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    The Wonderful Wizard of Oz (Oz Series #1)

    3.6 162

    by L. Frank Baum, Anna Fields (Narrated by), Anna Fields (Read by)


    Audio CD

    (Unabridged, 4 Cds, 4 hrs.)

    $14.95
    $14.95

    Temporarily Out of Stock Online

    Customer Reviews

    • ISBN-13: 9780786180349
    • Publisher: Blackstone Pub
    • Publication date: 02/28/2002
    • Edition description: Unabridged, 4 Cds, 4 hrs.
    • Pages: 4
    • Product dimensions: 4.90(w) x 5.70(h) x 1.10(d)
    • Age Range: 9 - 12 Years

    L. Frank Baum (1856-1919) published The Wonderful Wizard of Oz in 1900 and received enormous, immediate success. Baum went on to write seventeen additional novels in the Oz series. Today, he is considered the father of the American fairy tale. His stories inspired the 1939 classic film The Wizard of Oz, one of the most widely viewed movies of all time.

    Michael Sieben is a professional designer and illustrator, primarily within the sub-culture of skateboarding, whose work has been exhibited and reviewed worldwide as well as featured in numerous illustration anthologies. He is a staff writer and illustrator for Thrasher magazine, and a weekly columnist for VICE.com. He is also a founding member of Okay Mountain Gallery and Collective in Austin, Texas, as well as the cofounder of Roger Skateboards. The author of There's Nothing Wrong with You (Hopefully), he lives and works in Austin.

    W[illiam] W[allace] Denslow was born in Philadephia in 1856. Famous for his bold, colorful illustrations for many popular turn-of-the-century children's books, he is best remembered today as the original illustrator of The Wonderful Wizard of Oz.

    Peter Glassman is the owner of Books of Wonder, the New York City bookstore and publisher specializing in new and old imaginative books for children. He is also the editor of the Books of Wonder Classics, a series of deluxe facsimiles and newly illustrated editions of timeless tales. And he is the author of The Wizard Next Door, illustrated by Steven Kellogg. Mr. Glassman lives in New York City.

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    Brief Biography

    Date of Birth:
    May 15, 1856
    Date of Death:
    May 6, 1919
    Place of Birth:
    Chittenango, New York
    Place of Death:
    Hollywood, California
    Education:
    Attended Peekskill Military Academy and Syracuse Classical School

    Read an Excerpt

    Chapter One

    The Cyclone

    Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the farmer's wife. Their house was small, for the lumber to build it had to be carried by wagon many miles. There are four walls, a floor and a roof, which made one room; and this room contained a rusty looking cooking stove, a cupboard for the dishes, a table, three or four chairs, and the beds. Uncle Henry and Aunt Em had a big bed in one corner, and Dorothy a little bed in another corner. There was no garret at all, and no cellar-except a small hole, dug in the ground, called a cyclone cellar, where the family could go in case one of those great whirlwinds arose, mighty enough to crush any building in its path. It was reached by a trap-door in the middle of the floor, from which a ladder led down into the small, dark hole.

    When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side. Not a tree nor a house broke the broad sweep of flat country that reached the edge of the sky in all directions. The sun had baked the plowed land into a gray mass, with little cracks running through it. Even the grass was not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen everywhere. Once the house had been painted, but the sun blistered the paint and the rains washed it away, and now the house was as dull and gray as everything else.

    When Aunt Em came there to live she was a young, pretty wife. The sun and wind had changed her, too. They had taken the sparkle from her eyes and left them a sober gray; theyhad taken the red from her checks and lips, and they were gray also. She was thin and gaunt, and never smiled, now. When Dorothy, who was an orphan, first came to her, Aunt Em had been so startled by the child's laughter that she would scream and press her hand upon her heart whenever Dorothy's merry voice reached her ears; and she still looked at the little girl with wonder that she could find anything to laugh at.

    Uncle Henry never laughed. He worked hard from morning till night and did not know what joy was. He was gray also, from his long beard to his rough boots, and he looked stern and solemn, and rarely spoke.

    It was Toto that made Dorothy laugh, and saved her from growing as gray as her other surroundings. Toto was not gray; he was a little black dog, with long, silky hair and small black eyes that twinkled merrily on either side of his funny, wee nose. Toto played all day long, and Dorothy played with him, and loved him dearly.

    Today, however, they were not playing. Uncle Henry sat upon the door-step and looked anxiously at the sky, which was even grayer than usual. Dorothy stood in the door with Toto in her arms, and looked at the sky too. Aunt Em was washing the dishes.

    From the far north they heard a low wail of the wind, and Uncle Henry and Dorothy could see where the long grass bowed in waves before the coming storm. There now came a sharp whistling in the air from the south, and as they turned their eyes that way they saw ripples in the grass coming from that direction also.

    Suddenly Uncle Henry stood up.

    "There's a cyclone coming, Em," he called to his wife; " I'll go look after the stock." Then he ran toward the sheds where the cows and horses were kept.

    Aunt Em dropped her work and came to the door. One glance told her of the danger close at hand.

    Quick, Dorothy! " she screamed; "run for the cellar!

    Toto jumped out of Dorothy's arms and hid under the bed, and the girl started to get him. Aunt Em, badly frightened, threw open the trap-door in the floor and climbed down the ladder into the small, dark hole. Dorothy caught Toto at last, and started to follow her aunt. When she was half way across the room there came a great shriek from the wind, and the house shook so hard that she lost her footing and sat down suddenly upon the floor.

    A strange thing then happened.

    The house whirled around two or three times and rose slowly through the air. Dorothy felt as if she were going up in a balloon.

    The north and south winds met where the house stood, and made it the exact center of the cyclone. In the middle of a cyclone the air is generally still, but the great pressure of the wind on every side of the house raised it up higher and higher, until it was at the very top of the cyclone; and there it remained and was carried miles and miles ay as easily as you could carry a feather.

    It was very dark, and the wind howled horribly around her, but Dorothy found she was riding quite easily. After the first few whirls around, and one other time when the house tipped badly, she felt as if she were being rocked gently, like a baby in a cradle.

    Toto did not like it. He ran about the room, now here, barking loudly; but Dorothy sat quit still on the floor and waited to see what would happen.

    Once Toto got too near the open trap-door, and fell in; first the little girl thought she had lost him. But saw one of his ears sticking up through the hole, for the strong pressure of the air was keeping him up so that he could not fall. She crept to the hole, caught Toto by the ear, and dragged him into the room again; afterward closing the trap-door so that no more accidents could happen.

    Hour after hour passed away, and slowly Dorothy got over her fright; but she felt quite lonely, and the wind shrieked so loudly all about her that she nearly became deaf. At first she had wondered if she would be dashed pieces when the house fell again; but as the hours passed and nothing terrible happened, she stopped worrying and resolved to wait calmly and see what the future would bring. At last she crawled over the swaying floor to her bed, and lay down upon it; and Toto followed and lay down beside her.

    In spite of the swaying of the house and the wailing of the wind, Dorothy soon closed her eyes and fell fast asleep.

    Table of Contents

    Introduction9
    The Cyclone11
    The Council with The Munchkins16
    How Dorothy Saved the Scarecrow23
    The Road Through the Forest30
    The Rescue of the Tin Woodman35
    The Cowardly Lion42
    The Journey to The Great Oz48
    The Deadly Poppy Field55
    The Queen of the Field Mice63
    The Guardian of the Gates69
    The Wonderful Emerald City of Oz76
    The Search for the Wicked Witch89
    How the Four were Reunited102
    The Winged Monkeys106
    The Discovery of Oz the Terrible113
    The Magic Art of the Great Humbug122
    How the Balloon was Launched126
    Away to the South130
    Attacked by the Fighting Trees134
    The Dainty China Country139
    The Lion Becomes the King of Beasts144
    The Country of the Quadlings148
    The Good Witch Grants Dorothy's Wish152
    Home Again158

    Reading Group Guide

    L. Frank Baum's timeless classic The Wonderful Wizard of Oz was the first uniquely American fairy tale. A combination of enchanting fantasy and piercing social commentary, this remarkable story has entertained and beguiled readers of all ages since it was first published in 1900. Ray Bradbury writes in his Introduction, "Both [Baum and Shakespeare] lived inside their heads with a mind gone wild with wanting, wishing, hoping, shaping, dreaming," and it is this same hunger that makes all of us continue to seek out the story of Oz—and be nourished by it.
    This Modern Library Paperback Classic is set from the text of the definitive first edition and includes the New York Times review of that edition as well as the original Preface by the author.

    1. The Wonderful Wizard of Oz was first published in 1900 and met with both commercial and critical success. It continues to be a favorite, and the story has been translated to the stage and film numerous times. What do you think makes this tale so appealing, so timeless, and so easily adapted to other media?

    2. What roles do money and capitalism play in The Wonderful Wizard of Oz? What is valued in the land of Oz as opposed to what is valued in the real world?

    3. In addition to being a writer, L. Frank Baum was an actor and playwright. Does theatricality play a role in this book? How? What role does illlusion play in the story?

    4. The Wonderful Wizard of Oz is said to be the first American fairy tale, and L. Frank Baum had indeed aspired to write a fairy tale that was different from the older, mostly European ones. How is this story the same as or different from, forexample, those by the Brothers Grimm? Is it particularly American? If so, in what way(s)? What makes it unique?

    5. One of the things that L. Frank Baum did not like about traditional fairy tales was the didactic way in which they taught
    morals and values. Does his story express any particular values or moral lessons? If so, how does he communicate them?

    6. Though this story has had a timeless appeal, is there anything time-bounded or dated about it? Are there aspects of the story, characters, style, or setting that decrease the accessibility or appeal of the book for a modern audience?

    7. William Wallace Denslow's illustrations have been an essential part of this book since its first publication. In some cases, these illustrations anticipate the action in the text. What effect do the illustrations have on your reading of the story?

    8. The Scarecrow yearns for a brain, but in reality he is the most intelligent of the small group in which Dorothy travels. Is this irony present elsewhere in the story? If so, what do you suppose Baum's purpose is in using this device?

    9. Baum has been praised for his ability to include psychological and philosophical insight in a fantastical children's story. In what ways is this story psychologically and/or philosophically insightful or sophisticated?

    10. Analyze the character of the Wizard. Why does he behave the way he does? Is his behavior excusable or not? He tells Dorothy that he is a good man but a bad wizard. Do you agree?

    11. What is the significance of the delicate people in the Dainty China Country? What is Baum saying about beauty and/or about sensitivity in this chapter?

    12. In his Preface to The Wonderful Wizard of Oz, Baum says that he aimed to create a tale in which "wonderment and joy are retained and the heart-aches and nightmares are left out." Would you say he succeeded? Do you think that this type of optimism and pure entertainment are valuable? Why or why not?

    13. Are there ways in which the characters and political dynamics in Oz could be likened to real-life people and political dynamics during Baum's time? How about during our time?

    14. Why do you think Baum wrote this story when he did? Was there anything going on in the world at that time that might have led him to want to write a pure fairy tale?

    15. What are the power dynamics in Oz? Who has power and who lacks it? How does one gain and lose power in Oz?

    16. Baum's mother-in-law was a feminist and a suffragette. Do you think the ideals of feminism influenced Baum's writing of The Wonderful Wizard of Oz? In particular, how would you view Dorothy and the witches in a feminist context?

    Foreword

    1. The Wonderful Wizard of Oz was first published in 1900 and met with both commercial and critical success. It continues to be a favorite, and the story has been translated to the stage and film numerous times. What do you think makes this tale so appealing, so timeless, and so easily adapted to other media?

    2. What roles do money and capitalism play in The Wonderful Wizard of Oz? What is valued in the land of Oz as opposed to what is valued in the real world?

    3. In addition to being a writer, L. Frank Baum was an actor and playwright. Does theatricality play a role in this book? How? What role does illlusion play in the story?

    4. The Wonderful Wizard of Oz is said to be the first American fairy tale, and L. Frank Baum had indeed aspired to write a fairy tale that was different from the older, mostly European ones. How is this story the same as or different from, for example, those by the Brothers Grimm? Is it particularly American? If so, in what way(s)? What makes it unique?

    5. One of the things that L. Frank Baum did not like about traditional fairy tales was the didactic way in which they taught
    morals and values. Does his story express any particular values or moral lessons? If so, how does he communicate them?

    6. Though this story has had a timeless appeal, is there anything time-bounded or dated about it? Are there aspects of the story, characters, style, or setting that decrease the accessibility or appeal of the book for a modern audience?

    7. William Wallace Denslow’s illustrations have been an essential part of this book since its first publication. In some cases, these illustrations anticipate the actionin the text. What effect do the illustrations have on your reading of the story?

    8. The Scarecrow yearns for a brain, but in reality he is the most intelligent of the small group in which Dorothy travels. Is this irony present elsewhere in the story? If so, what do you suppose Baum’s purpose is in using this device?

    9. Baum has been praised for his ability to include psychological and philosophical insight in a fantastical children’s story. In what ways is this story psychologically and/or philosophically insightful or sophisticated?

    10. Analyze the character of the Wizard. Why does he behave the way he does? Is his behavior excusable or not? He tells Dorothy that he is a good man but a bad wizard. Do you agree?

    11. What is the significance of the delicate people in the Dainty China Country? What is Baum saying about beauty and/or about sensitivity in this chapter?

    12. In his Preface to The Wonderful Wizard of Oz, Baum says that he aimed to create a tale in which “wonderment and joy are retained and the heart-aches and nightmares are left out.” Would you say he succeeded? Do you think that this type of optimism and pure entertainment are valuable? Why or why not?

    13. Are there ways in which the characters and political dynamics in Oz could be likened to real-life people and political dynamics during Baum’s time? How about during our time?

    14. Why do you think Baum wrote this story when he did? Was there anything going on in the world at that time that might have led him to want to write a pure fairy tale?

    15. What are the power dynamics in Oz? Who has power and who lacks it? How does one gain and lose power in Oz?

    16. Baum’s mother-in-law was a feminist and a suffragette. Do you think the ideals of feminism influenced Baum’s writing of The Wonderful Wizard of Oz? In particular, how would you view Dorothy and the witches in a feminist context?

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    First published in 1900, The Wonderful Wizard of Oz is one of the most beloved children's books ever written. When Dorothy and Toto are suddenly swept off the plains of Kansas by a huge cyclone to the land of Oz, they meet up with some of the most endearing characters ever created - the Scarecrow, the Tin Woodman and the Cowardly Lion. Together they set off on a fantastic journey down the yellow brick road in search of the wonderful Wizard of Oz.

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    Christian Science Monitor
    A delightful volume illustrated with haunting but witty illustrations that provide a fresh, anti-Hollywood interpretation of the story.
    Chicago Tribune
    Combines substance with style. Ray Bradbury offers a poetic, reverential introduction, and Michael McCurdy contributes appropriately eerie drawings.
    New York Times Book Review
    A revelation. As rich in emotion as they are in detail.
    Washington Post Book World
    Irresistible.
    Publishers Weekly - Publisher's Weekly
    Viennese illustrator and Hans Christian Andersen Medalist Lisbeth Zwerger takes a fresh look at L. Frank Baum's The Wizard of Oz in a large-format edition. Zwerger's fantastical, delicate, eccentric illustrations bear no resemblance to the vision of the movie; they make the classic tale new again. And readers can view the Emerald City through a pair of green-tinted glasses, provided in the back of the book.
    Children's Literature
    Using a condensed version of Baum's original 1900 text, the illustrator provides us with his unique interpretation of this American fantasy. Dorothy and Toto still meet Scarecrow, Tin Man and Cowardly Lion on their way to Oz. Obstacles like the poppy field, flying monkeys and the fake wizard are met and overcome. Dorothy discovers what is truly valuable in life¾returning to gray old Kansas and the loving arms of her aunt and uncle. Santore has fun drawing the Cowardly Lion towering over his companions, bending the Wicked Witch of the West at outrageous angles, and painting Oz green, greener, and greenest. This shorter, centennial-celebration version with dynamic graphics may be just right to read to the younger set who wiggle too much to sit through the entire original version. 2000, Random House, $21.95. Ages 6 to 12. Reviewer: Chris Gill
    Children's Literature - Marilyn Courtot
    After a tornado transports her to the land of OZ, Dorothy must seek out the great wizard in order to return to Kansas. This is a facsimile of the first edition including 24 original color plates and 130 two color illustrations. It is another story that parents can share from their childhood, and it is perfect for reading reading-aloud (a chapter a night).
    School Library Journal
    Gr 3-6-In a brief endnote, the Viennese illustrator writes of the challenge of bringing something new to this American classic. Indeed, for many, Dorothy and Judy are one and the same, and there are over 20 trade versions of the book in print (not to mention the various pop-ups and other spin-offs). Well, make room for this new edition anyway; it's a beauty. What strikes readers first is the glorious red and sophisticated design of the larger-than-life poppies on the cover. Then it's the sheen of the high-quality paper and the extravagant amount of white space. Zwerger's characters are completely original. Dorothy is diminutive and feminine with straight, cropped hair. The rotund Scarecrow is dressed in an enormous blue overcoat; his gentle visage resembles a snowman's. The Wicked Witch is depicted as a gray-blue "mountain," capped with a small head. She fills the space, and wolves stand at attention on her form. The pages are a tour de force of design, some with a single, small illustrative detail, others with figures racing across two pages. Yet, the artist's style remains subtle: there is much to learn from close inspection of posture, expression, and placement.-Wendy Lukehart, Dauphin County Library, Harrisburg, PA
    Kirkus Reviews
    Zwerger (illustrator of Theodor Storm's Little Hobbin, 1995, etc.) creates characters who may, if not erase the MGM cast from the collective conscious of US readers, make them share some space therein. These tinkling, wafty creatures are very comfortable in Baumland—the creator did, after all, want this to be a fairy tale where "the heart-aches and nightmares are left out"—particularly the Scarecrow, with his stuffed-pillow head, conical hat, and tremendous girth. Zwerger doesn't try to overwhelm the story, and many of the pieces are small expressive exercises of her vision. In an illustrator's note, she says, "Baum's precise details—his vivid descriptions of the Munchkins, for example—make an illustrator almost superfluous." Actually, her paintings lead readers gracefully into the pages, to be surprised and entertained by the story they only think they know from the movie.

    From the Publisher
    Baum was a true educator, and those who read his Oz books are often made what they were not—imaginative,
    tolerant, alert to wonders, life.”—Gore Vidal
    School Library Journal - Audio
    Gr all levels—Follow the yellow brick road into L. Frank Baum's timeless story of adventure, friendship, and longing as Dorothy and her beloved Toto are dropped by a cyclone into a magical land. There they meet the well-known Munchkins, Scarecrow, Tin Woodman, and Cowardly Lion. Dorothy, Toto, and her new friends embark on a fascinating journey. They come upon the beastly Kalidahs, helpful field mice, their beautiful queen, Winkies, and the famed winged monkeys. The story of Dorothy's quest for the mysterious Wizard of Oz and the way home to Kansas is read by actress and author Brooke Shields. Her narration is perfectly paired with the lyrical prose of the enduring story. She invokes a seemingly endless number of spot-on voices for the charming, mysterious, and sometimes evil characters. Shields's interpretation of the Scarecrow is particularly endearing. Special touches include Paul Rudd reading Baum's original introduction to the story and brief musical interludes that begin some chapters. The CD case features a line-and-wash illustration by Brian Floca in which Toto peeks at listeners while the others' eyes are set on the yellow bricks ahead. Listeners of all ages will enjoy this creative narration of an American classic.—Jane Newschwander, Arlington School District, VT

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