To commemorate the 100th anniversary of the publication of L. Frank Baum's The Wizard of Oz, master paper engineer Robert Sabuda has created a pop-up version of Dorothy's adventures in Oz that fans will find hard to resist. Modeling his depictions of Dorothy, the Scarecrow, the Tin Woodman, and the rest after W. W. Denslow's original art, Sabuda adds a third dimension that would have rocked Denslow's--and Baum's--world. A rapidly spinning cyclone actually casts a breeze over the startled reader's face. Glorious red poppies wave seductively in a field. And the Emerald City positively glitters with green, especially when young readers try on the special tinted "Spectacles for You" provided in a pocket on the page. The abridged text, provided in minibooklets set onto each page, covers enough basics for the Oz novice, but we recommend a read-aloud of the original, as well, for all the glory and detail of Baum's fantastic tale. Sabuda's homage to the classic is truly spectacular; even purists will gasp in delight at the sight of the humbug wizard floating away in his shiny green, gold, and blue hot-air balloon. This great introduction to the story of Oz doubles as a fun collector's item. (Ages 3 to 7) --Emilie Coulter

Viennese illustrator and Hans Christian Andersen Medalist Lisbeth Zwerger takes a fresh look at L. Frank Baum's The Wizard of Oz in a large-format edition. Zwerger's fantastical, delicate, eccentric illustrations bear no resemblance to the vision of the movie; they make the classic tale new again. And readers can view the Emerald City through a pair of green-tinted glasses, provided in the back of the book.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Paperback edition.

Grade 2-5-This showstopping pop-up book celebrates the 100th birthday of The Wizard of Oz in a spectacular fashion; from the twister that spins up dizzyingly on the opening spread to the final "And oh, Aunt Em! I'm so glad to be at home again!" clinch, the array of special effects will wow even blas "seen it all" readers. Not only is Sabuda a wizardly paper engineer, able to pull off a bursting ball of flame, a melting witch, and a balloon rocking gently in the breeze, but he also shows a magic touch with pictorial art, creating colored lino-cut figures that strongly recall those of W. W. Denslow. The large central effects open up like stage settings, and are flanked with accordion-folded insets that contain even more pop-ups, along with an abbreviated text closely based on the original. Nor does the razzle-dazzle stop there, as Dorothy's silver shoes, the yellow brick road, and even the Emerald City are coated with shimmering foil, and by donning the included pair of tinted spectacles, readers are treated to a hidden message on one page. Sabuda's homage to an enduring classic captures its timeless sense of wonder, distinctive characters, and the flavor of its melodrama brilliantly.
John Peters, New York Public Library 
Copyright 2000 Reed Business Information, Inc.

Gr. 4-up, younger for reading aloud. As Mark Evan Swartz comments in Oz: Before the Rainbow [BKL O 15 00], L. Frank Baum's The Wonderful Wizard of Oz "occupies a unique position in the cultural fabric of this country." Editor Peter Glassman (Oz: The Hundredth Anniversary Celebration) calls the story "quintessentially American." Yet it has a universal appeal--which may account for its translation into many different languages. Although children are often first introduced to the Land of Oz by the classic 1939 movie, the original novel and its many sequels have enchanted both young and old over the years. Published for the centennial, several new books commemorate the beloved story. Readers unacquainted with Oz are sure to find a pleasing version; readers who already know the story will find something to delight them all over again.In Oz: The Hundredth Anniversary Celebration, Peter Glassman presents art and words from children's book authors and illustrators who are big fans of Oz and here pay homage to "the enchanted land that inspired them and helped shape their imaginations." The paintings, in each artist's recognizable style, lovingly convey the essence of Oz, making this truly wonderful. Contributions come from Tomie dePaola, who imagines himself going down the yellow brick road instead of Dorothy; Paul O. Zelinsky, who shared the Oz experience with his children; Uri Shulevitz, who escaped from hunger and war during the 1940s in the pages of The Wonderful Wizard of Oz ; Richard Egielski, whose childhood defense against the ghastly flying monkeys was to lie absolutely still in bed; Natalie Babbitt, Peter Sis, Bruce Degen, Lloyd Alexander, and many others. Proceeds from the sale of the book will be donated to Reading Is Fundamental (RIF).Then there's Robert Sabuda's extraordinary pop-up version. On the first double-page spread, the fearful cyclone whirls up to loom over the tiny farm house in Kansas; in the next spread, the house stands squarely on top of the Wicked Witch of the East. And so it goes, spread after spread. The story itself is condensed and told on foldout booklets attached to the pages. The standout pop-ups are prints created from cut blocks of linoleum, with sparkling touches of colored foil that add pizzazz. Sabuda's art evokes that of Denslow, including the silver, rather than ruby, slippers, and once again, his mastery of his craft enhances and enchants. A good selection for story hours.Also now available is Henry Holt's reissue of its 1982 version of the book, with artwork by the well-known children's book illustrator Michael Hague. It contains several new pictures and a slightly longer profile of Baum. It's certainly not an essential purchase, but it's a gorgeous edition for collections that don't have the earlier volume.Last, but certainly not least, is The Wonderful Wizard of Oz, the "100th Anniversary Edition," part of the HarperCollins Books of Wonder imprint. For those who want the look and feel of the 1900 publication, this fills the bill. It's a very handsome facsimile, printed on high-quality paper and containing all of W. W. Denslow's 24 original colorplates and 130 two-color drawings. Long live Dorothy and her stalwart companions. Sally Estes
Copyright © American Library Association. All rights reserved

Zwerger (illustrator of Theodor Storm's Little Hobbin, 1995, etc.) creates characters who may, if not erase the MGM cast from the collective conscious of US readers, make them share some space therein. These tinkling, wafty creatures are very comfortable in Baumland--the creator did, after all, want this to be a fairy tale where ``the heart-aches and nightmares are left out''--particularly the Scarecrow, with his stuffed-pillow head, conical hat, and tremendous girth. Zwerger doesn't try to overwhelm the story, and many of the pieces are small expressive exercises of her vision. In an illustrator's note, she says, ``Baum's precise details--his vivid descriptions of the Munchkins, for example--make an illustrator almost superfluous.'' Actually, her paintings lead readers gracefully into the pages, to be surprised and entertained by the story they only think they know from the movie. (Fiction. 7-11) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved. --This text refers to the Paperback edition.

“Baum was a true educator, and those who read his Oz books are often made what they were not—imaginative, 
tolerant, alert to wonders, life.”—Gore Vidal --This text refers to the Paperback edition.

This book is in Electronic Paperback Format. If you view this book on any of the computer systems below, it will look like a book. Simple to run, no program to install. Just put the CD in your CDROM drive and start reading. The simple easy to use interface is child tested at pre-school levels.

Windows 3.11, Windows/95, Windows/98, OS/2 and MacIntosh and Linux with Windows Emulation.

Includes Quiet Vision's Dynamic Index. the abilty to build a index for any set of characters or words.

This Electronic Paperback is illustrated.

This Electronic Paperback is read aloud by an actor. --This text refers to the Paperback edition.

L. Frank Baum's timeless classic The Wonderful Wizard of Oz was the fi rst uniquely American fairy tale. A combination of enchanting fantasy and piercing social commentary, this remarkable story has entertained and beguiled readers of all ages since it was fi rst published in 1900. Ray Bradbury writes in his Introduction, "Both [Baum and Shakespeare] lived inside their heads with a mind gone wild with wanting, wishing, hoping, shaping, dreaming," and it is this same hunger that makes all of us continue to seek out the story of Oz--and be nourished by it.
This Modern Library Paperback Classic is set from the text of the defi nitive fi rst edition and includes the New York Times review of that edition as well as the original Preface by the author. --This text refers to the Paperback edition.

A cyclone hits Kansas and whirls away Dorothy and her little dog Toto to the magical Land of Oz, where wild beasts talk, silver shoes have magic powers, and good witches offer protection with a kiss. But Dorothy has made an enemy of the Wicked Witch of the West. With her new friends the Scarecrow, the Tin Woodman, and the Cowardly Lion, they brave many dangers in search of the Wonderful Wizard in his Emerald City at the heart of Oz to ask him to grant each of them what they most desire - only to find that they already possess it. Published at the dawn of the twentieth century, The Wonderful Wizard of Oz immediately captivated child and adult readers alike. This new edition includes many of W. W. Denslow's original illustrations, and the introduction considers both the famous MGM film version and recent literary theory in a fascinating discussion of this children's classic. --This text refers to the Paperback edition.

Lyman Frank Baum was born in Chittenango, New York, on May 15, 1856. Over the course of his life, Baum raised fancy poultry, sold fireworks, managed an opera house, opened a department store, and an edited a newspaper before finally turning to writing. In 1900, he published his best known book The Wonderful Wizard of Oz. Eventually he wrote fifty-five novels, including thirteen Oz books, plus four “lost” novels, eighty-three short stories, more than two hundred poems, an unknown number of scripts, and many miscellaneous writings. Baum died on May 6, 1919. He is buried in the Forest Lawn Memorial Park Cemetery, in Glendale, California.

Robert Sabuda is one of the most innovative and inventive children's book creators and is known worldwide for his amazing pop-up paper engineering. His books include Alice's Adventures in Wonderland, The Wonderful Wizard of Oz, The Twelve Days of Christmas, The Night Before Christmas, The Winter's Tale, Peter Pan, Beauty and the Beast, to name but afew, have garnered numerous awards and have made the New York Times bestseller lists on many occasions. He lives in New York City.

Chapter 1

Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the farmer's wife. Their house was small, for the lumber to build it had to be carried by wagon many miles. There were four walls, a floor and a roof, which made one room; and this room contained a rusty looking cooking stove, a cupboard for the dishes, a table, three or four chairs, and the beds. Uncle Henry and Aunt Em had a big bed in one corner, and Dorothy a little bed in another corner. There was no garret at all, and no cellar-except a small hole, dug in the ground, called a cyclone cellar, where the family could go in case one of those great whirlwinds arose, mighty enough to crush any building in its path. It was reached by a trap-door in the middle of the floor, from which a ladder led down into the small, dark hole.

When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side. Not a tree nor a house broke the broad sweep of flat country that reached the edge of the sky in all directions. The sun had baked the plowed land into a gray mass, with little cracks running through it. Even the grass was not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen everywhere. Once the house had been painted, but the sun blistered the paint and the rains washed it away, and now the house was as dull and gray as everything else.

When Aunt Em came there to live she was a young, pretty wife. The sun and wind had changed her, too. They had taken the sparkle from her eyes and left them a sober gray; they had taken the red from her cheeks and lips, and they were gray also. She was thin and gaunt, and never smiled, now. When Dorothy, who was an orphan, first came to her, Aunt Em had been so startled by the child's laughter that she would scream and press her hand upon her heart whenever Dorothy's merry voice reached her ears; and she still looked at the little girl with wonder that she could find anything to laugh at.

Uncle Henry never laughed. He worked hard from morning till night and did not know what joy was. He was gray also, from his long beard to his rough boots, and he looked stern and solemn, and rarely spoke.

It was Toto that made Dorothy laugh, and saved her from growing as gray as her other surroundings. Toto was not gray; he was a little black dog, with long, silky hair and small black eyes that twinkled merrily on either side of his funny, wee nose. Toto played all day long, and Dorothy played with him, and loved him dearly.

To-day, however, they were not playing. Uncle Henry sat upon the door-step and looked anxiously at the sky, which was even grayer than usual. Dorothy stood in the door with Toto in her arms, and looked at the sky too. Aunt Em was washing the dishes.

From the far north they heard a low wail of the wind, and Uncle Henry and Dorothy could see where the long grass bowed in waves before the coming storm. There now came a sharp whistling in the air from the south, and as they turned their eyes that way they saw ripples in the grass coming from that direction also.

Suddenly Uncle Henry stood up.

"There's a cyclone coming, Em," he called to his wife; "I'll go look after the stock." Then he ran toward the sheds where the cows and horses were kept.

Aunt Em dropped her work and came to the door. One glance told her of the danger close at hand.

"Quick, Dorothy!" she screamed; "run for the cellar!"

Toto jumped out of Dorothy's arms and hid under the bed, and the girl started to get him. Aunt Em, badly frightened, threw open the trap-door in the floor and climbed down the ladder into the small, dark hole. Dorothy caught Toto at last, and started to follow her aunt. When she was half way across the room there came a great shriek from the wind, and the house shook so hard that she lost her footing and sat down suddenly upon the floor.

A strange thing then happened.

The house whirled around two or three times and rose slowly through the air. Dorothy felt as if she were going up in a balloon.

The north and south winds met where the house stood, and made it the exact center of the cyclone. In the middle of a cyclone the air is generally still, but the great pressure of the wind on every side of the house raised it up higher and higher, until it was at the very top of the cyclone; and there it remained and was carried miles and miles away as easily as you could carry a feather.

It was very dark, and the wind howled horribly around her, but Dorothy found she was riding quite easily. After the first few whirls around, and one other time when the house tipped badly, she felt as if she were being rocked gently, like a baby in a cradle.

Toto did not like it. He ran about the room, now here, now there, barking loudly; but Dorothy sat quite still on the floor and waited to see what would happen.

Once Toto got too near the open trap-door, and fell in; and at first the little girl thought she had lost him. But soon she saw one of his ears sticking up through the hole, for the strong pressure of the air was keeping him up so that he could not fall. She crept to the hole, caught Toto by the ear, and dragged him into the room again; afterward closing the trap-door so that no more accidents could happen.

Hour after hour passed away, and slowly Dorothy got over her fright; but she felt quite lonely, and the wind shrieked so loudly all about her that she nearly became deaf. At first she had wondered if she would be dashed to pieces when the house fell again; but as the hours passed and nothing terrible happened, she stopped worrying and resolved to wait calmly and see what the future would bring. At last she crawled over the swaying floor to her bed, and lay down upon it; and Toto followed and lay down beside her.

In spite of the swaying of the house and the wailing of the wind, Dorothy soon closed her eyes and fell fast asleep.

Chapter 2

She was awakened by a shock, so sudden and severe that if Dorothy had not been lying on the soft bed she might have been hurt. As it was, the jar made her catch her breath and wonder what had happened; and Toto put his cold little nose into her face and whined dismally. Dorothy sat up and noticed that the house was not moving; nor was it dark, for the bright sunshine came in at the window, flooding the little room. She sprang from her bed and with Toto at her heels ran and opened the door.

The little girl gave a cry of amazement and looked about her, her eyes growing bigger and bigger at the wonderful sights she saw.

The cyclone had set the house down, very gently-for a cyclone-in the midst of a country of marvelous beauty. There were lovely patches of green sward all about, with stately trees bearing rich and luscious fruits. Banks of gorgeous flowers were on every hand, and birds with rare and brilliant plumage sang and fluttered in the trees and bushes. A little way off was a small brook, rushing and sparkling along between green banks, and murmuring in a voice very grateful to a little girl who had lived so long on the dry, gray prairies.

While she stood looking eagerly at the strange and beautiful sights, she noticed coming toward her a group of the queerest people she had ever seen. They were not as big as the grown folk she had always been used to; but neither were they very small. In fact, they seemed about as tall as Dorothy, who was a well-grown child for her age, although they were, so far as looks go, many years older.

Three were men and one a woman, and all were oddly dressed. They wore round hats that rose to a small point a foot above their heads, with little bells around the brims that tinkled sweetly as they moved. The hats of the men were blue; the little woman's hat was white, and she wore a white gown that hung in plaits from her shoulders; over it were sprinkled little stars that glistened in the sun like diamonds. The men were dressed in blue, of the same shade as their hats, and wore well polished boots with a deep roll of blue at the tops. The men, Dorothy thought, were about as old as Uncle Henry, for two of them had beards. But the little woman was doubtless much older: her face was covered with wrinkles, her hair was nearly white, and she walked rather stiffly.

When these people drew near the house where Dorothy was standing in the doorway, they paused and whispered among themselves, as if afraid to come farther. But the little old woman walked up to Dorothy, made a low bow and said, in a sweet voice,

"You are welcome, most noble Sorceress, to the land of the Munchkins. We are so grateful to you for having killed the wicked Witch of the East, and for setting our people free from bondage."

Dorothy listened to this speech with wonder. What could the little woman possibly mean by calling her a sorceress, and saying she had killed the wicked Witch of the East? Dorothy was an innocent, harmless little girl, who had been carried by a cyclone many miles from home; and she had never killed anything in all her life.

But the little woman evidently expected her to answer; so Dorothy said, with hesitation,

"You are very kind; but there must be some mistake. I have not killed anything."

"Your house did, anyway," replied the little old woman, with a laugh; "and that is the same thing. See!" she continued, pointing to the corner of the house; "there are her two toes still sticking out from under a block of wood."

Dorothy looked and gave a little cry of fright. There, indeed, just under the corner of the great beam the house rested on, two feet were sticking out, shod in silver shoes with pointed toes.

"Oh, dear! oh, dear!" cried Dorothy, clasping her hands together in dismay; "the house must have fallen on her. What ever shall we do?"

"There is nothing to be done," said the little woman, calmly.

"But who was she?" asked Dorothy.

"She was the wicked Witch of the East, as I said," answered the little woman. "She has held all the Munchkins in bondage for many years, making them slave for her night and day. Now they are all set free, and are grateful to you for the favour."

"Who are the Munchkins?" enquired Dorothy.

"They are the people who live in this land of the East, where the wicked Witch ruled."

"Are you a Munchkin?" asked Dorothy.

"No; but I am their friend, although I live in the land of the North. When they saw the Witch of the East was dead the Munchkins sent a swift messenger to me, and I came at once. I am the Witch of the North."

"Oh, gracious!" cried Dorothy; "are you a real witch?"

"Yes, indeed;" answered the little woman. "But I am a good witch, and the people love me. I am not as powerful as the wicked Witch was who ruled here, or I should have set the people free myself."

"But I thought all witches were wicked," said the girl, who was half frightened at facing a real witch.

"Oh, no; that is a great mistake. There were only four witches in all the Land of Oz, and two of them, those who live in the North and the South, are good witches. I know this is true, for I am one of them myself, and cannot be mistaken. Those who dwelt in the East and the West were, indeed, wicked witches; but now that you have killed one of them, there is but one wicked Witch in all the Land of Oz-the one who lives in the West."

"But," said Dorothy, after a moment's thought, "Aunt Em has told me that the witches were all dead-years and years ago."

"Who is Aunt Em?" inquired the little old woman.

"She is my aunt who lives in Kansas, where I came from."

The Witch of the North seemed to think for a time, with her head bowed and her eyes upon the ground. Then she looked up and said,

"I do not know where Kansas is, for I have never heard that country mentioned before. But tell me, is it a civilized country?"

"Oh, yes;" replied Dorothy.

"Then that accounts for it. In the civilized countries I believe there are no witches left; nor wizards, nor sorceresses, nor magicians. But, you see, the Land of Oz has never been civilized, for we are cut off from all the rest of the world. Therefore we still have witches and wizards amongst us."

"Who are the Wizards?" asked Dorothy.

"Oz himself is the Great Wizard," answered the Witch, sinking her voice to a whisper. "He is more powerful than all the rest of us together. He lives in the City of Emeralds."

Dorothy was going to ask another question, but just then the Munchkins, who had been standing silently by, gave a loud shout and pointed to the corner of the house where the Wicked Witch had been lying.

"What is it?" asked the little old woman; and looked, and began to laugh. The feet of the dead Witch had disappeared entirely and nothing was left but the silver shoes.

"She was so old," explained the Witch of the North, "that she dried up quickly in the sun. That is the end of her. But the silver shoes are yours, and you shall have them to wear." She reached down and picked up the shoes, and after shaking the dust out of them handed them to Dorothy.

"The Witch of the East was proud of those silver shoes," said one of the Munchkins; "and there is some charm connected with them; but what it is we never knew."

Dorothy carried the shoes into the house and placed them on the table. Then she came out again to the Munchkins and said,

"I am anxious to get back to my Aunt and Uncle, for I am sure they will worry about me. Can you help me find my way?"

The Munchkins and the Witch first looked at one another, and then at Dorothy, and then shook their heads.

"At the East, not far from here," said one, "there is a great desert, and none could live to cross it." --This text refers to the Paperback edition.

They're all here, of course: the Cowardly Lion, witches and the Tin Man. Not to mention the Scarecrow and the mighty Wizard! Into this magical land come Dorothy and Toto, who only want to find their way back to Kansas. If your only experience with Baum's fantasy is the Judy Garland film, you ought to spend a couple of hours with this lively full-cast presentation. This adaptation is performed in radio-theater style with sound effects and music. The packagingÐtwo cassettes in a flimsy cardboard caseÐwill never last long with kids, however. P.B.J. (c)AudioFile, Portland, Maine --This text refers to the Paperback edition.