Queer Oz

Regardless of his own sexual orientation, L. Frank Baum’s fictions revel in queer, trans, and other transgressive themes. Baum’s life in the late 1800s and early 1900s coincided with the rise of sexology in the Western world, as a cascade of studies heightened awareness of the complexity of human sexuality. His years of productivity also coincided with the rise of children’s literature as a unique field of artistic creation. Best known for his Oz series, Baum produced a staggering number of children’s and juvenile book series under male and female pseudonyms, including the Boy Fortune Hunters series, the Aunt Jane’s Nieces series, and the Mary Louise series, along with many miscellaneous tales for young readers. Baum envisioned his fantasy works as progressive fictions, aspiring to create in the Oz series “a modernized fairy tale, in which the wonderment and joy are retained and the heartaches and nightmares are left out.” In line with these progressive aspirations, his works are often sexually progressive as well, with surprisingly queer and trans touches that reject the standard fairy-tale narrative path toward love and marriage. From Ozma of Oz’s backstory as a boy named Tip to the genderless character Chick the Cherub, from the homosocial adventures of his Boy Fortune Hunters to the determined rejection of romance for Aunt Jane’s Nieces, Queer Oz: L. Frank Baum's Trans Tales and Other Astounding Adventures in Sex and Gender shows how Baum utilized the freedoms of children’s literature, in its carnivalesque celebration of a world turned upside-down, to reimagine the meanings of gender and sexuality in early twentieth-century America and to re-envision them for the future.

In Friends of Dorothy Dee Michel explains the enduring appeal of Oz for gay men and boys. The book also tackles the long-taboo topic of gay boys, examining their feelings about escaping to Oz, the characters they identify with, and the psychological and spiritual uses they make of stories set in Oz.

At the dawn of the 20th century, L. Frank Baum created a world of wonders that was to hold a permanent place in the culture of America: The Wonderful Wizard of Oz. Now these rare cartoon features, based on his famed characters from Oz, are collected for the first time.

When L. Frank Baum wrote The Wonderful Wizard of Oz, he created an American myth that has endured the test of time. Echoes of Dorothy and her friends are everywhere: popular television shows often have an Oz episode, novelists borrow character types and echo familiar scenes, and every media--from Broadway to The Muppets--has some variation or continuation of Baum's work. This collection of essays follows Baum's archetypal characters as they've changed over time in order to examine what those changes mean in relation to Oz, American culture and basic human truths. Essays also serve as a bridge between academia and fandom, with contributors representing a cross-section of Oz scholarship from backgrounds including The International Wizard of Oz Club and the Children's Literature Association.

Exploring cultural expressions of Puerto Rican queer migration from the Caribbean to New York, Philadelphia, Chicago, and San Francisco, Lawrence La Fountain-Stokes analyzes how artists have portrayed their lives and the discrimination they have faced in both Puerto Rico and the United States. Highlighting cultural and political resistance within Puerto Rico’s gay, lesbian, bisexual, and transgender subcultures, La Fountain-Stokes pays close attention to differences of gender, historical moment, and generation, arguing that Puerto Rican queer identity changes over time and is experienced in very different ways. He traces an arc from 1960s Puerto Rico and the writings of Luis Rafael Sánchez to New York City in the 1970s and 1980s (Manuel Ramos Otero), Philadelphia and New Jersey in the 1980s and 1990s (Luz María Umpierre and Frances Negrón-Muntaner), and Chicago (Rose Troche) and San Francisco (Erika López) in the 1990s, culminating with a discussion of Arthur Avilés and Elizabeth Marrero’s recent dance-theater work in the Bronx. Proposing a radical new conceptualization of Puerto Rican migration, this work reveals how sexuality has shaped and defined the Puerto Rican experience in the United States.

Ruth Plumly Thompson was hand picked by L. Frank Baum’s estate to continue on the wonderful stories from the Land of Oz because of her delightful and lively writing style. Collected here together are three of her best Oz books carrying on Baum’s delightful series. Journey with the Scarecrow and discover his royal past in The Royal Book of Oz. Adventure with Kabumpo the elephant and Ruggedo the Nome King in Kabumpo in Oz. And in Ozoplaning with the Wizard of Oz the Wizard builds two spaceships. Magical adventure awaits!

The Royal Book of Oz is the fifteenth in the series of Oz books, and the first to be written by Ruth Plumly Thompson after L. Frank Baum's death. Although Baum was credited as the author, it was written entirely by Thompson. Beginning in the 1980s, some editions have correctly credited Thompson, although the cover of the 2001 edition by Dover Publications credits only Baum. The Scarecrow is upset when Professor Woggle-bug tells him that he has no family, so he goes back to the corn-field where Dorothy Gale found him to trace his "roots." Dorothy and the Cowardly Lion search for him, eventually meeting with a knight, Sir Hokus, the Doubtful Dromedary and the Comfortable Camel. In this novel the Scarecrow discovers that, in a previous incarnation, he was human. To be precise, the Scarecrow was the King of the Silver Islands, a quasi-Chinese kingdom located underground beneath the Munchkin region of Oz. When Dorothy first discovered the Scarecrow (in The Wonderful Wizard of Oz) he was hanging from a scarecrow-pole in a cornfield; it now develops that this pole descended deep underground to the Silver Islands, where it penetrated the king's grave. After spending some time in his former kingdom among the Silver Islanders, the Scarecrow decides to return to Oz and continue his current existence. The Royal Book of Oz acknowledges that an Oz character can die.

Glinda of Oz: Dorothy's efforts to calm strife and avert war in a section of Oz by calling on Glinda's magical powers.