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Exposing the Man Behind the Curtain: Educational Aims and Latent Lessons in L EXPOSING THE MAN BEHIND THE CURTAIN: EDUCATIONAL AIMS AND LATENT LESSONS IN L. FRANK BAUM’S OZ BOOKS By ANDREW LAWRENCE GRUNZKE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 Andrew Lawrence Grunzke 2 To my Patchwork Girl, my wife Rebecca, who fell in love with me because I fell in love with Oz 3 ACKNOWLEDGMENTS Many people have sacrificed a great deal to make this dissertation possible. My committee has been invaluable in the process. The friendly encouragement of Dr. R. Brandon Kershner, Dr. Elizabeth Bondy, and Dr. Arthur Newman made working with them a pleasurable and enriching experience. Studying under Dr. Sevan Terzian has proven to be greatly rewarding. His honest and constructive criticism, exacting standards, professionalism, and patience have taught me what it means to be a true scholar and have led me to create the quality dissertation he believed I could write. I also owe a great deal to the librarians at the archives at the Florida State Library who were friendly and helpful (even as I was looking into some unfortunate events in their history). Also, I appreciate the aid of the librarians at the University of Minnesota who were kind enough to let me access their beautiful and sizable Baum Bugle collection. The contributions of my wife, Rebecca, cannot be overestimated. Her passion for my work, abilities as an editor, and willingness to listen to me discuss Oz endlessly kept me dedicated to this project. I’d like to thank my parents who (despite wondering when this dissertation would finally come to fruition) have provided emotional and financial support throughout my school career. I also appreciate my brother’s contributions, not the least of which was constantly reminding me that Baum’s work is magical and fun and academic writing frequently is not, but that it can and should be. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 CHAPTER 1 INTRODUCTION ....................................................................................................................9 The Political Lessons in the Oz Books ...................................................................................12 The Oz Books as Utopian Novels...........................................................................................19 The Oz Books as Children’s Literature ..................................................................................25 Some Concluding Remarks ....................................................................................................30 2 THE GOSPEL OF BAUM: THE WONDERFUL WIZARD OF OZ AS EDUCATIONAL TEXT ........................................................................................................34 The Origin of Children’s Literature as a Genre......................................................................36 L. Frank Baum and Moralizing in Children’s Literature........................................................43 Pilgrim’s Progress and Oz......................................................................................................53 3 ESCAPE AND RECONSTRUCTION: OZ AND THE FUNCTION OF THE UTOPIAN NOVEL ................................................................................................................59 Hope and Fear: The Social Climate of Baum’s The Wonderful Wizard of Oz .......................65 Looking Backward and the Revival of Utopia........................................................................68 Looking Forward: Utopian Novels after Bellamy..................................................................73 The Wonderful Wizard of Oz as Cognitive Map.....................................................................77 Technology and Magic in Utopia ...........................................................................................84 Conclusion ..............................................................................................................................88 4 SERIAL KILLERS: LIBRARIANS, SERIES BOOKS, AND OZ CENSORSHIP, 1876-1930 ..............................................................................................90 The Developing Mission of the Public Library ......................................................................91 Children Unwelcome..............................................................................................................95 Purveyors of Fine Culture.......................................................................................................99 The Question of Fiction........................................................................................................103 The Reviled Dime Novel......................................................................................................107 The Transition from Dime Novels to Books in Series .........................................................113 The Serials ............................................................................................................................117 Conclusion: Oz as Series Book.............................................................................................123 5 5 FROM THE SCHOOL TO THE DEPARTMENT STORE: BAUM AND THE COMMERCIALIZATION OF CHILDREN’S LITERATURE ..........................................127 The Web of Oz’s Intertext ....................................................................................................133 L. Frank Baum, Advertising Man.........................................................................................144 The Department Store’s Triumph.........................................................................................151 6 BATTLING THE “RED” WIZARD: LIBRARIANS, OZ, AND ANTI-COMMUNIST CENSORSHIP IN FLORIDA, 1939-1965.......................................155 The Library Bill of Rights of 1939 and the Changing Role of the Librarian .......................157 Fear and Fantasy in Florida: Baum and the Red Scare.........................................................161 Conclusion ............................................................................................................................170 7 CONCLUSION.....................................................................................................................173 Connecting the Dots .............................................................................................................175 From Dorothy to Harry and Back Again ..............................................................................187 APPENDIX A L. Frank Baum’s Oz Books ..................................................................................................193 LIST OF REFERENCES.............................................................................................................194 BIOGRAPHICAL SKETCH .......................................................................................................206 6 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy EXPOSING THE MAN BEHIND THE CURTAIN: EDUCATIONAL AIMS AND LATENT LESSONS IN L. FRANK BAUM’S OZ BOOKS By Andrew Lawrence Grunzke December 2007 Chair: Sevan Terzian Major: Foundations of Education In the introduction to The Wonderful Wizard of Oz, L. Frank Baum claimed, “the modern child seeks only entertainment in its wondertales.”1 This statement presaged a radical shift in the educational function of children’s literature – a genre then dominated by overly educational, heavily moral works.2 Also, Baum was among the progenitors of the field of advertising. His Oz series changed the way children’s books were marketed, becoming one of the early commercial empires in American children’s literature.3 Publishers responded to rapid industrialization in the late nineteenth century with their own revolution in the production of literature. The series book, as an outgrowth of the dime novel, allowed publishers some degree of standardization of written product. Writers could reuse characters, develop name recognition, 1 L. Frank Baum, The Wonderful Wizard of Oz in The Annotated Wizard of Oz, ed. Michael Patrick Hearn (New York: W.W. Norton and Co., 2000), 4. 2 Cornelia Meigs, A Critical History of Children’s Literature: A Survey of Children’s Books in English from Earliest Times to the Present (New York: Macmillan Co., 1953), 152-164; B. Edward McClellan, Moral Education in America: Schools and the Shaping of Character from Colonial Times to the Present (New York: Teachers College Press, 1999), 21. 3 William Leach, “Strategists of Display and the Production of Desire,” in Consuming Visions: Accumulation and Display of Goods in America, 1880-1920, ed. Simon J. Bronner (New York: W.W. Norton and Co., 1989), 107; Mark Evan Swartz, Oz Before the Rainbow: L. Frank Baum’s The Wonderful Wizard of Oz on Stage and Screen to 1939 (Baltimore: Johns Hopkins University Press, 2000), 7 and complete works on strict deadlines.4 Baum’s Oz series was an early example of this literary form. In sum, Baum’s work spearheaded a movement in children’s literature toward commercial books without direct pedagogical
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