear who rules Bear Center.  Lavender Bear carries the Little Pink Bear, a small wind-up toy that can answer any question about the past put to it.

When the combined party arrives at Ugu’s castle, Button-Bright is separated from them and falls into a pit.  Before they rescue him, the Wizard asks the Little Pink Bear where Ozma is and it says that she is in the pit, too.  After Button-Bright is let out of the pit, the Little Pink Bear says that she is there among the party.  Unsure what to make of this seeming contradiction, the party advances toward the castle.  Sure enough, Ugu is the culprit and the castle’s magical defences are techniques from Glinda and the Wizard.  Upon overcoming these, the party finds themselves standing before the thief himself.

Ugu uses magic to send the room spinning and retreats.  Dorothy stops it by making a wish with the magic belt.  She uses its power to turn Ugu into a dove, but he modifies the enchantment so he retains human size and aggressive nature.  Fighting his way past Dorothy and her companions, Ugu the dove uses Cayke’s diamond-studded dishpan to flee to the Quadling Country.

Once the magic tools are recovered, the conquering search party turns their attention to finding Ozma.  The Little Pink Bear reveals that Ozma is being carried in Button-Bright’s jacket pocket, where he placed the gold peach pit. The  Wizard opens it with a knife, and Ozma is released from where Ugu had imprisoned her.  She was kidnapped by Ugu when she came upon him stealing her and the Wizard’s magic instruments.

The people of the Emerald City and Ozma’s friends all celebrate her return.  Days later, the transformed Ugu flies in to see Dorothy and ask her forgiveness for what he did.  She offers it and offers to change him back with the Magic Belt, but Ugu has decided that he likes being a dove much better.

Read more about The Lost Princess Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.   

Blog Posts

Notes And Links

The 1917 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: Rinkitink In Oz By L. Frank Baum

1916 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About Rinkitink In Oz

Rinkitink in Oz is the tenth book in the Land of Oz series written by L. Frank Baum.  It was published on June 20, 1916, with full-colour and black-and-white illustrations by artist John R. Neill.  It is notable that most of the action takes place outside of Oz, and no character from Oz appears in the book until its climax; this is due to Baum’s having originally written most of the book as a fantasy novel unrelated to his Oz books over ten years earlier, in 1905.

The book was dedicated to the author’s newborn grandson Robert Alison Baum, the first child of the author’s second son Robert Stanton Baum.

Reissue

In 1939, Rinkitink in Oz was one of six Oz books specially reissued by Rand McNally in a condensed, small-format junior edition for young readers, as a promotion for the MGM film of The Wizard of Oz.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Prince Inga is the son of King Kitticut and Queen Garee, who rules the island kingdom of Pingaree.  Kitticut tells Inga that years earlier when armies from the neighbouring islands of Regos and Coregos attempted to invade and conquer Pingaree, they were repelled by Kitticut himself with the aid of three magic pearls.  The blue pearl gives its bearer superhuman strength, the pink pearl protects him from any harm, and the white pearl speaks words of wisdom.

The jovial fat King Rinkitink of Gilgad arrives in Pingaree on royal holiday and remains as Kitticut’s guest for several weeks.  Rinkitink usually rides Bilbil, a surly talking goat.  One day invaders from Regos and Coregos arrive again and seize King Kitticut before he can reach his magic pearls.  All the people are carried into slavery, except Inga and Rinkitink who escape along with Bilbil.  Inga resolves to free his people with the aid of the magic pearls.  Keeping the pearls secret from Rinkitink, he hides them in his shoes and the three sail to Regos.

The wicked King Gos of Regos and his army are easily defeated by the strength and invulnerability of Inga, and they flee to the neighbouring island of Coregos, ruled by the equally wicked Queen Cor.  Inga and Rinkitink sleep in the palace, but the next morning both shoes along with the pink and blue pearls they contain are accidentally lost.  The shoes are found by a poor charcoal-burner, who takes them home to give to his daughter Zella.  Queen Cor arrives on Regos and captures the now powerless Inga and Rinkitink, and brings them back to Coregos.

Zella, wearing the shoes but unaware of the power they convey, travels to the palace on Coregos to sell honey to Queen Cor.  Inga sees her and, recognizing her shoes, trades shoes with her.  Again possessing the pearls, he overpowers Cor who escapes and flees to Regos. Inga frees the enslaved people of Pingaree, who sail back home.  However, his parents are still captives of Gos and Cor, who take them to the neighbouring country of the subterranean Nomes and pay the Nome King Kaliko to use his magic to keep them captive.

Inga, Rinkitink and Bilbil arrive in the Nome Kingdom.  For safety, Rinkitink carries the pink pearl which confers invulnerability.  The Nome King refuses to release Inga’s parents because of his promise to Cor and Gos, although he claims to bear no animosity toward the travellers.  Rinkitink and Inga sleep in the Nome King’s palace that night, but in the morning Kaliko attempts to kill both of them by various devious traps.  Both escape by means of the power of the pearls they carry.

In Oz, Dorothy learns of these events and travels to the Nome Kingdom with the Wizard of Oz to confront Kaliko.  She forces him to release Inga’s parents.  Reunited with Inga, they all travel to Oz.  The Wizard discovers that Bilbil is actually Prince Bobo of Boboland who has been turned into a goat by a cruel magician.  He and Glinda are able to restore him to human form, which also cures his disagreeable disposition.

Inga, his parents, Rinkitink, and Bobo return to the rebuilt island of Pingaree. Soon afterwards, a boat arrives from Gilgad to take Rinkitink back home.  Rinkitink objects that he does not want to return to his royal duties, but eventually is persuaded to return, accompanied by his friend Prince Bobo.

Read more about Rinkitink In Oz here.

The above articles were sourced from Wikipedia and are subject to change.   

Blog Posts

Notes And Links

The 1916 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.