Experts on The Wizard Of Oz and the 1930s?!?

Question

I'm a sophmore and my 20th centuary teacher is EXTREMELY hard and strict. We have to write essays about movies made in the 1930's and their reflection of that decade. I was assigned Wizard of Oz. At the time I was like "Awesome! this will be fun!" but its the worst because I cant make my reflection off the book, just the movie. I know that the yellow brick road was the Golden Standard, but thats probably only the book. Can anyone help me???

Answer 1

The author of the book "The Wizard of Oz" was L. Frank Baum.   In 1964, American Quarterly published Henry M. Littlefield's "The Wizard of Oz: Parable on Populism."   Littlefield described all sorts of hidden meanings and allusions to Gilded Age society in Baum's book.  

However, "Aside from marching in a few torchlight parades for William Jennings Bryan, Baum was as inactive in politics as in church affairs [which is to say, pretty inactive]. He consistently voted as a democrat [sic], however, and his sympathies always seem to have been on the side of the laboring classes." Four years later, the first book-length study of Baum appeared. Written by Frank Joslyn Baum (Baum's son, who died during the project) and Russell P. MacFall, the biography did not go beyond Gardner in discussing Baum's politics.

Baum's political affiliation was a big part of Littlefield's argument for seeing The Wonderful Wizard of Oz as a Populist allegory. Citing Gardner, Littlefield mentioned Baum's support for Democratic candidates and, of course, the torchlight parades for Bryan. "No one who marched in even a few such parades could have been unaffected by Bryan's campaign," Littlefield asserted. If one begins with the assumption that Baum was a Bryan Democrat, it is easy to read a Populist (or at least a pro-silver) message into the book.

But was Baum a Bryan Democrat? In the summer of 1888, Baum moved his family to Aberdeen, South Dakota, where he opened a dry goods store. In January 1890, after the business failed, he bought a local newspaper, renaming it the Aberdeen Saturday Pioneer. The Pioneer was obviously a Republican paper. During the municipal elections that spring, Baum editorialized in support of the Republican candidates; after they won, he wrote that "Aberdeen has redeemed herself . . . [a]fter suffering for nearly a year from the incompetence of a democratic administration." Later that year, Baum urged unity against the growing Independent movement: "We are all members of one great family, the family which saved the Union, the family which stands together as the emblem of prosperity among the nations--Republicanism!" Not only did Baum speak for the Republican party; he spoke against the movement that would soon evolve into the Populists.

It must be admitted that the Pioneer had been a Republican paper before Baum bought it, and perhaps he had to maintain its partisan identification in order to maintain its circulation. Furthermore, Baum's Pioneer, while clearly Republican, was quite progressive: he wrote in support of women's suffrage, alternative religions, occultism, toleration, and so on. So perhaps Baum was a closet Democrat in Aberdeen, forced to hide his true political feelings.

But that appears not to be the case. In the summer of 1896, the year of the election that would mark what has been called "The Climax of Populism," Baum published a poem in a Chicago newspaper:

When McKinley gets the chair, boys,

There'll be a jollification

Throughout our happy nation

And contentment everywhere!

Great will be our satisfaction

When the "honest money" faction

Seats McKinley in the chair!

  

No more the ample crops of grain

That in our granaries have lain

Will seek a purchaser in vain

Or be at mercy of the "bull" or "bear";

Our merchants won't be trembling

At the silverites' dissembling

When McKinley gets the chair!

  

When McKinley gets the chair, boys,

The magic word "protection"

Will banish all dejection

And free the workingman from every care;

We will gain the world's respect

When it knows our coin's "correct"

And McKinley's in the chair!

Hardly the writings of a silverite! Michael Patrick Hearn, the leading scholar on L. Frank Baum, quoted this poem in a recent letter to the New York Times. Hearn wrote that he had found "no evidence that Baum's story is in any way a Populist allegory"; Littlefield's argument, Hearn concluded, "has no basis in fact." A month later, Henry M. Littlefield responded to Hearn's letter, agreeing that "there is no basis in fact to consider Baum a supporter of turn-of-the-century Populist ideology."

Thomas A. Bailey once suggested that we set up a computer network to keep track of misinformation that has been corrected--sort of a national clearinghouse for discredited myths. Is it time to move Littlefield to the computer trashpile of misinformation? Given the mounting evidence against it--given that Littlefield himself has admitted that it has "no basis in fact"--should we forget the whole notion of The Wonderful Wizard of Oz as a parable on Populism? That would be a big mistake. Perhaps we can no longer say that Baum wrote The Wonderful Wizard of Oz "as an allegory of the silver movement," but we can still read it as an allegory of the silver movement--or, as Henry Littlefield noted just two years ago, "we can bring our own symbolism to it." Recent scholarship might have taken away Baum's intent, but the images are still there, vivid as ever.

And because the images are still there, the Littlefield interpretation (especially as modified by Clanton, Rockoff, and others) remains a useful pedagogical device. Baum gave us a delightful and unforgettable way of illustrating a number of Gilded Age issues, from Populism and the silver movement to the Gilded Age presidency, from the problems of labor to the insurrection in the Philippines.

Thirty years ago, Henry M. Littlefield looked at The Wonderful Wizard of Oz and saw things no one had seen there before. More recently, William R. Leach has shown us another new way of looking at the book, a way that emphasizes a different side of the Gilded Age--the fascination with the city and urban abundance, the rise of a new industrial ethic, and so on. Leach's argument is just as compelling as Littlefield's. "Factual" or not, both are impressive achievements.

But even more impressive is the achievement of L. Frank Baum himself. In the preface to The Wonderful Wizard of Oz, Baum stated that he wanted to write a new sort of children's story: a modernized, American story, shorn of all the Old World images and motifs. He was tremendously successful in this, producing not only the first real American fairy tale, but one that showed American society and culture in all its wonderful diversity and contradictions, a story so rich it can be, like the book's title character, anything we want it to be--including, if we wish, a parable on Populism.