Lyman Frank Baum (/bɔːm/;[1] May 15, 1856 – May 6, 1919) was an American author best known for hischildren's fantasy books, particularlyThe Wonderful Wizard of Oz, part of aseries. In addition to the 14Oz books, Baum penned 41 other novels (not including four lost, unpublished novels), 83 short stories, over 200 poems, and at least 42 scripts. He made numerous attempts to bring his works to the stage and screen; the1939 adaptation of the firstOz book became a landmark of20th-century cinema.
Born and raised inChittenango, New York, Baum moved west after an unsuccessful stint as a theater producer and playwright. He and his wife opened a store inSouth Dakota and he edited and published a newspaper. They then moved to Chicago, where he worked as a newspaper reporter and published children's literature, coming out with the firstOz book in 1900. While continuing his writing, among his final projects he sought to establish afilm studio in Los Angeles, California.
Baum was born inChittenango, New York, in 1856 into a devoutMethodist family. He hadGerman,Scots-Irish, andEnglish ancestry. He was the seventh of nine children of Cynthia Ann (née Stanton) and Benjamin Ward Baum, only five of whom survived into adulthood.[2][3] "Lyman" was the name of his father's brother (Lyman Spaulding Baum), but he always disliked it and preferred his middle name "Frank".[4]
His father succeeded in many businesses, including barrel-making,oil drilling inPennsylvania, and real estate. Baum grew up on his parents' expansive estate called Rose Lawn, which he fondly recalled as a sort of paradise.[5] Rose Lawn was located inMattydale, New York.[6] Baum was a sickly, dreamy child, tutored at home with his siblings. From the age of 12, he spent two years atPeekskill Military Academy but, after being severely disciplined for daydreaming, he had a possiblypsychogenic heart attack and was allowed to return home.[7]
Baum started writing early in life, possibly prompted by his father buying him a cheapprinting press. He had always been close to his younger brother Henry (Harry) Clay Baum, who helped in the production ofThe Rose Lawn Home Journal. The brothers published several issues of the journal, including advertisements from local businesses, which they gave to family and friends for free.[8] By the age of 17, Baum established a second amateur journal calledThe Stamp Collector, printed an 11-page pamphlet calledBaum's Complete Stamp Dealers' Directory, and started astamp dealership with friends.[9]
At 20, Baum took on the national craze of breeding poultry. He specialized in raising theHamburg chicken. In March 1880, he established a monthly trade journal,The Poultry Record and, in 1886, when Baum was 30 years old, his first book was published:The Book of the Hamburgs: A Brief Treatise upon the Mating, Rearing, and Management of the Different Varieties of Hamburgs.[10]
Baum had a flair for being the spotlight of fun in the household, including during times of financial difficulties. His selling of fireworks made theFourth of July memorable. His skyrockets, Roman candles, andfireworks filled the sky, while many people around the neighborhood would gather in front of the house to watch the displays. Christmas was even more festive. Baum dressed asSanta Claus for the family. His father would place the Christmas tree behind a curtain in the front parlor so that Baum could talk to everyone while he decorated the tree without people managing to see him. He maintained this tradition all his life.[11]
Baum embarked on his lifetime infatuation—and wavering financial success—with the theater.[12] A local theatrical company duped him into replenishing their stock of costumes on the promise of leading roles coming his way. Disillusioned, Baum left the theater—temporarily—and went to work as a clerk in his brother-in-law's dry goods company inSyracuse. This experience may have influenced his story "The Suicide of Kiaros", first published in the literary journalThe White Elephant. A fellow clerk one day had been found locked in a store room dead, probably from suicide.
Baum could never stay away long from the stage. He performed in plays under the stage names of Louis F. Baum and George Brooks.[13][14] In 1880, his father built him a theater inRichburg, New York, and Baum set about writing plays and gathering a company to act in them.The Maid of Arran proved a modest success, amelodrama with songs based onWilliam Black's novelA Princess of Thule. Baum wrote the play and composed songs for it (making it a prototypicalmusical, as its songs relate to the narrative), and acted in the leading role. His aunt Katharine Gray played his character's aunt. She was the founder of Syracuse Oratory School, and Baum advertised his services in her catalog to teach theater, including stage business, play writing, directing, translating (French, German, and Italian), revision, andoperettas.
On November 9, 1882, Baum marriedMaud Gage, a daughter ofMatilda Joslyn Gage, a famouswomen's suffrage andfeminist activist. A local newspaper reported that their ceremony was "one of equality" and that their marriage vows were "precisely the same."[15] While Baum was touring withThe Maid of Arran, the theater in Richburg caught fire during a production of Baum's ironically titled parlor dramaMatches, destroying the theater as well as the only known copies of many of Baum's scripts, includingMatches, as well as costumes.
In July 1888, Baum and his wife moved toAberdeen, Dakota Territory where he opened a store called "Baum's Bazaar". His habit of giving out wares on credit led to the eventual bankrupting of the store,[16] so Baum turned to editing the local newspaperThe Aberdeen Saturday Pioneer where he wrote the columnOur Landlady.[17] Following the death ofSitting Bull at the hands of Indian agency police, Baum recommended the wholesale extermination of all America's native peoples in a column that he wrote on December 20, 1890 (full text below).[18] It is unclear whether Baum meant it as a satire or not, especially since his mother-in-lawMatilda Joslyn Gage received an honorary adoption into the Wolf Clan of theMohawk Nation and was a fierce defender of Native American rights,[19] but on January 3, 1891, he returned to the subject in an editorial response to theWounded Knee Massacre:[20]
The Pioneer has before declared that our only safety depends upon the total extirmination [sic] of the Indians. Having wronged them for centuries, we had better, in order to protect our civilization, follow it up by one more wrong and wipe these untamed and untamable creatures from the face of the earth.[21]
Promotional Poster for Baum's "Popular Books For Children",c. 1901
Baum's newspaper failed in 1891, and he, Maud, and their four sons moved to theHumboldt Park section of Chicago, where Baum took a job reporting for theEvening Post.
Beginning in 1897, he founded and edited a magazine calledThe Show Window,[23] later known as theMerchants Record and Show Window, which focused on store window displays, retail strategies and visual merchandising. The major department stores of the time created elaborate Christmas time fantasies, using clockwork mechanisms that made people and animals appear to move. The formerShow Window magazine is still currently in operation, now known asVMSD magazine[23] (visual merchandising + store design), based in Cincinnati.[24]
In 1900, Baum published a book about window displays in which he stressed the importance of mannequins in drawing customers.[25] He also had to work as atraveling salesman.[26]
Denslow in 1900
In 1897, he wrote and publishedMother Goose in Prose, a collection ofMother Goose rhymes written as prose stories and illustrated byMaxfield Parrish.Mother Goose was a moderate success and allowed Baum to quit his sales job (which had had a negative impact on his health). In 1899, Baum partnered with illustratorW. W. Denslow to publishFather Goose, His Book, a collection of nonsense poetry. The book was a success, becoming the best-selling children's book of the year.[27]
The Baum–Parrish Mother Goose used to promote a breakfast cereal (part 1 of 12 as a free premium)
In 1900, Baum and Denslow (with whom he shared the copyright) publishedThe Wonderful Wizard of Oz to much critical acclaim and financial success.[28] The book was the best-selling children's book for two years after its initial publication. Baum went on to write thirteen more novels based on the places and people of theLand of Oz.
The Wizard of Oz: Fred R. Hamlin's Musical Extravaganza
1903 poster of Dave Montgomery as the Tin Man in Hamlin's musical stage version.
Two years afterWizard's publication, Baum and Denslow teamed up with composerPaul Tietjens and director Julian Mitchell to produce amusical stage version of the book under Fred R. Hamlin.[29] Baum and Tietjens had worked on a musical ofThe Wonderful Wizard of Oz in 1901 and based closely upon the book, but it was rejected. This stage version opened in Chicago in 1902 (the first to use the shortened title "The Wizard of Oz"), then ran on Broadway for 293 stage nights from January to October 1903. It returned to Broadway in 1904, where it played from March to May and again from November to December. It successfully toured the United States with much of the same cast, as was done in those days, until 1911, and then became available for amateur use. The stage version starred Anna Laughlin asDorothy Gale, alongside David C. Montgomery andFred Stone as theTin Woodman andScarecrow respectively, which shot the pair to instant fame.
The stage version differed quite a bit from the book, and it was aimed primarily at adults. Toto was replaced with Imogene the Cow, and Tryxie Tryfle (a waitress) andPastoria (a streetcar operator) were added as fellow cyclone victims. The Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to Pastoria II, the rightful King of Oz. It is unclear how much control or influence Baum had on the script; it appears that many of the changes were written by Baum against his wishes due to contractual requirements with Hamlin. Jokes in the script, mostly written by Glen MacDonough, called for explicit references to PresidentTheodore Roosevelt, SenatorMark Hanna, Rev. Andrew Danquer, and oil tycoonJohn D. Rockefeller. Although use of the script was rather free-form, the line about Hanna was ordered dropped as soon as Hamlin got word of his death in 1904.
Beginning with the success of the stage version, most subsequent versions of the story, including newer editions of the novel, have been titled "The Wizard of Oz", rather than using the full, original title. In more recent years, restoring the full title has become increasingly common, particularly to distinguish the novel from theHollywood film.
Baum wrote a new Oz book,The Marvelous Land of Oz, with a view to making it into a stage production, which was titledThe Woggle-Bug, but Montgomery and Stone balked at appearing when the original was still running. The Scarecrow and Tin Woodman were then omitted from this adaptation, which was seen as a self-rip-off by critics and proved to be a major flop before it could reach Broadway. He also worked for years on a musical version ofOzma of Oz, which eventually becameThe Tik-Tok Man of Oz. This did fairly well in Los Angeles but not well enough to convince producerOliver Morosco to mount a production in New York. He also began a stage version ofThe Patchwork Girl of Oz, but this was ultimately realized as afilm.
With the success ofWizard on page and stage, Baum and Denslow hoped for further success and publishedDot and Tot of Merryland in 1901.[30] The book was one of Baum's weakest, and its failure further strained his faltering relationship with Denslow. It was their last collaboration. Baum worked primarily withJohn R. Neill on his fantasy work beginning in 1904, but Baum met Neill few times (all before he moved to California) and often found Neill's art not humorous enough for his liking. He was particularly offended when Neill publishedThe Oz Toy Book: Cut-outs for the Kiddies without authorization.
Baum reportedly designed the chandeliers in the Crown Room of theHotel del Coronado; however, that attribution has yet to be corroborated.[31] Several times during the development of the Oz series, Baum declared that he had written his last Oz book and devoted himself to other works of fantasy fiction based in other magical lands, includingThe Life and Adventures of Santa Claus andQueen Zixi of Ix. However, he returned to the series each time, persuaded by popular demand, letters from children, and the failure of his new books. Even so, his other works remained very popular after his death, withThe Master Key appearing onSt. Nicholas Magazine's survey of readers' favorite books well into the 1920s.
In 1905, Baum declared plans for an Oz amusement park. In an interview, he mentioned buying "Pedloe Island" off the coast of California to turn it into an Oz park. However, there is no evidence that he purchased such an island, and no one has ever been able to find any island whose name even resembles Pedloe in that area.[32][33] Nevertheless, Baum stated to the press that he had discovered a Pedloe Island off the coast of California and that he had purchased it to be "the Marvelous Land of Oz," intending it to be "a fairy paradise for children." Eleven-year-old Dorothy Talbot of San Francisco was reported to be ascendant to the throne on March 1, 1906, when the Palace of Oz was expected to be completed. Baum planned to live on the island, with administrative duties handled by the princess and her all-child advisers. Plans included statues of the Scarecrow, Tin Woodman, Jack Pumpkinhead, andH.M. Woggle-Bug, T.E.[34] Baum abandoned his Oz park project after the failure ofThe Woggle-Bug, which was playing at the Garrick Theatre in 1905.
Baum surrounded by the characters inThe Fairylogue and Radio-Plays
Because of his lifelong love of theatre, he financed elaborate musicals, often to his financial detriment. One of Baum's worst financial endeavors was hisThe Fairylogue and Radio-Plays (1908), which combined a slideshow, film, and live actors with a lecture by Baum as if he were giving atravelogue to Oz.[35] However, Baum ran into trouble and could not pay his debts to the company who produced the films. He did not get back to a stable financial situation for several years, after he sold the royalty rights to many of his earlier works, includingThe Wonderful Wizard of Oz. This resulted in the M.A. Donahue Company publishing cheap editions of his early works with advertising which purported that Baum's newer output was inferior to the less expensive books that they were releasing. He claimed bankruptcy in August 1911.[36] However, Baum had shrewdly transferred most of his property into Maud's name, except for his clothing, his typewriter, and his library (mostly of children's books, such as the fairy tales ofAndrew Lang, whose portrait he kept in his study)—all of which, he successfully argued, were essential to his occupation. Maud handled the finances anyway, and thus Baum lost much less than he could have.
Baum made use of several pseudonyms for some of his other non-Oz books. They include:
Baum also anonymously wroteThe Last Egyptian: A Romance of the Nile. He continued theatrical work with Harry Marston Haldeman'smen's social groupThe Uplifters,[37] for which he wrote several plays for various celebrations. He also wrote the group's parodicby-laws. The group also includedWill Rogers, but it was proud to have had Baum as a member and posthumously revived many of his works despite their ephemeral intent. Many of these play's titles are known, but onlyThe Uplift of Lucifer is known to survive (it was published in a limited edition in the 1960s). Prior to that, his last produced play wasThe Tik-Tok Man of Oz (based onOzma of Oz and the basis forTik-Tok of Oz), a modest success in Hollywood that producerOliver Morosco decided did not do well enough to take to Broadway. Morosco, incidentally, quickly turned to film production, as did Baum.
In 1914, Baum started his own film production companyThe Oz Film Manufacturing Company,[38] which came as an outgrowth of the Uplifters. He served as its president and principal producer and screenwriter. The rest of the board consisted ofLouis F. Gottschalk, Harry Marston Haldeman, and Clarence R. Rundel. The films were directed byJ. Farrell MacDonald, with casts that includedViolet MacMillan,Vivian Reed,Mildred Harris,Juanita Hansen,Pierre Couderc, Mai Welles, Louise Emmons,J. Charles Haydon, and early appearances byHarold Lloyd andHal Roach. Silent film actor Richard Rosson appeared in one of the films (Rosson's younger brotherHarold Rosson was thecinematographer onThe Wizard of Oz, released in 1939). After little success probing the unrealized children's film market, Baum acknowledged his authorship ofThe Last Egyptian and made a film of it (portions of which are included inDecasia), but the Oz name had become box office poison for the time being, and even a name change toDramatic Feature Films and transfer of ownership toFrank Joslyn Baum did not help. Baum invested none of his own money in the venture, unlikeThe Fairylogue and Radio-Plays, but the stress probably took its toll on his health.
Ozcot, Hollywood, California, in 1911Baum's grave at Forest Lawn Cemetery in Glendale, California, in 2011
On May 5, 1919, Baum suffered a stroke, slipped into a coma and died the following day, nine days before his 63rd birthday. His last words were spoken to his wife during a brief period of lucidity: "Now we can cross theShifting Sands."[39] He was buried in Glendale'sForest Lawn Memorial Park Cemetery.[40]
His final Oz book,Glinda of Oz, was published on July 10, 1920, a year after his death. The Oz series was continued long after his death by other authors, notablyRuth Plumly Thompson, who wrote an additional twenty-one Oz books.[41]
During the period of the 1890Ghost Dance movement andWounded Knee Massacre, Baum wrote two editorials asserting that the safety ofAmerican settlers depended on the wholesalegenocide of Native Americans. These editorials were republished in 1990 by sociologist Robert Venables of Cornell University, who argues that Baum was not using sarcasm.[42] HistorianCamilla Townsend, the editor ofAmerican Indian History: A Documentary Reader, argued that the editorial was "[a]gainst character", as he had earlier published a piece that criticized the idea of White Americans fearing Native Americans; Townsend stated that she failed to find evidence that Baum was using sarcasm.[43]
The first piece was published on December 20, 1890, five days after the killing of theLakotaSiouxholy manSitting Bull.[44][45] The piece opined that with Sitting Bull's death, "the nobility of the Redskin" had been extinguished, and the safety of the frontier would not be established until there was "total annihilation" of the remaining Native Americans, who, he claimed, lived as "miserable wretches." Baum said that their extermination should not be regretted, and their elimination would "do justice to the manly characteristics" of their ancestors.[44]
The Wounded Knee Massacre occurred nine days later; the second editorial was published on January 3, 1891. Baum alleged that GeneralNelson A. Miles' weak rule on the Native Americans had caused American soldiers to suffer a "terrible loss of blood", in a "battle" which had been a disgrace to theDepartment of War. He found that the "disaster" could have easily been prevented with proper preparations. Baum reiterated that he believed, due to the history of mistreatment of Native Americans, that the extermination of the "untamed and untamable" tribes was necessary to protect American settlers. Baum ended the editorial with the following anecdote: "An eastern contemporary, with a grain of wisdom in its wit, says that 'when the whites win a fight, it is a victory, and when the Indians win it, it is a massacre.'"[46]
In 2006, two descendants of Baum apologized to theSioux nation for any hurt that their ancestor had caused.[47]
When Baum lived inAberdeen, South Dakota, where he was secretary of its Equal Suffrage Club, much of the politics in theRepublicanAberdeen Saturday Pioneer dealt with trying to convince the populace to vote forwomen's suffrage.[49]Susan B. Anthony visited Aberdeen and stayed with the Baums. Nancy Tystad Koupal notes an apparent loss of interest in editorializing after Aberdeen failed to pass the bill for women's enfranchisement.
Sally Roesch Wagner of TheMatilda Joslyn Gage Foundation publishedThe Wonderful Mother of Oz, describing how Matilda Gage's feminist politics were sympathetically channeled by Baum into his Oz books. Some of Baum's contacts with suffragists of his day seem to have inspired much ofThe Marvelous Land of Oz. In this story, GeneralJinjur leads the girls and women of Oz in a revolt, armed with knitting needles; they succeed and make the men do the household chores. Jinjur proves to be an incompetent ruler, butPrincess Ozma, who advocatesgender equality, is ultimately placed on the throne.Charlotte Perkins Gilman's 1915 classic offeminist science fiction,Herland, bears strong similarities toThe Emerald City of Oz (1910); the link between Baum and Gilman is considered to be Gage.[50] Baum's stories outside of Oz also contain feminist or egalitarian themes. His Edith Van Dyne stories depict girls and young women engaging in traditionally masculine activities, includingAunt Jane's Nieces andThe Flying Girl and its sequel.The Bluebird Books feature a girl sleuth.
Numerous political references to the "Wizard" appeared early in the 20th century.Henry Littlefield, an upstate New York high school history teacher, wrote a scholarly article in 1964, the first full-fledged interpretation of the novel as an extended metaphor of the politics and characters of the 1890s.[51] He paid special attention to thePopulist metaphors and debates over silver and gold.[52] He published a poem in support ofWilliam McKinley.[53]
Since 1964, many scholars, economists, and historians have expanded on Littlefield's interpretation, pointing to multiple similarities between the characters (especially as depicted in Denslow's illustrations) and stock figures from editorial cartoons of the period. Littlefield wrote toThe New York Times letters to the editor section spelling out that his theory had no basis in fact, but that his original point was "not to label Baum, or to lessen any of his magic, but rather, as a history teacher at Mount Vernon High School, to invest turn-of-the-century America with the imagery and wonder I have always found in his stories."[54]
Baum's newspaper had addressed politics in the 1890s, and Denslow was an editorial cartoonist as well as an illustrator of children's books. A series of political references is included in the 1902 stage version, such as references to the President, to a powerful senator, and to John D. Rockefeller for providing the oil needed by the Tin Woodman. Scholars have found few political references in Baum's Oz books after 1902. Baum was asked whether his stories had hidden meanings, but he always replied that they were written to "please children".[55]
Baum's avowed intentions with the Oz books and his otherfairy tales was to retell tales such as those which are found in the works of theBrothers Grimm andHans Christian Andersen, remake them in an American vein, update them, omit stereotypical characters such asdwarfs orgenies, and remove the association of violence andmoral teachings.[56] His first Oz books contained a fair amount of violence, but the amount of it decreased as the series progressed; inThe Emerald City of Oz,Ozma objects to the use of violence, even to the use of violence against the Nomes who threaten Oz with invasion.[57] His introduction is often cited as the beginning of the sanitization of children's stories, although he did not do a great deal more than eliminate harsh moral lessons.
Another traditional element that Baum intentionally omitted was the emphasis onromance. He considered romantic love to be uninteresting to young children, as well as largely incomprehensible. InThe Wonderful Wizard of Oz, the only elements of romance lay in the background of theTin Woodman and his love forNimmie Amee, which explains his condition but does not affect the tale in any other way, and the background ofGayelette and the enchantment of thewinged monkeys. The only other stories with such elements wereThe Scarecrow of Oz andTik-Tok of Oz; both of them were based on dramatizations, which Baum regarded warily until his readers accepted them.[58]
Baum was originally aMethodist, but he joined theEpiscopal Church inAberdeen in order to participate in community theatricals. Later, he and his wife were encouraged to become members of theTheosophical Society in 1892 byMatilda Joslyn Gage.[59] Baum's beliefs are frequently reflected in his writings; however, the only mention of a church in his Oz books is theporcelain one which the Cowardly Lion breaks in the Dainty China Country inThe Wonderful Wizard of Oz. The Baums sent their older sons to "Ethical Culture Sunday School" in Chicago, which taught morality, not religion.[60][61]
Writers including Evan I. Schwartz[62] among others have suggested that Baum intentionally used allegory and symbolism inThe Wonderful Wizard of Oz to convey concepts that are central to spiritual teachings such as Theosophy and Buddhism. They postulate that the main characters' experiences in Oz represent the soul's journey toward enlightenment. Schwartz specifically states that key plot elements of the book take "the reader on a journey guided by Eastern philosophy" (Schwartz, p. 265). An article in BBC Culture[63] lists several allegorical interpretations of the book including that it may be viewed as a parable of Theosophy. The article cites various symbols and their possible meanings, for example the Yellow Brick Road representing the 'Golden Path' in Buddhism, along which the soul travels to a state of spiritual realization.
Baum's own writing suggests he believed the story may have been divinely inspired: "It was pure inspiration. It came to me right out of the blue. I think that sometimes the Great Author had a message to get across and He was to use the instrument at hand".[64]
A 1970 episode of the long-running AmericanWesternanthology seriesDeath Valley Days presents a highly romanticized portrayal of Baum's time in South Dakota.[65] The comedic teleplay, titled "The Wizard of Aberdeen", starsConlan Carter as Baum andBeverlee McKinsey as Maud.[66] Although the 30-minute presentation touches on Baum's family life and his struggles in Aberdeen as a newspaper editor, it focuses principally on his storytelling to local children about characters in a distant land he initially refers to as "Ooz".[65]
Jeffrey Combs portrays a highly fictionalized L. Frank Baum, depicted as a farmer from Kansas in the 1890s, in a flashback subplot inDorothy and the Witches of Oz (2011).
Zach Braff plays Frank Baum, part owner ofOscar Diggs' circus in 1905, inOz the Great and Powerful (2013). While named in tribute to the author, the character is not actually meant to be him.
In 2013, Baum was inducted into the Chicago Literary Hall of Fame.[68]
^Abrams, Dennis (2010).L. Frank Baum. Infobase Publishing. p. 122.ISBN978-1-604-13501-5.
^Kelly, Kate (2022).Ordinary Equality: The Fearless Women and Queer People Who Shaped the U.S. Constitution and the Equal Rights Amendment. Layton, UT:Gibbs Smith. p. 54.ISBN9781423658726.
^"First Princess of Oz and Owner of Island." June 18, 1905, unidentified Chicago newspaper clipping in the L. Frank Baum file at the New York Public Library of the Performing Arts
^Rogers, pp. 162–163; Hearn,Annotated Wizard, pp. lxvi–lxxi.
^Professor Robert Venables, Senior Lecturer Rural Sociology Department, Cornell University, "Looking Back at Wounded Knee 1890",Northeast Indian Quarterly, Spring 1990
^Reneau, Reneau H. "A Newer Testament: Misanthropology Unleashed," donlazaro translations, 2008, pp. 129–147
^Torrey, Edwin (November 14, 1918)."Six Suffrage Campaigns In South Dakota".The Saturday News. Watertown, South Dakota. The United Press. p. 6. RetrievedOctober 18, 2021.
^Massachi, Dina Schiff (2018). "Connecting Baum and Gilman: Matilda Gage and Her Influence on Oz and Herland".The Journal of American Culture.41 (2):203–214.doi:10.1111/jacc.12872.S2CID149563492.
^Morena, Ph.D., G.D., 2014,The Wisdom of Oz: Reflections of a Jungian Sandplay Therapist, Cardiff, CA: Waterside Productions, Inc.
^ab"Death Valley Days S18E14 The Wizard of Aberdeen", originally uploaded by "This is Invader" February 20, 2017, to YouTube, a subsidiary of Alphabet, Inc., Mountain View, California. Retrieved December 13, 2018.
^Sherman, Fraser A. (2005).The Wizard of Oz Catalog: L. Frank Baum's Novel, Its Sequels And Their Adaptations for Stage, Television, Movies, Radio, Music Videos, Comic Books, Commercials And More. McFarland & Company Incorporated Pub. p. 198.ISBN0-786-41792-7.
^McCarty, Michael (2004).More Giants of the Genre. Wildside Press LLC. p. 191.ISBN0-809-54477-6.
^"L. Frank Baum".Chicago Literary Hall of Fame. 2013. RetrievedOctober 8, 2017.
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Ford, Alla T.The High-Jinks of L. Frank Baum. Hong Kong, Ford Press, 1969.
Ford, Alla T.The Musical Fantasies of L. Frank Baum. Lake Worth, FL, Ford Press, 1969.
Gardner, Martin, andRussel B. Nye.The Wizard of Oz and Who He Was. East Lansing, MI, Michigan State University Press, 1957. Revised 1994.
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Rogers, Katharine M.L. Frank Baum, Creator of Oz: A Biography. New York, St. Martin's Press, 2002.ISBN0-312-30174-X
Sale, Roger.Fairy Tales and After: From Snow White to E. B. White. Cambridge, MA, Harvard University press, 1978.ISBN0-674-29157-3
Schwartz, Evan I.Finding Oz: How L. Frank Baum Discovered the Great American Story. New York, Houghton Mifflin Harcourt, 2009ISBN0-547-05510-2
Wagner, Sally Roesch.The Wonderful Mother of Oz. Fayetteville, NY: TheMatilda Joslyn Gage Foundation, 2003.
Wilgus, Neal. "Classic American Fairy Tales: The Fantasies of L. Frank Baum" inDarrell Schweitzer (ed)Discovering Classic Fantasy Fiction, Gillette NJ: Wildside Press, 1996, pp. 113–121.
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