On L. Frank Baum’s birthday, revisit John Updike on the author of the classic children’s book “The Wonderful Wizard of Oz.” “As a writer,” Updike says, “Baum rarely knew when to quit, unfurling marvel after marvel.”
A hundred years ago, “The Wonderful Wizard of Oz,” by L. Frank Baum, was published by the soon-to-be-defunct Chicago-based firm of George M. Hill. The Library of Congress is hosting a commemorative exhibition, and Norton has brought out a centennial edition of “The Annotated Wizard of Oz,” edited and annotated by Michael Patrick Hearn .
Endless chains of jewels seemed strung and wound about it. The Palace of Flowers held up a great crystal of light glowing against the dark blue of the sky, towers and domes were crowned and diademed, thousands of jewels hung among the masses of leaves, or reflected themselves, sparkling in the darkness of the lagoons, fountains of molten jewels sprung up, and flamed and changed.
In 1902, the George M. Hill Company went bankrupt, in spite of Baum’s success, and the rights to the “Wizard” were placed in the crasser hands of Bobbs-Merrill; meanwhile, Baum and Denslow parted, each taking the Oz characters with him, since their contract provided for separate ownership of text and illustrations.
The potent images of the “Wizard” do cry out for extension and elaboration. The M-G-M motion picture improves upon the book in a number of ways. It eliminates, for example, the all too Aesopian episode wherein the Queen of the mice and her many minions transport the Cowardly Lion out of the poppy bed where he has fallen asleep; instead, it retrieves from the 1902 musical the effective stage business that had a sudden snowstorm annul the spell of the poppies.
every bit of wood, every drop of liquid, every grain of sand or portion of rock has its myriads of inhabitants. . . . These invisible and vapory beings are known as Elementals. . . . They are soulless, but immortal; frequently possessed of extraordinary intelligence, and again remarkably stupid.
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