SOURCE: Chaston, Joel D. “If I Ever Go Looking for My Heart's Desire: ‘Home’ in Baum's ‘Oz’ Books.” Lion and the Unicorn 18, no. 2 (December 1994): 209-19.

[In the following essay, Chaston traces Baum's portrayal of the notion of “home” in his Oz books from the best possible place to a place of confinement and destruction.]

At the conclusion of the 1939 MGM motion picture version of The Wonderful Wizard of Oz, Dorothy Gale makes a statement that sums up one of the film's major themes. “Oh, but anyway, Toto,” she exclaims, “we're home—home! And this is my room—and you're all here—and I'm not going to leave here ever again, because I love you all! And … oh, Aunt Em, there's no place like home!” (Langley et al. 132) Anyone who has seen this film will remember Judy Garland's countless declarations that she wants to go home again and particularly her confession to Glinda that “if I ever go looking for my heart's desire again, I won't look any further than my own backyard; because if it isn't there, I never really lost it to begin with!” (128). In the end, Dorothy learns that the secret to getting back to Kansas is to click the heels of the Ruby Slippers together three times and say, “There's no place like home; there's no place like home …” (129). The film's interest in home is certainly not accidental. Arthur Freed, who assisted producer Mervyn LeRoy, told screen writer, Noel Langley, that he should remember at all times “that Dorothy is only motivated by one object in Oz; that is, how to get back home to her Aunt Em, and every situation should be related to this main drive” (qtd. in Hearn 12).

The motion picture version of L. Frank Baum's The Wonderful Wizard of Oz (1900) has, of course, greatly shaped many readers' impressions of the book. In the novel, however, Baum presents a much more ambivalent attitude toward “home.” While it is true that, in the last chapter of The Wonderful Wizard of Oz, Dorothy exclaims, “I'm so glad to be at home again!” taken as a whole, Baum's “Oz” series rejects traditional views of the value of home (261). In fact, as the series progresses, Dorothy, herself, becomes an explorer who, along with her Aunt Em and Uncle Henry, eventually rejects her Kansas home and domestic life to join a community of homeless nonconformists. A close study of the first six Oz books—The Wonderful Wizard of Oz, The Marvelous Land of Oz (1904), Ozma of Oz (1907), Dorothy and the Wizard in Oz (1908), The Road to Oz (1909), and The Emerald City of Oz (1910)—reveals that, unlike the motion picture, Baum does not believe that one's “heart's desire” is to be found in one's own backyard. Instead, his works validate Phyllis Bixler's assertion that in “Golden Age” books by male authors, children “typically find their pastoral locus amoenus, or ‘felicitous space,’ at some distance from their homes …” (1).

On the surface, The Wonderful Wizard of Oz, the first in Baum's fourteen-book series, seems to support the MGM film's obsession with “home.” After landing in Oz, Dorothy tells the grandmotherly Witch of the North (a separate character from Glinda), “I am anxious to get back to my Aunt and Uncle, for I am sure they will worry about me. Can you help me find my way?” (25). Throughout the novel, Dorothy reiterates this desire to return home; at one point, she tells the Scarecrow, “No matter how dreary and gray our homes are, we people of flesh and blood would rather live there than in any other country, be it ever so beautiful. There is no place like home” (44-45). As she continues her journey, she keeps trying to explain her home, Kansas, to individuals who have never heard of it. “… I'm sure it's somewhere,” she tells one man (114).

The desire to return home prompts Dorothy to go on a quest to meet the Wizard, to seek out the Wicked Witch of the West in order to kill her, and to travel to the country of the Quadlings to find the sorceress, Glinda. When Dorothy has the opportunity to ask the Wizard to send her home, she bluntly states that she does not like Oz, “although it is so beautiful” (128). In fact, after the Wizard breaks his promise to help Dorothy by accidentally flying away in a hot air balloon, Dorothy weeps “bitterly” (203). Finally, Glinda teaches Dorothy how to use the magical Silver Shoes and she is transported back to Kansas and to Aunt Em. The novel ends with Dorothy's exclamation, “I'm so glad to be at home again!” (261).

Dorothy is not, of course, the only character to search for a home in the novel. The Scarecrow, the Tin Woodman, and the Lion all gain new homes in the kingdoms that they are to rule. Through the Lion, who loves the woods in the Quadling country, Baum also reiterates the novel's idea that the ideal home is a matter of personal taste. At one point, the Scarecrow says the woods are “gloomy.” The Lion, however, claims he would like to live there forever, that “no wild beast could wish a pleasanter home” (238). This point is also supported by the china princess, who tells Dorothy that she and her people have pleasanter lives in their own country, where they can move about and are not forced to decorate mantels.

As already noted, Dorothy makes a similar statement to the Scarecrow. The Scarecrow's response to Dorothy, however, suggests the novel's contradictory attitude toward home. He cannot understand why Dorothy feels the way she does about Kansas. “If your heads were stuffed with straw, like mine,” he remarks, “you would probably all live in the beautiful places, and then Kansas would have no people at all. It is fortunate for Kansas that you have brains” (45). This tongue-in-cheek remark actually suggests the opposite notion—only brainless people live in Kansas.

As a child reader of the Oz series, I remember agreeing with the Scarecrow. I never could understand Dorothy's affection for Kansas—for me, the ultimate wish fulfillment would be to go travel to Oz and eventually live there. Evidently, contemporary readers communicated similar feelings to Baum because, in Tik-Tok of Oz (1914)—the eighth book in the series—Betsy Bobbin, who has just permanently relocated to Oz, says that she wishes that “every little girl in the world could live in the land of Oz; and every little boy, too!” Princess Ozma, however, retorts, “It is quite fortunate for us, Betsy, that your wish cannot be granted … for all that army of girls and boys would crowd us so that we would have to move away” (255-56).

Interestingly, the novel and its sequels often include images and characters that subtly undercut the message that there is “no place like home.” In the first chapter of The Wonderful Wizard of Oz, the Kansas landscape is described as gray and sunbaked. The tiny house belonging to Aunt Em and Uncle Henry, we are told, had once “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” (12). Aunt Em, herself, had once been young and pretty, but her environment has “taken the sparkle from her eyes and left them a sober gray …” (12). She no longer smiles, and, when Dorothy laughs, she screams and presses her hand on her heart. Clearly, Dorothy's Kansas is a joyless, destructive environment. We are told that the only reason Dorothy has not grown gray, too, is because of Toto. In contrast, when Baum describes Oz, even with its dangerous witches and fierce Kalidahs, it is full of life and “marvelous beauty” (20).

As the novel continues, homes and houses are often presented as physically confining or destructive. In the first chapter, Dorothy's house is plucked from its repressive environment and turned into an instrument of destruction. When it lands in Oz, it destroys the Wicked Witch of the East. Granted, the house does free the Munchkins from bondage, but Dorothy is still repulsed by the fact that her home has become a killing machine. Dorothy is soon on her journey and, despite her protestations that she wants to return home, does “not feel nearly as bad as you might think a little girl would who had been suddenly whisked away from her own country and set down in the midst of a strange land” (33).

Before she leaves her home, Dorothy locks the front door and puts the key in her pocket. This may not seem significant, but, throughout this book and those that follow, homes and dwellings frequently become prisons that are carefully locked. The Emerald City is a garrison protected by the Guardian of the Gate, and the front gate must be locked and unlocked to let travelers enter and leave. For most of the characters, the Emerald City is prisonlike and confining. The domestic quarters in the Emerald City are not comfortable to the Scarecrow and Tin Woodman, who do not sleep. For the Lion, the Emerald City is stifling. “City life does not agree with me at all,” he remarks when they finally leave it (220).

The Wizard of Oz, himself, has become a prisoner of his own palace; he closets himself in a room so that none of his subjects can discover that he is a humbug. “So I have to stay shut up in these rooms all day, and it gets tiresome,” he tells Dorothy. “I'd much rather go back to Kansas with you and be in a circus again” (205). In the witch's castle in the land of the Winkies, the next house the characters encounter, the Lion is imprisoned in a cage, and Dorothy is enslaved, although she does not have anything worse to do than light domestic chores like those she performed back in Kansas.

As in later Oz books, the adults reject traditional homes and female roles. Few, if any, of the father and mother figures are married, and most live alone.¹ The father figures in the novel generally have no interest in starting families. For example, the Tin Woodman once was a human being who, because of an enchanted axe, has lost all of the human parts of his body, which are, part by part, replaced with tin. As a result, he has lost all desire for the woman he formerly wanted to marry. He has become emasculated, and when—in a later novel, The Tin Woodman of Oz (1918)—he seeks out his former lover, he does not stay with her. As for the Scarecrow, twice in the novel (once by Dorothy and once by a mother Stork), he has to be removed from a pole that, without a lot of imagination, can be viewed as a phallic symbol. Neither the Lion nor the Wizard can be described as a whole man—the Lion lacks the stereotypical male attribute of courage, while the Wizard has no real power. He is a fake or humbug.

The only significant real father that Dorothy meets in the novel is a man who lets her and her companions stay at his farmhouse. But, for no apparent reason, Baum has chosen to render him physically powerless; the man has a hurt leg that confines him to a couch; he is another image of emasculation. Later, the King of the Winged Monkeys tells the story of the sorceress, Gayelette, whose greatest sorrow is that she cannot find a whole man to love, “since all the men were too much too stupid and ugly to mate with one so beautiful and wise” (172). To her chagrin, the boy she raises to be her husband, Quelala, is dumped into a river by the Winged Monkeys just before his wedding to cool him off. The novel's most-likely candidates for mother figures, with the exception of Aunt Em, are either destroyed by Dorothy, as is the case with the Wicked Witches of the East and West, or are, like Glinda, single women who have no need for men and who surround themselves with the young Amazons that are Glinda's court.

While Dorothy chooses to return to her Aunt Em and Uncle Henry, her friends seem to be happy without families or traditional homes. As Baum continues the series, it becomes clear that his characters generally prefer a nomadic life, one without the traditional responsibilities of home and family, both of which are frequently attacked in his works. The first sequel to The Wonderful Wizard of Oz, The Marvelous Land of Oz, more openly expresses an anxiety about domestication and the confining nature of homes. The protagonist, Tip, is threatened with being turned into a marble statue that will be placed in the garden of the only home he has ever known by the evil witch, Mombi, who, for all intents and purposes, assumes the role of his mother. Not wanting to be rooted to his home—whether as a marble statue or merely as a domestic slave doing chores for the witch—Tip determines to run away. Tip and Jack Pumpkinhead, the wooden man with the pumpkin head whom he has created, escape Mombi's house to seek their fortunes. They soon find themselves involved with the Scarecrow, whose new home is being threatened by the Army of Revolt, a group of young girls who attack the people of the Emerald City with knitting needles.

The Scarecrow, however, does not really care that he loses his kingdom or home. When he literally hangs up his crown, he says that he is “glad to get rid of it” (185). The Scarecrow, the Tin Woodman, Jack Pumpkinhead, and Tip then flee the Emerald City. They depart just in time, for the Army of Revolt, led by young General Jinjur, has forced all of the men in the city to take on domestic roles—cooking and cleaning. At the end of the novel, however, they are freed with the help of the very nondomestic Glinda. We are told that at “once the men of the Emerald City cast off their aprons. And it is said that the women were so tired eating of their husbands' cooking that they all hailed the conquest of Jinjur with joy” (282-83).

Tip, however, is not so lucky. It turns out that he is really Ozma, princess of Oz, who has been turned into a boy so no one will find her. Tip has no desire to settle down and make a home in the Emerald City. “I want to stay a boy,” he moans, “and travel with the Scarecrow and the Tin Woodman, and the Woggle-Bug, and Jack—yes! and my friend the Saw-Horse—and the Gump! I don't want to be a girl!” (272). He is turned back into Ozma anyway. His one consolation is that no one will be able to claim that he is Jack Pumpkinhead's father anymore. Tip/Ozma now becomes the ruler of Oz and, whenever possible, she escapes from the Emerald City to play knight errant to individuals in trouble.

In the third book in the series, Ozma of Oz, Dorothy returns to Oz, and it becomes clear that her home life is in trouble. Uncle Henry is ill “because he had been working so hard on his Kansas farm that his health had given way and left him weak and nervous” (15). He and Dorothy leave Aunt Em to watch the farm and travel far away from home to Australia so he can regain his health. Dorothy, however, is washed overboard by a storm and sails to the Land of Ev, which is just outside of Oz, in a chicken coop, another prisonlike home image. Her companion is Billina, a talking hen who, as Osmond Beckwith argues, is “not a good mother” and uses her egg babies as weapons (89).

The main quest in this novel is not to return Dorothy home—on this trip, she rarely mentions home after Ozma rescues her from the tower where yet another adult woman, the Princess Langwidere with her many interchangeable heads, has locked Dorothy up in order to force her to give up her own head. As Peter Glassman suggests,

The main theme of Wonderful Wizard is also present in Ozma, but this time it is less dominant. Dorothy still believes, “there is no place like home,” but she is not as desperate to return to her uncle as on her first trip, perhaps because this time she does not feel so out of place in this incredible fairyland. Now an experienced adventurer with treasured friends in Oz, it is her love for her uncle, not her need for his love, that makes her wish to return to him.

(271-72)

The main plot of this novel, however, revolves around an act of domestic violence. The Queen of Ev, along with her ten children (five sons and five daughters), has been enslaved by the Nome King. According to the novel, Ozma “wished to undertake the adventure of liberating the poor prisoners …” (128). The queen and her children are the first major family encountered in the series and, we soon learn, they are the victims of a self-serving husband and father who sold them to the Nome King and then, out of remorse, killed himself by jumping into the sea. The Nome King, who takes the place of the King of Ev, transforms the royal family into ornaments—most significantly, the Queen of Ev becomes a footstool. Order is restored, the royal family is saved, the oldest son of the Queen of Ev ascends the throne, and Dorothy is returned to her Uncle Henry in Australia, with no assurance that life will be better back home.

Near the end of the novel, Dorothy and her friends once again encounter the former girl rebel, Jinjur, who is now married. While it might seem that Jinjur has finally been domesticated—she tells Ozma that she has married a man with nine cows and is “willing to lead a quiet life and mind my own business” (257)—her husband is home nursing a black eye she has given him because he milked the wrong cow.

Dorothy and the Wizard in Oz, the next book in the series, also contains negative images of home and family life. This time, the novel begins with the 1906 San Francisco earthquake (the book was published in 1908), which transports Dorothy and her cousin, Zeb, to a world at the center of the earth. Their trip there, however, puts them in danger because they have become part of a rain of stones that destroys some of the glass homes of the Mangaboos. The head Sorcerer quickly indicts them. “Why did you wickedly and viciously send the Rain of Stones to crack and break our houses?” he demands (42). Despite the fact that they want to protect their rather delicate homes, the Mangaboos, like many of Baum's other creations, do not have mothers or fathers. They are vegetable people who are planted when they become old so that new Mangaboos can grow from their stalks.

Dorothy and Zeb are soon joined by the Wizard of Oz, who has never actually made it back to his Omaha home after he left Oz in the first book. As the group journeys underground, they encounter two other apparently happy families. The first are the people of Voe. The travelers have dinner with the seemingly happiest family in any of the Oz books. Its members, however, are completely invisible and cannot see one another. Such a family, apparently, cannot exist openly in the worlds of Oz, which are filled with homeless orphans and eccentric individuals. The next family Dorothy encounters is composed of several “dragonettes” and the mother who will readily devour Dorothy if given a chance.

The next Oz book, The Road to Oz, is filled with homeless people, including the Shaggy Man, Polychrome the Rainbow's Daughter, and Button Bright. At the beginning of the novel, Dorothy and the Shaggy Man become lost (actually they have been transported to a magical land by Ozma who allows them to have some adventures before bringing them to her birthday party, one of several described in the series). Dorothy is less concerned than ever about going home. (And who would be after attending a party with guests such as Santa Claus and Chick the Cherub, an “Incubator Baby” with no parents?) Eventually, Dorothy returns to Kansas. The Shaggy Man, however, has no home and relocates to Oz. By this time, Polychrome and Button Bright have also gone back to their homes, although they are to return to Oz time and time again. Despite the fact that they have loving parents, they are always wandering off and becoming lost; evidently, they are expressing a subconscious desire to escape from their homes.

Baum's clearly contradictory attitudes towards home come to a head in The Emerald City of Oz, which had originally been intended to be the last book in the series. In chapter 2, Baum reprises the beginning of The Wonderful Wizard of Oz by discussing Dorothy's Kansas home. “Dorothy lived on a farm in Kansas, with her Aunt Em and Uncle Henry,” Baum writes. He adds:

It was not a big farm, nor a very good one, because sometimes the rain did not come when the crops needed it, and then everything withered and dried up. Once a cyclone had carried away Uncle Henry's house, so that he was obliged to build another; and as he was a poor man he had to mortgage his farm to get the money to pay for the new house.

(21)

Baum then recaps Uncle Henry's trip to Australia to regain his health and explains that “Uncle Henry grew poorer every year, and the crops raised on the farm only bought food for the family” (12). In short, Uncle Henry is about to lose the farm because the mortgage is due. He and Aunt Em then suggest that Dorothy might earn money by doing housework or becoming “a nurse-maid to little children” (24). Dorothy's fate, it seems, is to be domesticated, to become the sort of mother figure that she and her friends in Oz have tried to avoid. Like Tip/Ozma, Dorothy finds this idea repugnant. “Wouldn't it be funny,” she tells her aunt and uncle, “for me to do housework in Kansas, when I'm a Princess in the Land of Oz?” (25).

In the end, the solution to the family's financial problems is that they will all relocate to Oz and desert Kansas altogether. Clearly, Dorothy can no longer find her heart's desire in her own backyard. First, she travels to Oz via Ozma's magic belt, and then she has Ozma transport her aunt and uncle there as well. She asks Ozma to give her aunt and uncle a little house in which they can live. Ozma, however, will not allow Dorothy to live with her aunt and uncle. “You are going to live in your own rooms in this palace, and be my constant companion,” Ozma tells her (36). Dorothy, like the rest of her companions, is finally freed from the constraints of family and home and none too soon; once her aunt and uncle arrive in Oz, they become cartoonish, country bumpkins who are scared by the Cowardly Lion and who gape at the marvels around them.

Toward the end of the novel, Dorothy, her aunt, and her uncle are given the option of returning to Kansas. The Emerald City is to be attacked by the Nome King and his allies, who intend to lay Oz to waste. The characters—including Ozma, the Scarecrow, the Tin Woodman, Tik-Tok the mechanical man, and Jack Pumpkinhead—all consider going to Kansas with a heap of emeralds that will pay Uncle Henry's mortgage. There, they will then find work to sustain themselves. Ozma refuses to abandon Oz, as does Dorothy, who feels she has a similar responsibility since she is now one of its princesses.

Interestingly, Aunt Em also echoes the sentiment: “‘I've been a slave all my life,’ Aunt Em replied with considerable cheerfulness, ‘and so has Henry. I guess we won't go back to Kansas anyway. I'd rather take my chances with the rest of you’” (270). Aunt Em admits that her life as a farm wife has been slavery, and the threat of destruction in a paradisiacal fairyland seems preferable to returning to her dreary farm life. For the first time in any of the books, she is legitimately “cheerful”; this is a great change from the woman who screams when Dorothy laughs in the first book.

Part of the reason for this change in attitude is that Oz is finally revealed as a utopia. In chapter 3, Baum expounds the advantages of Oz, which include prosperity for all of its 57,318 people and equality regardless of whether one is made of flesh and blood or straw and tin. Perhaps more importantly, it is the ultimate country in which to have adventures. Once Dorothy, Aunt Em, and Uncle Henry arrive in Oz, they do not settle down in their respective homes. Instead, they almost instantly go exploring to discover the unusual people of Oz—including the Cuttenclips, who are live paper dolls; the Fuddles, who are “jig-saw puzzle” people; and Utensia, which features live utensils.

Two chapters involve Dorothy's visit to Bunnybury, whose king longs for his old life back in his burrow. Dorothy helps the king reject his desire to return to his original home and to reconcile himself to his new, more luxurious lifestyle. “You see,” Dorothy tells the king, “the rabbits all seem to like Bunnybury except you. And I guess you're the only one that ever has cried or was unhappy and wanted to get back to your muddy hole in the ground” (222).

At the end of the novel, Baum returns to the topic of home. Dorothy and her friends make a tour of the new homes of the Tin Woodman (a nickel-plated castle), the Scarecrow (a mansion shaped like an ear of corn), and Jack Pumpkinhead (a giant pumpkin). The threat of Oz's destruction means that these homes will be destroyed. “But if Oz is destroyed of course this place will be destroyed too,” the Scarecrow says of his unusual home. The Tin Woodman adds, “… also my beautiful tin castle, that has been my joy and pride,” while the Wizard acknowledges that “Jack Pumpkinhead's house will go too, … as well as Professor Wogglebug's Athletic College, and Ozma's royal palace, and all our other handsome buildings” (260). The potential loss of these buildings, however, will be worse because they are beautiful and not because of any emotional attachment. Moreover, none of these buildings houses a traditional family—the Scarecrow, the Tin Woodman, Jack Pumpkinhead, Professor Wogglebug, and Ozma all live alone. Furthermore, they are willing to leave their homes at the drop of a Munchkin's hat to embark on potentially exciting adventures.

Oz, of course, is saved, as are the characters' homes, and the final eight books in the series are a succession of journeys and explorations, most of them as far away from the Emerald City as possible. (In fact, in Tik-Tok of Oz, the characters go through a glass chute to the center of the earth.) The map included in most current editions of the Oz books is a testament to the strange peoples and cities Dorothy and her friends eventually discover. There are so many places that the map is very crowded and nearly impossible to read.

The appeal of the Oz books to child readers, then, is that it provides the fulfillment of the wish for a world that is free from the constraints of home, where no one grows older and children do not grow up, and where life is one continual adventure. These books suggest that, if you go looking for your heart's desire, the place to go is not your own backyard. This notion, of course, is supported by the details of Baum's own life. Although his son reported that Baum had a happy home life, L. Frank Baum deserted the Midwest for the Ozzy glitter of Hollywood and continually searched for adventure in the many financial projects he attempted.²

It is, perhaps, the Oz books' rejection or encouragement of escape from domestic life and familial responsibilities that has led to their controversial status with librarians and critics. Perhaps Baum's attitude toward home is summed up best through a minor character in the series, Button Bright. As already mentioned, this little boy, to the chagrin of his mother and of the citizens of Oz, is constantly getting lost. At the end of The Scarecrow of Oz (1915), during one of many parties that fill these books, Button Bright disappears again. The novel's protagonist, Trot, is very concerned. She is reassured, however, by Ozma: “‘Never mind, my dear,’ said Ozma, with her charming smile, ‘no one can go far astray in the Land of Oz, and if Button Bright isn't lost occasionally, he isn't happy’” (267). In Oz, the greatest happiness does indeed come from getting “lost” instead of from returning home.

Notes

1. Raylyn Moore has noted that Baum's “principal characters rarely have parents, and never a complete set,” as well as a movement in the Oz series towards communal life (10).

2. See Frank Joslyn Baum and Russell P. MacFall's To Please a Child.

Works Cited

Baum, Frank Joslyn and Russell P. MacFall. To Please a Child: A Biography of L. Frank Baum, Royal Historian of Oz. Chicago: Reilly, 1961.

Baum, L. Frank. Dorothy and the Wizard in Oz. 1908. New York: Morrow, 1990.

———. The Emerald City of Oz. 1910. New York: Morrow, 1993.

———. The Marvelous Land of Oz. 1904. New York: Morrow, 1985.

———. Ozma of Oz. 1907. New York: Morrow, 1989.

———. The Road to Oz. 1909. New York: Morrow, 1991.

———. The Scarecrow of Oz. 1915. New York: Ballantine, 1979.

———. Tik-Tok of Oz. 1914. New York: Ballantine, 1980.

———. The Tin Woodman of Oz. 1918. New York: Ballantine, 1981.

———. The Wonderful Wizard of Oz. 1900. New York: Morrow, 1987.

Beckwith, Osmond. “The Oddness of Oz.” Children's Literature 5 (1976): 74-91.

Bixler, Phyllis. “The Child in the Female Pastoral World: Houses as Images of Nurturance in Early Twentieth-Century Children's Books by Women.” Presented at the 19th Annual Conference of the Children's Literature Association. June 1992. Trinity College, Hartford, Connecticut.

Glassman, Peter. Afterword. Ozma of Oz. New York: Morrow, 1989. 271-72.

Hearn, Michael Patrick. Introduction. The Wizard of Oz: The Screenplay. By Noel Langley, Florence Ryerson, and Edgar Allan Woolf. Ed. Michael Patrick Hearn. New York: Dell, 1989.

Langley, Noel, Florence Ryerson, and Edgar Allan Woolf. The Wizard of Oz: The Screenplay. Ed. Michael Patrick Hearn. New York: Dell, 1989.

Moore, Raylyn. Wonderful Wizard Marvelous Land. Bowling Green: Bowling Green U Popular P, 1974.