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Read Ebook {PDF EPUB} Who's Who In The Happiest Who's Who Ever Written by Speedy in Oz. Speedy in Oz (1934) is the twenty-eighth in the series of Oz books created by L. Frank Baum and his successors, and the fourteenth written by . It was Illustrated by John R. Neill. This book features yet another island which floats in the sky: Umbrella Island, which flies by virtue of a huge umbrella with lifting and shielding powers. The king is not very good at steering the flying island; he bumps it into a giant's head. For compensation, Loxo, the great brute, demands the King's daughter Gureeda, whom he mistakes for a boy, as a servant to lace his huge boots. However, he grants the Umbrella Islanders three months to train the child to be a bootlacer. Meanwhile, the boy Speedy (from The Yellow Knight of Oz ) returns for another adventure. While inspecting a dinosaur skeleton, Speedy is blown by a geyser into the air. The skeleton comes magically to life and becomes Terrybubble, a live dinosaur skeleton. Terrybubble and Speedy land on Umbrella Island. Speedy develops a friendship with Princess Gureeda. He also becomes friendly with the island's resident wizard, Waddy. An unscrupulous minister, however, notices that Speedy and Gureeeda look very much alike and could pass for fraternal twins. [1] He hatches a plot to compensate the giant by handing Speedy over to him as a slave instead of Gureeda. Terrybubble learns of this plot, and he parachutes off the island with Speedy and Gureeda. All three are captured by Loxo, and it is up to the wizard Waddy to save them. Aside from a brief consultation with and her advisers, the book deals exclusively with characters of Thompson's creation. Related Research Articles. Gale is a fictional character created by American author L. Frank Baum as the main protagonist in many of his Oz novels. She first appears in Baum's classic 1900 children's novel The Wonderful and reappears in most of its sequels. In addition, she is the main character in various adaptations, notably the classic 1939 film adaptation of the novel, The Wizard of Oz . is the eleventh canonical Oz book written by L. Frank Baum. Published on June 5, 1917, it begins with the disappearance of Princess Ozma, the ruler of Oz and covers Dorothy and the Wizard's efforts to find her. The introduction to the book states that its inspiration was a letter a young girl had written to Baum: "I suppose if Ozma ever got hurt or losted, everybody would be sorry." Princess Ozma is a fictional character from the , created by American author L. Frank Baum. She appears in every book of the Oz series except the first, The Wonderful Wizard of Oz (1900). Ruth Plumly Thompson was an American writer of children's stories, best known for writing many novels placed in Oz, the fictional land of L. Frank Baum's classic children's novel The Wonderful Wizard of Oz and its sequels. The Land of Oz is a magical country first introduced in the 1900 children's novel The Wonderful Wizard of Oz written by L. Frank Baum and illustrated by W. W. Denslow. is a fictional character in L. Frank Baum's classic children's series of Oz Books. She is the most significant antagonist in the second Oz book (1904), and is alluded to in other works. Mombi plays a very important role in the fictional history of Oz. The Surprising Adventures of the Magical Monarch of and His People is the first full-length children's fantasy book by L. Frank Baum. Originally published in 1899 as A New Wonderland, Being the First Account Ever Printed of the Beautiful Valley, and the Wonderful Adventures of Its Inhabitants , the book was reissued in 1903 with a new title in order to capitalize upon the alliterative title of Baum's successful The Wonderful Wizard of Oz . The book is only slightly altered—Mo is called Phunniland or Phunnyland, but aside from the last paragraph of the first chapter, they are essentially the same book. It is illustrated by Frank Ver Beck. The Giant Horse of Oz (1928) is the twenty-second in the series of Oz books created by L. Frank Baum and his successors, and the eighth written by Ruth Plumly Thompson. It was Illustrated by John R. Neill. The Yellow Knight of Oz (1930) is the twenty-fourth in the series of Oz books created by L. Frank Baum and his successors, and the tenth written by Ruth Plumly Thompson. It was illustrated by John R. Neill. Handy Mandy in Oz (1937) is the thirty-first of the Oz books created by L. Frank Baum and his successors, and the seventeenth written by Ruth Plumly Thompson. It was illustrated by John R. Neill. The Magical Mimics in Oz (1946) is the thirty-seventh in the series of Oz books created by L. Frank Baum and his successors, and the first written by Jack Snow. It was illustrated by Frank G. Kramer. The book entered the Public Domain in the United States, when its copyright was not renewed as required. The of Oz (1949) is the thirty-eighth in the series of Oz books created by L. Frank Baum and his successors, and the second and last by Jack Snow. It was illustrated by Frank G. Kramer. The book entered the public domain in the United States when its copyright was not renewed as required. King is a fictional character mentioned in the Oz books by American author L. Frank Baum. He was the rightful ruler and King of the undiscovered Land of Oz, but was mysteriously removed from his position when the Wizard of Oz unexpectedly came to the country and took the throne, proclaiming himself as the new dominant ruler of Oz. Shortly after, Pastoria's infant daughter and only child heir, Princess Ozma, suddenly vanished, leaving not a single clue of her whereabouts. The Wonderful Wizard of Oz , known in Japan as Oz no Mahōtsukai , is a Canadian-Japanese anime television series adaptation based on four of the original early 20th century Oz books by L. Frank Baum. In Japan, the series aired on TV Tokyo from 1986 to 1987. It consists of 52 episodes, which explain other parts of the Oz stories, including the events that happened after Dorothy returned home. Sky Island: Being the Further Adventures of and Cap'n Bill after Their Visit to the Sea Fairies is a children's fantasy novel written by L. Frank Baum, illustrated by John R. Neill, and published in 1912 by the Reilly & Britton Company—the same constellation of forces that produced the Oz books in the first decades of the twentieth century. Yankee in Oz is a 1972 Oz novel by Ruth Plumly Thompson. It was the first published by The International Wizard of Oz Club. A letter from the Henry Regnery Company, which bought Reilly & Lee, is reproduced in the front indicating the publisher's blessing for the new Oz book to appear. It was originally written in 1959, but because the Oz books were not selling, it was not published. The first two editions of the book were published in 8½ x 11 inch format and running only 94 pages. This was done at the request of illustrator Dick Martin to reduce the number of required illustrations and to show them closer to the actual size they were drawn. The second printing (1986) featured a new cover, with the first edition artwork reprinted preceding the title page. The third printing (2007) is standard Oz book size. Its cover is a gaudier redesign of the second edition cover. The book also features maps by James E. Haff, and as such, Thompson correctly places the in the west of Oz. The is a fictional country in the Oz books of L. Frank Baum and his successors. Its exact location is unclear between text and maps. states that Ev is to the north of the Land of Oz, and in , Princess Ozma of Oz and her procession enter the Country and meet the King of the upon leaving the palace at Evna, the capital city. Subsequent books place Ev nearer to the Winkie Country, and the map on the endpapers of Tik-Tok of Oz shows the as having no northern border with the desert that surrounds Oz, as a thin strip of the extends even farther east than most of the Munchkin Country. This map depicts Ev as a small country to the northwest of Oz, with the Dominions of the as a separate area. James E. Haff and Dick Martin's map, following the text, place the Nome Kingdom under an Ev that takes up the entire portion allotted to the Nome King's dominions on Baum's map. is a major character in the Oz novels of Ruth Plumly Thompson, who continued the series of Oz books after the death of their creator, L. Frank Baum. Thompson used Peter as the protagonist in three of her books: The Gnome King of Oz (1927), of Oz (1929), and Pirates in Oz (1931). Who's Who in Oz. 'The Happiest Who's Who Ever Written' -Original advertising slogan for book in 1954. Who's Who in Oz is an illustrated index of nearly every character that ever appeared in the first 39 Oz books. Who's Who in Oz is Wonderful in its scope and reach; author, Jack Snow, did a remarkable job gathering these characters together and his descriptions or as he calls them ' informal introductions to over six hundred and thirty Oz characters- people, animals, and creatures- with hints on the parts they play in the thirty-nine Oz books' show a foremost Oz scholar, and excellent writer himself, at work. Each character description also has a reference telling you the first page on which this character appeared, and in which Oz book. There are many black and white illustrations, by John R. Neil, Frank Kramer and 'Dirk' , that give us a delightful glimpse into the truly amazing, imaginative world of OZ. If Ever, Oh EVER, a Club There WOZ! -- Part One. [Note: Last month’s OZTOBERFEST in Wamego, Kansas, once again underscored the fact that Oz fans are ever more fun when gathered and banded together. With that in mind, these next couple of blogs will honor the long-time, extraordinary, and very best meeting place for “all-those- Oz”: I’m going to be writing to celebrate The International Wizard of Oz Club, Inc. Any and every one, anywhere, who finds a happy haven on the , is encouraged to become a member!] Once upon a time – on or about January 1, 1957, if one wants to balance the fanciful with the prosaic! – an exceptional thirteen-year-old boy in Brooklyn, New York, decided to amalgamate his ardors and reach out to unite those with whom he shared a particular enthusiasm. The boy was Justin G. Schiller, and he had been a voracious reader since early childhood. He harbored an unrelenting and already long-term passion for The Great Books – most of which had “Oz” in their title. He also possessed a well-developed bibliographic and collector’s savvy about the whole thing, which was a remarkable attribute for someone his age. Justin was aided in his fervency by two sympathetic and nurturing parents. Across 1955 and 1956, they’d seen to it that he’d been able to align with Jack Snow, the author of two Oz series books and an authority on the first “Royal Historian of Oz,” L. Frank Baum. Schiller and Snow shared lengthy conversations; a trip to the movies to see Metro-Goldwyn-Mayer’s THE WIZARD OF OZ on its 1955 theatrical rerelease; and a visit to the Columbia University Libraries’ Baum Centennial exhibition in 1956. Indeed, as a twelve-year-old, Justin had become the youngest contributor in history to a Columbia presentation, loaning items from his fledgling archive to help complete their Baum homage. During their friendship, the Brooklyn lad heard Snow lament the fact that – as Justin recounted it in 1987 – he “was continuously receiving letters from Oz enthusiasts all over the country, sometimes two or three times a week from the same correspondents, and he wished that there would be a vehicle [by which] they could all be in touch with each other and leave him alone.” Snow died in 1956, and from the author’s surviving correspondence with the Oz brigade, Justin was able to compile a mailing list of fellow devotees. This was all the impetus it took, and on that fateful day in January 1957, he leapt into action. Justin’s introductory correspondence offered the hope that recipients “would be interested in the organization of an Oz club, its success depending wholly upon the cooperation of each and every member.” The letter contained an ink imprint, applied by a home-made rubber stamp. It proudly heralded the WIZARD OF OZ FAN CLUB, for which dues were set at an annual fee of $1.00. As has been noted, this occurred nearly six decades ago. Since then, thousands of responsive associates have managed to offer the necessary “cooperation.” The quickly-rechristened International Wizard of Oz Club quickly became -- and remains -- the quintessential Ozzy forum, comprised of an exemplary publishing platform, a cross-generational group of world-wide adherents, and a yearly round of social conferences, all of which happily play into the diverse fascinations inspired by the greater legend. Those multitudes of members were yet to come, of course; Justin’s original group was launched with sixteen charter colleagues. (At least four of them, including the cherished Mr. Schiller himself, are still on the roster.) Although among the youngest of the founding delegates, Justin adeptly drew to the Club one of L. Frank Baum’s sons, who served as initial “Honorary President.” The boy was equally quick to enroll Ruth Plumly Thompson, author of nineteen of the then-thirty-nine books in the official Oz series; the teen designated her “Correspondent for .” Contemporary news items, historical features, and the names of all participants were immediately shared in June and October 1957 via mimeographed newsletters, which Editor Schiller buoyantly titled THE BAUM BUGLE -- “the official Oz club paper.” To this day, he recalls spreading out the pages of each issue on the floor of his family apartment so as to collate and prepare them for mailing. In the Club’s early years, THE BUGLE contained anywhere from four to eight sheets of what can be best defined as “young teen typing.” Suffice it to say that the ebullient intent more than compensated for the occasional variations in spelling or the irregularity of its margins. Soon thereafter, THE BUGLE’s professional sheen was immeasurably heightened when Chicago-based illustrator and Oz collector/historian Dick Martin came onboard to provide fanciful, classic cover art for each of the three annual editions of the publication, beginning in 1959. By the time Justin began his college career in autumn 1961, Martin was installed as designer, art director, and typist for the now vastly attractive fanzine. Meanwhile, Fred Meyer – a junior high school teacher in Escanaba, Michigan – took over as Club secretary, and much of the quick-to-burgeon membership registration across succeeding decades can be credited to his efforts. For nearly forty years, Fred both defined and glowingly surpassed the adjective “Oz-sessed,” generously and selflessly bringing to countless men, women, and (especially) children. I know. I was one of those children. I’d originally come to Oz via the first national telecast of the Judy Garland film in November 1956. Between 1957 and 1962, I’d managed to acquire – for birthdays, Christmases, Easters, and ANY even remote “occasion” – most of the Oz books. But I didn’t know of an Oz Club until it was referenced in a postcard I received circa January 1961 from The Reilly & Lee Company of Chicago. They had published the Oz series since 1904, and at age ten, I was writing them with Oz-related questions. At some point, they sent me Justin’s address, and -- wildly impassioned (for a preteen, anyway) -- I wrote off to him a couple of times that year. Any response he offered must have gone astray, however, as I never heard from him at that time. But in his preparations for college a few months later, Justin forwarded to Fred the mail that he had accumulated in Brooklyn from Oz buffs over the preceding seasons. In summer 1962, when Fred returned to his family home in Kinderhook, Illinois, for school vacation, he wrote invitational letters to any and all of those prospective advocates. (Many of us later discovered that this was the kind of thing Fred did on a daily basis, whatever the time of year. When school was out, however, it was far and away his full-time pursuit.) On Saturday, July 21, 1962, I was waiting in the family station wagon with my kid brother, Michael. Our parents were on the way out of the house to join us, with baby sister Patty in tow; we were taking her to have her “one year” portrait photograph taken over at Milwaukee’s dazzling Capitol Court shopping center. [I should explain that, at this juncture in my life, I was an established mail-nut. In additional to correspondence with Reilly & Lee, I’d written to (among others) Judy Garland and -- not knowing he was dead -- Louis B. Mayer at M-G-M. At least one other Oz book publishing company also had received a genuinely polite Fricke communique, informing them that their new facsimile publication of the first edition of THE WONDERFUL WIZARD OF OZ was missing a color plate. In that instance, I received a return letter from the president of the company and a complimentary copy of the corrected edition of the book.] Back to July 21, 1962: Just before everyone was loaded into the family car, I noticed that the mail for the day already had been delivered, and that there was a large, white, 9”x12” envelope curled in the newspaper wrack beneath the mail box. So I bounced over to collect it and was excited to discover that it was, indeed, addressed to me. But then I froze on our front doorstep. Just to the left of my address on the face of the envelope was affixed a preprinted sticker. It bore three unexpected, unforgettable words, and it’s the massive understatement of my life to say they went directly to my eleven-year-old heart. Your IP Address in Germany is Blocked from www.gutenberg.org. We apologize for this inconvenience. Your IP address has been automatically blocked from accessing the Project Gutenberg website, www.gutenberg.org. This is because the geoIP database shows your address is in the country of Germany. Diagnostic information: Blocked at germany.shtml Your IP address: 116.202.236.252 Referrer URL (if available): https://www.gutenberg.org/files/56555/56555- h/56555-h.htm Browser: Mozilla/5.0 (Macintosh; Intel Mac OS X 10_8_2) AppleWebKit/537.17 (KHTML, like Gecko) Chrome/24.0.1309.0 Safari/537.17 Date: Thursday, 17-Jun-2021 04:04:29 GMT. Why did this block occur? A Court in Germany ordered that access to certain items in the Project Gutenberg collection are blocked from Germany. Project Gutenberg believes the Court has no jurisdiction over the matter, but until the issue is resolved, it will comply. For more information about the German court case, and the reason for blocking all of Germany rather than single items, visit PGLAF's information page about the German lawsuit. For more information about the legal advice Project Gutenberg has received concerning international issues, visit PGLAF's International Copyright Guidance for Project Gutenberg. This page in German. Automated translation (via Google Translate): translate.google.com. How can I get unblocked? All IP addresses in Germany are blocked. This block will remain in place until legal guidance changes. If your IP address lookup is incorrect. Use the Maxmind GeoIP demo to verify status of your IP address. Project Gutenberg updates its listing of IP addresses approximately monthly. Occasionally, the website mis-applies a block from a previous visitor. Because blocks are applied momentarily, you should try again later to visit https://www.gutenberg.org if Maxmind shows your address as being outside of Germany. If your IP address is shown by Maxmind to be outside of Germany and you were momentarily blocked, another issue is that some Web browsers erroneously cache the block. Trying a different Web browser might help. Or, clearing the history of your visits to the site. I have other questions or need to report an error. Please email the diagnostic information above to (removing the spaces around the @) and we will try to help. The software we use sometimes flags "false positives" -- that is, blocks that should not have occurred. Apologies if this happened, because human users outside of Germany who are making use of the eBooks or other site features should almost never be blocked. Princess Ozma. Princess Ozma (b. August 21, year unknown) is a fictional character in the Land of Oz universe created by L. Frank Baum. She appears in every book of the series except the The Wonderful Wizard of Oz (1900). Contents. The classic books. The daughter of the former King of Oz, King Pastoria, Ozma was given to the witch Mombi by the Wizard of Oz, who worried she would someday challenge his illegitimate rule as Oz's defacto dictator. Mombi transformed the infant Ozma into a boy and called him Tip (short for Tippetarius). Ozma, in the form of Tip, was raised as a boy and had no memory of ever having been a girl. As Tip, Ozma created Jack Pumpkinhead. In The Marvelous Land of Oz , forced Mombi to transform the boy Tip back into Ozma, and she was installed as Oz's ruler (although many realms within Oz were and remain unaware of her authority). Baum was not inclined to worry about things like continuity between his books, however, and so Ozma changed frequently. In her initial appearance, she was described as a cherubic little girl with red-gold hair; however, all subsequent illustrations of the Princess show her as dark- haired, though this is never noted in the text. According to Ozma of Oz , she appears to be the same height and age as . According to The of Oz , Princess Ozma appears to be fourteen or fifteen years old, and thus several years older than Dorothy. However, in , Queen Coo-ee-oh is described as "a girl who looked older than Ozma or Dorothy -- fifteen or sixteen." But Ozma's origins changed even more than her appearance. At first she is the daughter of Pastoria, described as a regular (except for her royal position) little girl. Then a hint of a change in her origins comes in the form of a remark by Kaliko in "Emerald City of Oz" that Ozma has a fairy wand. Later in the series, Baum declares that Ozma herself is a fairy, not just a regular little girl and that she was left behind as a baby to rule Oz by the fairy Queen Lurline. The Shaggy Man of Oz (written by Jack Snow, long after Baum's death) explains that she is several hundred years old, and was one of a band of fairies who waited on Queen Lurline, who left her behind to rule Oz. John R. Neill, the illustrator of Baum's Oz series, established the characteristic look of Ozma, strongly influenced by Charles Dana Gibson's 'Gibson girl' and by the beauties in the Art Nouveau poster art of Alphonse Mucha. Neill drew many pictures of Ozma between 1904, when she first appeared in The Marvelous Land of Oz , and his death in 1943, and during those years her image developed and changed. The illustration shown here is from Rinkitink in Oz , 1916: about halfway through Ozma's gradual transformation from an angelic child to a spitfire glamour-girl. One of Baum's granddaughters was named Frances Ozma Baum (later Mantele), to whom Baum dedicated The Lost Princess of Oz . She was usually known by her middle name, though she also developed the nickname "Scraps" in childhood. As ruler of Oz, Ozma frequently encounters difficulties in trying to reign as monarch. The story featuring her the least is "The Lost Princess of Oz," in which she has been enchanted, and Dorothy Gale forms a search party with the rest of the famous Oz characters, learning the uses of the Magic Belt, and using its powers to eventually free Ozma. According to the timeline of The Road to Oz , Ozma's birthday falls on the 21st day of the month of August. Many subsequent writers would refer to her as "Queen Ozma" in corroboration of her station as the highest ruler of the land, though Baum himself never gave her that title, other than tentatively at the end of The Marvelous Land of Oz . It may be similar to Nick Chopper's preference for being called "emperor," even though he does not have an empire. Later writers generally had her becoming more passive, and her last significant adventure recorded in the Famous Forty was her encounter with Atmos Fere the airman. In The Forbidden Fountain of Oz by Eloise Jarvis McGraw with her daughter Lauren, a little girl named Esmeralda Ozgood served Ozma limeade made in ignorance from water from the Forbidden Fountain, causing her to lose her memory. Oliver the hedgebird referred to her as "Poppy" because of the poppies in her hair. An old woman whose son was a shepherd dresses her in her son's old garments and sandals, and she gets regularly mistaken for a boy, which she pretends to be for the sake of protection when it is suggested to her by Tobias Bridlecull, Jr, an inept bandit who decides to take up a new trade as her bodyguard. The Fountain is unable to completely erase her memory, though, for she recognizes Jack Pumpkinhead, who mistakes her for Tip, then seems to recall that she was once known as Tip. The remainder of her memory, though, she wishes back on the Magic Belt. Although Omby Amby had officially been her bodyguard, she allows Toby to retain the position with her memory regained. In a 1913 film created by Baum's film company, The of Oz, Ozma, played by Jessie May Walsh, appears briefly to preside over Ojo's trial. Shirley Temple portrayed her in a 1960 television production, in which she also portrayed Tip. Sometime later, Ozma was portrayed by Emma Ridley in 1985's which was based loosely on the books Ozma of Oz and The Marvelous Land of Oz . In Ozu no Mahotsukai , Ozma's transformation into Tip was so thorough that, despite bearing almost no physical resemblance whatever to Tip, she is a tomboy throughout the entirety of the series. In The Oz Kids , Andrea (Shay Astar), Glinda's ambivalent daughter, bases her fashion, but little else, on Ozma, who never appeared in the series. Ozma also appears in the Russian animated Adventures of the Emerald City: Princess Ozma (2000) based on The Marvelous Land of Oz as well as in the 1987 Canadian Dorothy Meets Ozma of Oz based on Ozma of Oz and a 2005 direct to video CGI version of where she is voiced by Lisa Rosenstock. In Lost in Oz , an unaired 2002 pilot for a WB drama show, Ozma appeared as a young, helpless girl kept eternally young by the Witch of the West. The main characters of that show rescued her and returned her to the good witch. However, throughout the show, she does not have any lines. Alan Eyles in The World of Oz , among others, has pointed out similarities in the appearance of Princess Leia from the Star Wars films to Ozma, in particular Leia's draped white costume and symmetrical hair design reminiscent of the flowers that typically adorn Ozma's crown. In one scene in Star Wars Episode II: Attack of the Clones , Leia's mother Padmé wears her hair in buns, along with an off the shoulders gown reminiscent of Neill's illustrations of Ozma. In the 2007 TV miniseries , the character "DG", although mainly analogous to Dorothy Gale, shares many character traits with Ozma. These include a childhood brought up in obscurity, blocked memories of her previous life, the ability to wield magic, and a "tomboy" personality. Ozma as a romantic heroine. Several published apocryphal Oz books depict Ozma being romanced and married by various Larry Stu-type characters. In unofficial works after the 90s, Ozma apparently became engaged to a man named Milo Starling in the "Umbrella Man of Oz" trilogy by Charles Phipps, published through a vanity press. The character, while oddly religious for Oz, was well received amongst Oz fandom. [ citation needed ] Another story in which Ozma acquires a boyfriend is the "Dan in Oz" series by David Hardenbrook, which stars a young and lovable computer geek named Dan Maryk. Other such romances exist among unpublished fan fiction. Some fans Template:Weasel-inline also hold to the view that Ozma may not be interested in males at all, based on hints given in the novels of a very close relationship between Ozma and Dorothy (not to mention Ozma having once been a boy). For example, chapter 17 of Dorothy and the Wizard in Oz contains the following: "Just then the girlish Ruler of Oz opened the door and greeted Dorothy with a good-morning kiss. The little Princess seemed fresh and rosy and in good spirits." This, however, could be a late invocation of romantic friendship. The books of March Laumer suggest otherwise, though not in much more explicit terms. Ozma and Tip. In the case of Windham Classics text adventure adaptation of the Oz books, Tip is made monarch of Oz and no reference at all is made to Ozma. Jack Snow, Melody Grandy, and Scott Andrew Hutchins have all made divergent attempts to bring Tip back alongside Ozma. Snow's device, which Hutchins followed as if canon, was that Tip seized his life from Ozma, but that Glinda and the Wizard was able to restore them both and make them siblings. Grandy made the characters totally unrelated through the use of a "Switcheroo Spell", with Ozma unrelated to Tippetarius and therefore suitable as a possible love interest. Snow's story, "A Murder in Oz" (1956) was rejected by Ellery Queen's Mystery Magazine and published in The Baum Bugle . Grandy's The Disenchanted Princess of Oz has been published by the vanity press, Tales of the and Friends. Hutchins's Tip of Oz , heavily mulling over ideas such as Pastoria-as-tailor and the execution of Mombi in The Lost King of Oz and similar material in The Giant Horse of Oz , received a one-paragraph citation in Eldred v. Ashcroft, and remains unpublished under the Copyright Term Extension Act. [1] Ozma in 's Wicked. In Gregory Maguire's revisionist Oz novels Wicked: The Life and Times of the and Son of a Witch , "Ozma" is the hereditary title of the Queens of Oz. According to Nanny and other believers in Lurlinism, the Fairy Queen left her daughter Ozma to rule the country in her absence. According to Lurlinist belief, the various rulers named "Ozma" were - more or less - reincarnations of the same being; Ozma "bears herself again and again like a phoenix." By contrast, according to Elphaba's father Frexspar (and presumably other Unionists as well as the more secular citizens of Oz), the Ozmas are a hereditary dynasty of Gillikinese origin. There were, as Frex said, "three hundred years of very different Ozmas," including: