Article #420-2 | Gutenberg Articles

Excerpt

Excerpt from Dorothy and the Wizard in Oz, by L. Frank Baum

There was one thing the children demanded which I found it impossible
to do in this present book: they bade me introduce Toto, Dorothy's
little black dog, who has many friends among my readers. But you will
see, when you begin to read the story, that Toto was in Kansas while
Dorothy was in California, and so she had to start on her adventure
without him. In this book Dorothy had to take her kitten with her
instead of her dog; but in the next Oz book, if I am permitted to write
one, I intend to tell a good deal about Toto's further history.

Princess Ozma, whom I love as much as my readers do, is again
introduced in this story, and so are several of our old friends of Oz.
You will also become acquainted with Jim the Cab-Horse, the Nine Tiny
Piglets, and Eureka, the Kitten. I am sorry the kitten was not as well
behaved as she ought to have been; but perhaps she wasn't brought up
properly. Dorothy found her, you see, and who her parents were nobody
knows.

I believe, my dears, that I am the proudest story-teller that ever
lived. Many a time tears of pride and joy have stood in my eyes while
I read the tender, loving, appealing letters that came to me in almost
every mail from my little readers. To have pleased you, to have
interested you, to have won your friendship, and perhaps your love,
through my stories, is to my mind as great an achievement as to become
President of the United States. Indeed, I would much rather be your
story-teller, under these conditions, than to be the President. So you
have helped me to fulfill my life's ambition, and I am more grateful to
you, my dears, than I can express in words.

Explanation

This excerpt is the preface to Dorothy and the Wizard in Oz (1908), the fourth book in L. Frank Baum’s Oz series. Unlike the narrative chapters that follow, this passage is written in Baum’s own voice, addressing his young readers directly. It serves multiple purposes: explaining narrative choices, teasing future stories, reinforcing his connection with his audience, and reflecting on his role as a storyteller. Below is a detailed breakdown of the text’s content, themes, literary devices, and significance, with an emphasis on close reading.

1. Context and Purpose

Baum’s Oz series was already wildly popular by 1908, with The Wonderful Wizard of Oz (1900) having spawned sequels (The Marvelous Land of Oz, Ozma of Oz). This preface acts as a bridge between Baum and his readers, blending:

Apologia: He justifies the absence of Toto (a fan-favorite character) due to plot logistics (Dorothy is in California, not Kansas).
Teaser: He hints at future stories (Toto’s return, new characters like Jim the Cab-Horse and Eureka the Kitten).
Meta-commentary: He reflects on his craft and his emotional bond with his audience.

Baum’s direct address was unusual for children’s literature at the time, which often maintained a detached, moralistic tone. His conversational style made the Oz books feel personal and interactive, fostering reader loyalty.

2. Key Themes

A. The Author-Reader Relationship

Baum frames storytelling as a collaborative act. Key phrases:

“you will see, when you begin to read the story”: He invites readers into the narrative, treating them as active participants.
“they bade me introduce Toto”: He portrays himself as responsive to his audience’s desires, blurring the line between author and friend.
“I love [Ozma] as much as my readers do”: He aligns his emotions with theirs, creating a shared world.

This theme reflects Baum’s progressive view of children’s literature—he saw his role not as a didactic instructor but as an entertainer who respected children’s imaginations.

B. Creativity and Constraints

Baum acknowledges the limits of fiction while promising future rewards:

“impossible to do in this present book”: He explains plot constraints (Toto’s absence) logically, treating children as rational beings capable of understanding narrative rules.
“if I am permitted to write one”: A humble phrasing that masks his confidence (he did write more Oz books, but this feigned uncertainty engages readers’ hopes).

This balances honesty (admitting limitations) with mystery (teasing future stories).

C. Pride and Gratitude

The final paragraph is a heartfelt declaration of Baum’s fulfillment as a writer:

“the proudest story-teller that ever lived”: Hyperbolic, but sincere—he elevates storytelling to a noble calling.
“tears of pride and joy”: Emotional vulnerability, rare in children’s prefaces, humanizes him.
“I would much rather be your story-teller… than to be the President”: A radical statement for 1908, positioning children’s literature as culturally valuable.

This reflects Baum’s populist ethos: he saw his work as democratizing joy, more meaningful than political power.

3. Literary Devices

A. Direct Address and Conversational Tone

Second-person pronouns (“you,” “my dears”) create intimacy.
Contractions (“I’m,” “you’ll”) and colloquial phrasing (“you see,” “wasn’t brought up properly”) mimic spoken language, making the text feel like a letter from a beloved uncle.

B. Foreshadowing and Teasing

“in the next Oz book… I intend to tell a good deal about Toto”: A promise that ensures readers will return.
“the kitten was not as well behaved as she ought to have been”: Hints at Eureka’s mischievous role in the story, building curiosity.

C. Hyperbole and Emotional Appeal

“as great an achievement as to become President”: Exaggeration to emphasize his passion.
“more grateful to you… than I can express in words”: Aposiopesis (trailing off) to convey overwhelming emotion.

D. Character Sketching in Miniature

Even in the preface, Baum introduces personalities:

Eureka the Kitten: “wasn’t brought up properly” → suggests she’ll be a troublemaker (which she is in the story).
Jim the Cab-Horse: The name alone (a talking horse!) sparks imagination.

4. Significance

A. Baum’s Innovative Approach to Children’s Literature

This preface exemplifies Baum’s revolutionary beliefs:

Children deserve respect: He treats them as critical thinkers (explaining Toto’s absence logically) and emotional equals (sharing his pride).
Stories should delight, not just instruct: Unlike moralistic Victorian tales, Baum prioritizes fun and wonder.
Serial storytelling as community-building: He fosters a shared universe, where readers feel invested in the characters’ futures.

B. The Oz Series as a Cultural Phenomenon

Baum’s direct engagement with his audience helped turn Oz into a franchaise before franchises existed. This preface:

Markets future books (a early form of transmedia storytelling).
Strengthens reader loyalty by making them feel heard (e.g., addressing Toto’s absence).
Humanizes the author, making the books feel like gifts rather than commodities.

C. Legacy in Children’s Media

Baum’s style influenced later creators who broke the fourth wall or engaged directly with audiences, from Roald Dahl (who often addressed readers in his books) to Pixar (which uses post-credit scenes to tease future films). His blend of whimsy and sincerity remains a model for children’s storytelling.

5. Close Reading of Select Lines

“Dorothy had to take her kitten with her instead of her dog”
- Juxtaposition: The familiar (Dorothy) with the new (kitten) signals change within continuity—a hallmark of serial fiction.
- Foreshadowing: The kitten’s presence hints at a different dynamic than Toto’s loyal companionship.
“I am sorry the kitten was not as well behaved as she ought to have been”
- Irony: Baum apologizes for a character’s flaws, but this imperfection makes Eureka more memorable (and funny).
- Moral ambiguity: Unlike rigid Victorian tales, Baum allows flawed, relatable characters.
“To have pleased you… is to my mind as great an achievement as to become President”
- Democratic idealism: Baum elevates artistic connection over political power, reflecting his progressive values.
- Pathos: His gratitude feels genuine, deepening the reader’s emotional bond with the series.

6. Why This Matters Today

Baum’s preface is a masterclass in audience engagement. Modern creators can learn from his:

Transparency (explaining creative choices).
Emotional authenticity (sharing his pride and gratitude).
Interactive storytelling (treating readers as collaborators).

In an era of fan culture and interactive media, Baum’s approach feels astonishingly modern. His preface isn’t just an introduction—it’s a love letter to his readers, and a testament to the power of stories to connect, delight, and endure.

Final Thought

This excerpt reveals why Baum’s Oz series transcended its time: it wasn’t just about a magical land, but about the magic of storytelling itself—a shared journey between writer and reader. The preface, often skipped, is actually a key to understanding Baum’s philosophy: that children’s literature should be joyful, inclusive, and alive.

Questions

Question 1

The narrator’s remark that “the kitten was not as well behaved as she ought to have been” serves primarily to:

A. subtly critique Dorothy’s parenting skills by implying she failed to properly socialize Eureka.
B. establish a moralistic tone in which animal companions must adhere to strict behavioral standards.
C. foreshadow the kitten’s eventual redemption arc through disciplined training by Ozma.
D. introduce Eureka as a flawed but endearing character whose imperfections will drive narrative tension.
E. contrast the kitten’s unpredictability with Toto’s unwavering loyalty, underscoring the latter’s superiority.

Question 2

When Baum states, “I would much rather be your story-teller, under these conditions, than to be the President,” the rhetorical effect of this comparison is best described as:

A. a satirical jab at political leadership, implying storytelling requires greater intellectual rigor.
B. a calculated appeal to populist sentiment by aligning himself with the common reader against elite power.
C. a literal declaration of his apathy toward civic duty, prioritizing personal fulfillment over public service.
D. an hyperbolic expression of his emotional investment in his role, elevating artistic connection to a sacred calling.
E. a veiled criticism of the U.S. presidency, suggesting it lacks the creative freedom of authorship.

Question 3

The structural purpose of the phrase “if I am permitted to write one” in the context of teasing future Oz books is to:

A. create a sense of contingent possibility that heightens reader anticipation and emotional investment.
B. acknowledge the publisher’s authority over his creative output, revealing his lack of artistic autonomy.
C. imply that the continuation of the series depends on the moral behavior of his young readers.
D. introduce a meta-narrative comment on the precarity of an author’s livelihood in the early 20th century.
E. foreshadow an in-universe event (e.g., a magical prohibition) that might prevent further Oz stories.

Question 4

The passage’s repeated use of second-person address (“you will see,” “my dears,” “your friendship”) functions to:

A. condescend to the child audience by overemphasizing their role in the narrative’s reception.
B. collapse the distance between author and reader, fostering a collaborative and intimate storytelling experience.
C. shift responsibility for the story’s quality onto the readers, absolving Baum of creative accountability.
D. mimic the oral tradition of fairy tales, where the narrator directly engages listeners in a performative act.
E. signal Baum’s insecurity about his work, seeking constant validation from his audience.

Question 5

Which of the following best captures the tone of Baum’s reflection on his readers’ letters (“tears of pride and joy have stood in my eyes”)?

A. Melancholic resignation, as he laments the fleeting nature of childhood admiration.
B. Self-deprecating humor, undercutting his pride with exaggerated emotional displays.
C. Unabashed sentimentalism, embracing vulnerability to deepen his connection with the audience.
D. Performative modesty, conforming to Victorian expectations of humility in public figures.
E. Nostalgic detachment, reminiscing about past successes while implying his best work is behind him.

Solutions and Explanations

1) Correct answer: D

Why D is most correct: The line about Eureka’s misbehavior is not a moral judgment or a critique of Dorothy but a narrative hook. Baum introduces the kitten as a flawed character whose imperfections (“wasn’t brought up properly”) will likely create comic or dramatic tension in the story. This aligns with his broader approach of populating Oz with idiosyncratic, memorable figures (e.g., the Scarecrow’s lack of brains, the Tin Woodman’s lack of a heart). The phrasing is playful and affectionate, suggesting Eureka’s flaws will make her endearing, not reprehensible.