L. Frank Baum

Baum embarked on his lifetime infatuation—and wavering financial success—with the theater.[12] A local theatrical company duped him into replenishing their stock of costumes on the promise of leading roles coming his way. Disillusioned, Baum left the theater—temporarily—and went to work as a clerk in his brother-in-law's dry goods company in Syracuse. This experience may have influenced his story "The Suicide of Kiaros", first published in the literary journal The White Elephant. A fellow clerk one day had been found locked in a store room dead, probably from suicide.

Baum could never stay away long from the stage. He performed in plays under the stage names of Louis F. Baum and George Brooks.[13][14] In 1880, his father built him a theater in Richburg, New York, and Baum set about writing plays and gathering a company to act in them. The Maid of Arran proved a modest success, a melodrama with songs based on William Black's novel A Princess of Thule. Baum wrote the play and composed songs for it (making it a prototypical musical, as its songs relate to the narrative), and acted in the leading role. His aunt Katharine Gray played his character's aunt. She was the founder of Syracuse Oratory School, and Baum advertised his services in her catalog to teach theater, including stage business, play writing, directing, translating (French, German, and Italian), revision, and operettas.

On November 9, 1882, Baum married Maud Gage, a daughter of Matilda Joslyn Gage, a famous women's suffrage and feminist activist. While Baum was touring with The Maid of Arran, the theater in Richburg caught fire during a production of Baum's ironically titled parlor drama Matches, destroying the theater as well as the only known copies of many of Baum's scripts, including Matches, as well as costumes.

In July 1888, Baum and his wife moved to Aberdeen, Dakota Territory where he opened a store called "Baum's Bazaar". His habit of giving out wares on credit led to the eventual bankrupting of the store,[15] so Baum turned to editing the local newspaper The Aberdeen Saturday Pioneer where he wrote the column Our Landlady.[16] Following the death of Sitting Bull at the hands of Indian agency police, Baum recommended the wholesale extermination of all America's native peoples in a column that he wrote on December 20, 1890 (full text below).[17] It is unclear whether Baum meant it as a satire or not, especially since his mother-in-law Matilda Joslyn Gage received an honorary adoption into the Wolf Clan of the Mohawk Nation and was a fierce defender of Native American rights,[18] but on January 3, 1891, he returned to the subject in an editorial response to the Wounded Knee Massacre:[19]

The Pioneer has before declared that our only safety depends upon the total extirmination [sic] of the Indians. Having wronged them for centuries, we had better, in order to protect our civilization, follow it up by one more wrong and wipe these untamed and untamable creatures from the face of the earth.[20]

Baum's description of Kansas in The Wonderful Wizard of Oz is based on his experiences in drought-ridden South Dakota. During much of this time, Matilda Joslyn Gage was living in the Baum household. While Baum was in South Dakota, he sang in a quartet which included James Kyle, who became one of the first Populist (People's Party) Senators in the U.S.

Promotional Poster for Baum's "Popular Books For Children", c. 1901

Baum's newspaper failed in 1891, and he, Maud, and their four sons moved to the Humboldt Park section of Chicago, where Baum took a job reporting for the Evening Post. Beginning in 1897, he founded and edited a magazine called The Show Window,[21] later known as the Merchants Record and Show Window, which focused on store window displays, retail strategies and visual merchandising. The major department stores of the time created elaborate Christmas time fantasies, using clockwork mechanisms that made people and animals appear to move. The former Show Window magazine is still currently in operation, now known as VMSD magazine[21] (visual merchandising + store design), based in Cincinnati.[22] In 1900, Baum published a book about window displays in which he stressed the importance of mannequins in drawing customers.[23] He also had to work as a traveling salesman.[24]

Denslow in 1900

In 1897, he wrote and published Mother Goose in Prose, a collection of Mother Goose rhymes written as prose stories and illustrated by Maxfield Parrish. Mother Goose was a moderate success and allowed Baum to quit his sales job (which had had a negative impact on his health). In 1899, Baum partnered with illustrator W. W. Denslow to publish Father Goose, His Book, a collection of nonsense poetry. The book was a success, becoming the best-selling children's book of the year.[25]

The Baum–Parrish Mother Goose used to promote a breakfast cereal (part 1 of 12 as a free premium)

In 1900, Baum and Denslow (with whom he shared the copyright) published The Wonderful Wizard of Oz to much critical acclaim and financial success.[26] The book was the best-selling children's book for two years after its initial publication. Baum went on to write thirteen more novels based on the places and people of the Land of Oz.

1903 poster of Dave Montgomery as the Tin Man in Hamlin's musical stage version.

Two years after Wizard's publication, Baum and Denslow teamed up with composer Paul Tietjens and director Julian Mitchell to produce a musical stage version of the book under Fred R. Hamlin.[27] Baum and Tietjens had worked on a musical of The Wonderful Wizard of Oz in 1901 and based closely upon the book, but it was rejected. This stage version opened in Chicago in 1902 (the first to use the shortened title "The Wizard of Oz"), then ran on Broadway for 293 stage nights from January to October 1903. It returned to Broadway in 1904, where it played from March to May and again from November to December. It successfully toured the United States with much of the same cast, as was done in those days, until 1911, and then became available for amateur use. The stage version starred Anna Laughlin as Dorothy Gale, alongside David C. Montgomery and Fred Stone as the Tin Woodman and Scarecrow respectively, which shot the pair to instant fame.

The stage version differed quite a bit from the book, and was aimed primarily at adults. Toto was replaced with Imogene the Cow, and Tryxie Tryfle (a waitress) and Pastoria (a streetcar operator) were added as fellow cyclone victims. The Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to Pastoria II, the rightful King of Oz. It is unclear how much control or influence Baum had on the script; it appears that many of the changes were written by Baum against his wishes due to contractual requirements with Hamlin. Jokes in the script, mostly written by Glen MacDonough, called for explicit references to President Theodore Roosevelt, Senator Mark Hanna, Rev. Andrew Danquer, and oil tycoon John D. Rockefeller. Although use of the script was rather free-form, the line about Hanna was ordered dropped as soon as Hamlin got word of his death in 1904.

Beginning with the success of the stage version, most subsequent versions of the story, including newer editions of the novel, have been titled "The Wizard of Oz", rather than using the full, original title. In more recent years, restoring the full title has become increasingly common, particularly to distinguish the novel from the Hollywood film.

Baum wrote a new Oz book, The Marvelous Land of Oz, with a view to making it into a stage production, which was titled The Woggle-Bug, but Montgomery and Stone balked at appearing when the original was still running. The Scarecrow and Tin Woodman were then omitted from this adaptation, which was seen as a self-rip-off by critics and proved to be a major flop before it could reach Broadway. He also worked for years on a musical version of Ozma of Oz, which eventually became The Tik-Tok Man of Oz. This did fairly well in Los Angeles, but not well enough to convince producer Oliver Morosco to mount a production in New York. He also began a stage version of The Patchwork Girl of Oz, but this was ultimately realized as a film.

Baum's avowed intentions with the Oz books and his other fairy tales was to retell tales such as those which are found in the works of the Brothers Grimm and Hans Christian Andersen, remake them in an American vein, update them, omit stereotypical characters such as dwarfs or genies, and remove the association of violence and moral teachings.[40] His first Oz books contained a fair amount of violence, but the amount of it decreased as the series progressed; in The Emerald City of Oz, Ozma objects to the use of violence, even to the use of violence against the Nomes who threaten Oz with invasion.[41] His introduction is often cited as the beginning of the sanitization of children's stories, although he did not do a great deal more than eliminate harsh moral lessons.

Another traditional element that Baum intentionally omitted was the emphasis on romance. He considered romantic love to be uninteresting to young children, as well as largely incomprehensible. In The Wonderful Wizard of Oz, the only elements of romance lay in the background of the Tin Woodman and his love for Nimmie Amee, which explains his condition but does not affect the tale in any other way, and the background of Gayelette and the enchantment of the Winged monkeys. The only other stories with such elements were The Scarecrow of Oz and Tik-Tok of Oz, both of them were based on dramatizations, which Baum regarded warily until his readers accepted them.[42]

When Baum lived in Aberdeen, South Dakota, where he was secretary of its Equal Suffrage Club, much of the politics in the Republican Aberdeen Saturday Pioneer dealt with trying to convince the populace to vote for women's suffrage.[43] Susan B. Anthony visited Aberdeen and stayed with the Baums. Nancy Tystad Koupal notes an apparent loss of interest in editorializing after Aberdeen failed to pass the bill for women's enfranchisement.

Sally Roesch Wagner of The Matilda Joslyn Gage Foundation published The Wonderful Mother of Oz, describing how Matilda Gage's feminist politics were sympathetically channeled by Baum into his Oz books. Some of Baum's contacts with suffragists of his day seem to have inspired much of The Marvelous Land of Oz. In this story, General Jinjur leads the girls and women of Oz in a revolt, armed with knitting needles; they succeed and make the men do the household chores. Jinjur proves to be an incompetent ruler, but Princess Ozma, who advocates gender equality, is ultimately placed on the throne. Charlotte Perkins Gilman's 1915 classic of feminist science fiction, Herland, bears strong similarities to The Emerald City of Oz (1910); the link between Baum and Gilman is considered to be Gage.[44] Baum's stories outside of Oz also contain feminist or egalitarian themes. His Edith Van Dyne stories depict girls and young women engaging in traditionally masculine activities, including Aunt Jane's Nieces and The Flying Girl and its sequel. The Bluebird Books feature a girl sleuth.

During the period surrounding the 1890 Ghost Dance movement and Wounded Knee Massacre, Baum wrote two editorials asserting that the safety of white settlers depended on the wholesale genocide of American Indians. These editorials were re-published in 1990 by sociologist Robert Venables of Cornell University, who argues that Baum was not using sarcasm.[45] American historian Camilla Townsend, the editor of American Indian History: A Documentary Reader, argued that the editorial was "Against character", as he had earlier published a piece that criticized the idea of white people fearing Native Americans; Townsend stated that she failed to find evidence that Baum was using sarcasm.[46]

The first piece was published on December 20, 1890, five days after the killing of the Lakota Sioux holy man, Sitting Bull.[47][48] The piece opined that with Sitting Bull's death, "the nobility of the Redskin" had been extinguished, and the safety of the frontier would not be established until there was "total annihilation" of the remaining Native Americans, who, he claimed, lived as "miserable wretches." Baum said that their extermination should not be regretted, and their elimination would "do justice to the manly characteristics" of their ancestors.[47]

The Wounded Knee Massacre occurred nine days later; the second editorial was published on January 3, 1891. Baum alleged that General Nelson A. Miles' weak rule of the Native Americans had caused American soldiers to suffer a "terrible loss of blood", in a "battle" which had been a disgrace to the Department of War. He found that the "disaster" could have easily been prevented with proper preparations. Baum reiterated that he believed, due to the history of mistreatment of Native Americans, that the extermination of the "untamed and untamable" tribes was necessary to protect American settlers. Baum ended the editorial with the following anecdote: "An eastern contemporary, with a grain of wisdom in its wit, says that 'when the whites win a fight, it is a victory, and when the Indians win it, it is a massacre.'"[49]

In 2006, two descendants of Baum apologized to the Sioux nation for any hurt that their ancestor had caused.[50]

The short story "The Enchanted Buffalo" claims to be a legend about a tribe of bison, and it states that a key element of it made it into the legends of Native American tribes. Baum mentions his characters' distaste for a Hopi snake dance in Aunt Jane's Nieces and Uncle John, but he also deplores the horrible situation which exists on Indian reservations. Aunt Jane's Nieces on the Ranch features a hard-working Mexican in order to disprove Anglo stereotypes which portray Mexicans as lazy. Baum's mother-in-law and woman's suffrage leader Matilda Joslyn Gage strongly influenced his views. Gage was initiated into the Wolf Clan and admitted into the Iroquois Council of Matrons in recognition of her outspoken respect and sympathy for Native American people.[51]

Numerous political references to the "Wizard" appeared early in the 20th century. Henry Littlefield, an upstate New York high school history teacher, wrote a scholarly article in 1964, the first full-fledged interpretation of the novel as an extended metaphor of the politics and characters of the 1890s.[52] He paid special attention to the Populist metaphors and debates over silver and gold.[53] Baum was a Republican and avid supporter of women's suffrage, and it is thought that he did not support the political ideals of either the Populist movement of 1890–1892 or the Bryanite silver crusade of 1896–1900. He published a poem in support of William McKinley.[54]

Since 1964, many scholars, economists, and historians have expanded on Littlefield's interpretation, pointing to multiple similarities between the characters (especially as depicted in Denslow's illustrations) and stock figures from editorial cartoons of the period. Littlefield wrote to The New York Times letters to the editor section spelling out that his theory had no basis in fact, but that his original point was "not to label Baum, or to lessen any of his magic, but rather, as a history teacher at Mount Vernon High School, to invest turn-of-the-century America with the imagery and wonder I have always found in his stories."[55]

Baum's newspaper had addressed politics in the 1890s, and Denslow was an editorial cartoonist as well as an illustrator of children's books. A series of political references is included in the 1902 stage version, such as references to the President, to a powerful senator, and to John D. Rockefeller for providing the oil needed by the Tin Woodman. Scholars have found few political references in Baum's Oz books after 1902. Baum was asked whether his stories had hidden meanings, but he always replied that they were written to "please children".[56]

Baum was originally a Methodist, but he joined the Episcopal Church in Aberdeen in order to participate in community theatricals. Later, he and his wife were encouraged to become members of the Theosophical Society in 1892 by Matilda Joslyn Gage.[57] Baum's beliefs are frequently reflected in his writings; however, the only mention of a church in his Oz books is the porcelain one which the Cowardly Lion breaks in the Dainty China Country in The Wonderful Wizard of Oz. The Baums sent their older sons to "Ethical Culture Sunday School" in Chicago, which taught morality, not religion.[58][59]

Writers including Evan I. Schwartz[60] among others have suggested that Baum intentionally used allegory and symbolism in The Wonderful Wizard of Oz to convey concepts that are central to spiritual teachings such as Theosophy and Buddhism. They postulate that the main characters’ experiences in Oz represent the soul’s journey toward enlightenment. Schwartz specifically states that key plot elements of the book take “the reader on a journey guided by Eastern philosophy” (Schwartz, p. 265). An article in BBC Culture[61] lists several allegorical interpretations of the book including that it may be viewed as a parable of Theosophy. The article cites various symbols and their possible meanings, for example the Yellow Brick Road representing the ‘Golden Path’ in Buddhism, along which the soul travels to a state of spiritual realization.

Baum’s own writing suggests he believed the story may have been divinely inspired: “It was pure inspiration. It came to me right out of the blue. I think that sometimes the Great Author had a message to get across and He was to use the instrument at hand”.[62]

• The Wonderful Wizard of Oz (1900)
• The Marvelous Land of Oz (1904)
• Queer Visitors from the Marvelous Land of Oz (1905, comic strip depicting 27 stories)
• The Woggle-Bug Book (1905)
• Ozma of Oz (1907)
• Dorothy and the Wizard in Oz (1908)
• The Road to Oz (1909)
• The Emerald City of Oz (1910)
• The Patchwork Girl of Oz (1913)
• Little Wizard Stories of Oz (1913, collection of 6 short stories)
• Tik-Tok of Oz (1914)
• The Scarecrow of Oz (1915)
• Rinkitink in Oz (1916)
• The Lost Princess of Oz (1917)
• The Tin Woodman of Oz (1918)
• The Magic of Oz (1919, posthumously published)
• Glinda of Oz (1920, posthumously published)

1921's The Royal Book of Oz was posthumously attributed to Baum but was entirely the work of Ruth Plumly Thompson.