Vol. 17, no. 1 (Spring 1973)
| Editorial Staff | David L. Greene, John Fricke, James E. Haff, and Peter E. Hanff |
Layout by John Fricke
Front cover art by Dick Martin, adapted from art by an unknown artist (The Wonderful Stories of Oz)
Front cover art by Dick Martin, adapted from art by an unknown artist (“Wally and the Comical Lion Go to the Land of Oz”)
Spring 1973 Selected Contents
This is a guide to the articles and reviews from the issue that will most benefit researchers, scholars, and collectors. The printed issue includes additional content such as news, editorial letters, and other commentary-based departments.
A Baum Fragment
James E. Haff describes what he learned about L. Frank Baum’s writing process from one page of the Dot and Tot of Merryland manuscript.
The Oz Film Manufacturing Company (Part 2)
Richard Mills and David L. Greene continue the detailed account of L. Frank Baum’s Hollywood studio, focusing in this installment on The Magic Cloak of Oz and His Majesty, the Scarecrow. The first part of this article was published in the Christmas 1972 issue and the third part would be presented in the Autumn 1973 issue. Accompanied by a reproduction of an original four-page advertising brochure for the company and its films.
Bibliographia Pseudonymiana
James E. Haff collates bibliographical data about the early printings of Baum’s works published under a pseudonym. This installment focuses on “Laura Bancroft’s” Policeman Bluejay and Babes in Birdland.
Douglas G. Greene recounts the life and career of Fanny Y. Cory, the illustrator of The Master Key and The Enchanted Island of Yew. Accompanied by a “preliminary” checklist of her illustrated books and examples of her other work.
The Man with the Red Shirt
An original short story by Matilda J. Gage, written in 1905, as it was told to her by L. Frank Baum.
L. Frank Baum’s Return to Oz
Using the Bobbs-Merrill Company archives at the Lilly Library, Peter E. Hanff attempts to bring new understanding to L. Frank Baum’s financial distress during the “wilderness years” between 1910 and 1912, which eventually drove him back to the Oz series.
The Rights to The Wizard of Oz
Peter E. Hanff looks at the incomplete records for the rights to The Wonderful Wizard of Oz, and other Baum titles, as contained in the Bobbs-Merrill Company archives.