Wizard of Oz E-Book

• Herausgeber: CompanionHouse Books
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2014

Seitenzahl: 119

Beschreibung

A celebration of the 75th anniversary of the Metro-Goldwyn-Mayer movie musical, this new book The Wizard of Oz offers a rare glimpse into the creation of the classic film, its creator L. Frank Baum, the Academy Award-winning score, the leading lady, and the Oz phenomenon that continues to captivate the world.Although Oz creator L. Frank Baum died twenty years prior to the release of MGM's celebrated film, his fascinating career and story, as told in this new book, will surprise even the most devoted Oz fans. Prior to MGM's 1939 release of the movie, Baum's book was featured as a Broadway musical, with songs by the justifiably forgotten Fred R. Hamlin, and two bizarre silent movies. The enduring appeal and lasting influence of The Wizard of Oz are discussed in a special chapter by creator's great-grandson Roger Baum.The Wizard of Oz will lead the reader down the proverbial yellow brick road to discover:The seven flawless decisions MGM made to adapt Baum's sprawling children's book into a movie musical.The groundbreaking moviemaking techniques, MGM's second full-length Technicolor film.The surprising story behind Harold Arlen and E.Y. Harburg's superlative score, which includes "Over the Rainbow," considered the greatest movie song of all time.How Judy Garland won "Dorothy," her most enduring role, after 20th Century Fox refused to loan Shirley Temple to MGM.The birth of film's greatest canine star, Cairn Terrier, Terry, as Dorothy's little dog "Toto".The many everyday Oz expressions that come from the most oft-quoted movie of all timeHow the Wicked Witch of the West (renamed her Elphaba after Oz creator's initials) was remade "for good" in Broadway's Oz prequel Wicked.This celebration of the iconic film is a must-have for all Wizard of Oz lovers.

Leseprobe

The Wizard of Oz

Editor: Ben Nussbaum

Chief Content Officer: June Kikuchi

Managing Editor Jennifer Taylor

Art Director: Cindy Kassebaum

Multimedia Production Coordinator: Leah Rosalez

Chief Executive Officer:Mark Harris

Chief Financial Officer: Nicole Fabian

Chief Sales Officer: Jeff Scharf

Vice President, Consumer Marketing: Beth Freeman Reynolds

Vice President Jennifer Black

Digital General Manager: Melissa Kauffman

Marketing Director: Lisa MacDonald

Production Manager: Laurie Panaggio

Book Devision General Manager: Christopher Reggio

Controller Craig Wisda

Editorial, Production and Corporate Office

3 Burroughs, Irvine, CA 92618

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The Wizard of Oz is published by I-5 Publishing, LLC, 3 Burroughs, Irvine, CA 92618-2804.

© 2013 by I-5 Publishing, LLC.

Print Book ISBN: 978-1-62008-131-0

eBook ISBN: 978-1 62008-181-5

All rights reserved. Reproduction of any material from this issue in whole of in part is strictly prohibited.

Registration No. R126851765

The Creator of Oz

by Rebecca Loncraine

Before L. Frank Baum wrote the tale of Dorothy’s journey from Kansas to Oz, America didn’t have a modern fairy tale of its own.

The movie The Wizard of Oz is so much a part of American culture that we take the story’s existence for granted. The twisting tornado that carries Dorothy and Toto from the arid Kansas prairie to the colorful Land of Oz, the clever but brainless Scarecrow, the kind but heartless Tin Man, the brave Cowardly Lion, the Wicked Witch of the West, the humbug Wizard, the Munchkins, the Yellow Brick Road and the Emerald City are all iconic — permanently in our collective memories to reference at any relevant moment.

This powerful story seems so old, so universal and so alive that it feels like it must have always been there, rolling around like a shiny, colorful marble at the bottom of our minds.

However, the Land of Oz did in fact have a creator. His name was Lyman Frank Baum born in America in 1856. Between the spring of 1898 and the fall of 1899 the story of Dorothy and her friends was conjured from Baum’s imagination, and The Wonderful Wizard of Oz was first published in 1900. Accompanied by bright and beautiful illustrations by William Denslow — the book was an immediate hit.

Baum began writing for children later in life, in his 40s, after many years of frustration and dead ends. In the 1890s, before he started writing books, he had tried his hand as a chicken breeder, actor, theater company manager, trinket shop owner, newspaperman, axle grease and china salesman, and designer of elaborate, theatrical department store window displays. Baum was surprised when The Wonderful Wizard of Oz became a bestseller. The book’s success transformed his life and enabled him to write full time. He went on to write 13 sequels to The Wonderful Wizard of Oz, as well as 50 or so other children’s books under various pen names.

From the successful publication of The Wonderful Wizard of Oz in 1900 to Baum’s death in Hollywood, Calif., in 1919, journalists and readers, bewildered by the creative process of making up stories, would often ask Baum where Oz had come from (child fans, in contrast, wrote to him asking where Oz was located and how they could get there). Baum responded to these questions, characteristically, by making up further stories. Oz had come to him, he said, one day when he looked down at his filing cabinet and saw the drawers marked A-N and O-Z. Humbug. It was easier for Baum to make something up than to admit to probing journalists that he didn’t know where the Land of Oz came from.

Baum was right to make up tales about the origins of Oz; we never really know where stories come from. But many of the ideas and themes at work in The Wonderful Wizard of Oz were present in Baum’s life. Taking a peek behind the curtain to look at the world Baum inhabited in late 19th-century America sheds some light on where Oz came from.

The Writer as Medium

Writing and spirit mediums were very connected in the late 19th century. Spirits were sometimes thought to communicate with the living through writing materials, like the alphabet on a Ouija board. Sisters Margaret, Kate and Leah Fox (pictured at right), famous mediums of the 19th century, communicated with spirits through what were called “spirit rappings,” much like the language of clicks of the then-new telegraph.

L. Frank Baum took part in a culture of spiritualism that was alive with the knocks, rappings and scribblings of the dead. His wife and mother-in-law sometimes held séances at home. The image of the medium shaped Baum’s relationship with his own imagination in subtle ways.

When he first began publishing children’s books in 1897, Baum saw himself as a failure. His children’s books were evidence, he wrote to his sister, Mary Louise, of his “inability to do anything great.” He had tried to make it as a businessman, like his father, but was ill-suited to that world. He found it hard to take himself seriously, either intellectually or creatively, and described himself as “a rather stubborn illiterate.”

Baum said that the story of Dorothy’s adventures in Oz simply “moved right in and took possession” of him. The characters were “a sort of inspiration” that struck him suddenly; the story “really seemed to write itself.”

Because Baum saw himself as a medium channeling tales from Oz to America, his characters were absolutely real to him. Frank Jr., Baum’s eldest son, recalls his father saying that he enjoyed telling stories, “because I, too, like to hear about my funny creatures. … These characters seem to develop a life of their own.” Baum also would say, “They often surprise me by what they do.”

Baum would sometimes fall into black moods and move about the house restlessly, unable to write, explaining to his wife that “my characters just won’t do what I want them to.”

Baum believed in his characters in the same way that he believed in ghosts. The idea of author as medium served an important psychological function that enabled Baum to write. In understanding his creativity as a form of spirit possession, Baum didn’t feel responsible for his stories and therefore he could let his imagination breathe, making space for his intuitive storytelling talent to surface and take hold of his pen.

Child Ghosts

The sunny story of Oz has a dark and gothic dimension. The majority of people in the 1800s, Baum included, believed in ghosts. Tragically, many of these supposed ghosts were of children. One of the influences on Baum’s young imagination was the deaths of his siblings in infancy. In mid-19th-century America, children under the age of 5 accounted for as many as 40 percent of all deaths.

The infant mortality rate in Baum’s extended family was unusually high due to a series of diphtheria epidemics across upstate New York that stole hundreds of children away. Four of Baum’s eight siblings died in infancy, as did at least 10 of his cousins; as a child Baum would have attended numerous funerals of children, usually with the body displayed in an open coffin. These children lived on in the collective imagination of the Baum family, were spoken of often, and continued a kind of shadow life alongside their living siblings.

Baum married Maud Gage and became a father toward the end of the century, when infant mortality had thankfully declined. All four of his sons survived into adulthood, but three of his nieces did not, including Dorothy Gage, who died in 1898 while Baum was writing The Wonderful Wizard of Oz. Maud and Baum longed for a daughter, and his wife was acutely distraught when baby Dorothy died.

Baum was a religious radical, rejecting his Methodist upbringing and following the new cults of Theosophy and Spiritualism. He and Maud joined the Chicago Theosophical Society in 1892. He attended séances, and Maud even hosted some at their home. Spiritualists rejected the Christian idea of heaven and believed in an afterlife they called the Summerland, a place where the souls of the departed could dwell in peace and continue to communicate with the living. Oz was inspired by this reassuring vision; that the Summerland could be imagined as a kind of magical children’s heaven — a place where the spirits of children whose lives on Earth had been cut short could have exciting adventures.

Baum and his wife believed in spirits and even hosted séances in their home.

Technological Wizardry

Baum lived in an era of mind-boggling technological invention. He experienced the entrance of electricity into everyday life, the replacement of horses with the horseless carriage and the birth of manned flight. It was truly amazing, frightening and disorienting to be able to switch on an electric light, speak into a telephone, ride in a motor car at a roaring 30 miles per hour and, of all things, fly through the clouds in an airplane. These shocking and exciting novelties transformed the way people understood their world and their bodies. Baum was fascinated by all of the new technologies around him and filled his books with fantastic inventions. But he also wrote into Oz some of his anxieties about the age of invention and what it might be doing to the experience of being human.

In the third Oz book, Ozma of Oz, published in 1907, Baum introduced Tik-Tok, one of the first robots to appear in literature. Baum probes some of the questions raised by the growing intimacy between humans and machines. Dorothy becomes emotionally attached to Tik-Tok and considers him a friend, but Tik-Tok remains emotionless. In Baum’s world, human senses were being stretched beyond the body by new technologies, such as the telephone, gramophone and moving pictures. The boundary between human and machine was becoming blurred.

Baum likely saw Civil War veterans with prosthetic limbs, which could have been the inspiration for the Tin Man and Tik-Tok, one of literature’s first robots.

Baum was just 5 years old when the Civil War began in 1861 and 9 when it ended. One of his uncles served as an assistant surgeon in the Union army and survived to tell tales of gruesome battles. Scarred mentally, Baum’s Uncle Adam eventually took his own life.

The Civil War was the first war in which amputation occurred on a large scale. In the years after the war, Baum would have seen many veterans with prosthetic body parts. His stories explored some of the questions raised by the proliferation of prosthetics. The Tin Man, for instance, was once a human woodsman who has an entirely prosthetic body made after he is chopped to pieces by the Wicked Witch. Touching on anxieties about whether the human is superior to technology, the Tin Man discovers his original human head in a box in a later Oz story and can’t decide if he needs it or whether his tin head is better. Developments in medicine and technology were raising questions about what it meant to be human. Baum’s fairy tales are infused with these questions.

Landscapes and the Imagination

The varied landscapes in which Baum lived shaped his imagination. He grew up in upstate New York surrounded by farmland and woods. When he was a child a wild scarecrow chased him through the darker regions of his mind in a recurring nightmare. In 1888, he moved west to Aberdeen, Dakota Territory, on the Great Plains. The town was surrounded by homesteads where families eked out a living. Maud’s sister Julia, was one of them, and Frank visited her often. The homesteaders were trying to transform what had been labeled on maps as the “Great American Desert” into the breadbasket of the world. It was this landscape that influenced Baum’s creation of Kansas homesteaders Aunt Em, Uncle Henry and Dorothy Gale.

In Aberdeen, Baum edited The Aberdeen Saturday Pioneer, a newspaper that covered all subjects, including the unpredictable shape- shifting chaos of the Plains weather. This region of the Midwest, now known as Tornado Alley, is notorious for its huge thunderstorms, often accompanied by wild, spinning tornadoes, which were called cyclones in Baum’s time.

In 1890, Baum reported on a cyclone that passed through Aberdeen; many barns and houses were blown down and a pig was “blown over three hundred yards.” Baum drew on this fear of cyclones in his story but he turned it around, using a tornado to transport isolated Dorothy away from the dusty, gray prairies to Oz, a fertile land such as the farmers on the drought-ridden plains could only dream about.

Baum reported on twisters and other weather conditions during his days as a newspaper editor in Aberdeen, S.D.

A Great Fake City

Work on the prairie dried up during the economic depression of the 1890s. Baum moved to Chicago, a city full of hope fueled by the impending 1893 World’s Columbian Expedition, better known as the Chicago World’s Fair. Baum visited the fair and stood in awe of the White City, a brilliant group of gleaming white buildings illuminated at night by the new technology of electric light. But in reality, the White City was a big fake.

The impressive, dazzling palaces that glinted on the edge of Lake Michigan were, in truth, hurriedly erected temporary sheds painted to look like marble; the Fair was a film set before cinema had been invented. The numerous impressive sculptures that adorned the palaces weren’t hewn from marble, but were rather made from staff, a lightweight mix of plaster, cement and fibers (a kind of plaster-of-Paris). So the grand palaces were actually storage sheds covered in a veneer of plaster that was most usefully employed to reset broken bones. The White City’s combination of beauty and phoniness influenced Baum in his creation of the Emerald City.

Matriarchal Oz

Baum was a progressive thinker who believed fervently in women’s right to vote, to do away with corsets and to ride a bicycle. Matilda Gage, Baum’s mother-in-law, was a founding member of the women’s suffrage movement. Baum supported the cause, was secretary of a local campaign group out West, and even argued that “an able intelligent woman will make a better politician than most men.” Oz puts this vision into practice by making Oz a matriarchy. It’s run by good and bad witches; Baum blended the wicked witches of old folktales with the figure of the new woman, revealing a certain anxiety about powerful women even as he supported women’s rights. In contrast, men’s political power in Oz, as embodied by the Wizard, comes from mere showmanship.