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Thursday, March 28, 2013

The Wiz and Populism

Ever since its publication in 1900 Lyman Frank Baums The Wonderful witching(prenominal) of Oz has been immensely popular, providing the basis for a profitable musical comedy, ternion movies, and a number of plays. It is an indigenous creation, curiously warm and touching, although no genius really knows why. For despite wholehearted acceptance by generations of readers, Baums tale has been accorded neither critical acclaim, nor extended critical examination. interest scholars, such as Russel B. Nye and Martin Gardiner, look upon The brainiac of Oz as the graduation exercise in a long and delightful series of Oz stories, and clear base their appreciation of Baums talent on the totality of his works[2].

The conjuror of Oz is an entity unto itself, however, and was not maestroly written with a sequel in mind. Baum informed his readers in 1904 that he has produced The Marvelous Land of Oz reluctantly and only in answer to well over a thousand letters demanding that he creation another Oz tale[3]. His original effort remains unique and to some degree cave in from the books which follow. But its uniqueness does not rest alone on its peculiar and transcendent popularity.

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Professor Nye finds a strain of moralism in the Oz books, as well as a well-developed sense of satire, and Baum stories a lot include searching parodies on the contradiction in adult male nature. The second book in the series, The Marvelous Land of Oz, is a blatant satire on feminism and the suffragette movement[4]. In it Baum essay to duplicate the format used so successfully in The Wizard, yet no one has noted a homogeneous play on contemporary movements in the latter work. Nevertheless, one does exist, and it reflects to an astonishing degree the world of political reality which adjoin Baum in 1900. In order to understand the relationship of The Wizard to turn-of-the-century America, it is necessary first to know something of Baums background.

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