Customer Reviews

The Royal Book of Oz (Dover Children's Classics)

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The first of the 19 Oz titles she authored, Ruth Plumly Thompson's The Royal Book Of Oz (1921) has met with occasional opposition over the years, largely due to the bold steps Thompson took in addressing questions Oz creator L. Frank Baum's 13 original books left unanswered. Thompson was personally elected by Baum himself to become the next "Royal Historian of Oz," a fact that should carry more weight with sensitive fans. While Baum deserves enormous credit for creating and sustaining America's premier fantasy land, Thompson's books were almost always exceptional; her style was smooth, convincing, and full of the imagination necessary to further the series. Any author following Baum certainly had a difficult task ahead of them.

As The Royal Book Of Oz opens, Professor Wooglebug has lighted on the idea of composing a book of his own, one that will trace the genealogy of all members of the Oz Royal Family. While Scraps the Patchwork Girl and several of the others are content with and honest about their humble origins, the aggressive Professor brazenly stresses the importance of legitimate family relationships, bluntly declaring to the assembled that outstanding Oz citizen the Scarecrow has none. Thompson's portrayal of the Wooglebug as an arrogant interloper and snob has offended some, but Thompson was only taking the Wooglebug's already established sense of elitism to its logical conclusion. His superior attitude does not go unnoticed by the others, especially the sensitive Dorothy; or by the Scarecrow himself, who first inexplicably came to life while strapped to a beanpole in the Munchkin country. Embarrassed and despondent, the Scarecrow sets out alone to discover if he has a legitimate "family tree."

Thompson's ingenious solution to the cause of the Scarecrow's sentience was probably something even she thought a gamble. Returning to the Munchkin country and the exact site of his origin, the Scarecrow discovers that his former beanpole extends far into the earth, and while digging at its base, tumbles into a hole that inexplicably opens around it. He falls a great distance - Thompson suggests that the Silver Island kingdom into which he eventually emerges is one the opposite side of the earth. Greeted in a great royal palace by a throng of awed silver - skinned Asians, the Scarecrow discovers that he not only has 3 sons, 15 grandchildren, and thousands of loyal subjects, but a vast kingdom. For the Scarecrow is none other than the reincarnation of the country's former emperor, dead now some 50 years. Initially thrilled if a little dismayed, the Scarecrow comes to regret the enormous responsibility that his "family tree" and his subject's expectations bring.

Meanwhile, a thankfully limited expedition composed of Dorothy and the Cowardly Lion has set out in search of their missing patriot, who Dorothy suspects has been wounded by the Professor's remarks. Thompson must have been an admirer of Lewis Carroll, for, as in later Thompson titles, many of the team's adventures have a Wonderland - like character. In one dazzlingly executed chapter, Dorothy and the Lion find themselves trapped in the strange city of Pokes ("Pocus"), where the residents contently live in perpetual drowse and move more slowly than their pet snails. There the journeyers discover Arthurian knight Sir Hocus, who has been held captive by the sleepwalking spell for centuries. The strange, very specific physical laws that govern Pokes are cleverly set into motion, and Dorothy and the Cowardly Lion are quickly ensnared. In a later adventure, they find themselves in the city of Fix, where the large-footed inhabitants never move from the spot on which they've chosen to settle; the anthropomorphic beds, dining tables, chairs, and even the trees and roads come to them instead. King Fix Sit's prim, short-tempered, and heretical dialogues with his three guests are particularly Alice - inspired.

Sir Hocus's status as an Arthurian knight has ruffled the sensibilities of some Oz fans, but most readers will agree there is more than enough room in Oz for the introduction of a great variety of characters from myth, folklore, literature, and history. Baum himself used the earth - guarding gnomes of Paracelsus, and freely adapted Europe's fairy mythology for his own purposes. Sir Hocus's somewhat scatter - brained notions of courtly romance and valor are one of the highlights of The Royal Book Of Oz; in later books, Sir Hocus frequently reappears as a valued member of the Royal Family. Thompson's Dorothy is an independent spirit, and free of the precious quality with which she was often burdened. Most impressive of all Thompson's characterizations is the Cowardly Lion; anxious, nervous, and weary in the face of danger, he nonetheless sinks his teeth into the opposition and emerges victorious. Depicted as a real, three - dimensional, physically threatening lion, he is no longer the stock character he had become in several of the earlier books.

As in Kabumpo In Oz and the books that followed, Thompson's characters frequently have depth and cast shadows. Wisely focusing on and exploiting the potential of a small cast, Thompson provides readers with a story that is both warm and interesting, though the first half of the book is stronger than the second. John R. Neill's drawings are particularly inventive, though his dated portrayal of Asians may offend some. Each chapter opens with an elaborate two - page illustration; there are numerous pictures in color. Opening with a message to readers in which widow Maude Baum passes the "Royal Historian" crown on to Thompson, The Royal Book Of Oz provides its audience with a wonderful stroll off the yellow-brick road and into unexplored and little - suspected hinterlands of Oz.

This book in its initial release was instant an Oz classic, but now Books of Wonder rereleases Thompsons first installment in Baum's Oz Series. In "The Royal Book of Oz " Thompson recaptures all of Baum's Oz magic and addes some of her own. In this 15th Official Oz Book Thompson revives the series by bringing back such classic characters as the Scarecrow(who finally comes to understand why he is alive, who is family is, and faces a lot of serious dangers along the way)and brings us all new Oz characters to enjoy such as Sir Hokus of Pokes(a vallent knight), and the Comfortable Camel. I would recommend this book to anyone looking for an Oz Book with a Thompson twist.

On a quest for his family tree, the Scarecrow travels to the Munchkin farm where Dorothy originally met him. He falls down a magic beanstalk (the pole Dorothy rescued him from) and finds himself in a strange land, the Silver Islands, where he is proclaimed to be the re-created Emperor Chang Wang Woe. Meanwhile, when Dorothy and the Cowardly Lion realize that the Scarecrow is missing from the Emerald City, they go off in search of him. In this story, you'll meet many delightful new characters, such as the Doubtful Dromedary, the Comfortable Camel, and (my favorite) Sir Hokus of Pokes. Like Ruth Plumly Thompson's other Oz books, this one is as lively and at least as funny as L. Frank Baum's series. Thompson wrote 19 Oz books, so if you like this one, there are lots more to enjoy.

When I was young,I really enjoyed the Oz series by L. Frank Baum. One day I was in a bookstore and saw a display with very long paperbacks(published by DEL REY at the time) by Ruth Plumly Thompson. I didn't even know that someone else wrote any Oz books. I had to get them. The Royal Book of Oz was the first one I got because It was marked 15 on the cover and I knew that it was the next in the series. After reading the book I instantly fell in love with the writing of Thompson. I had to read the rest of books she wrote. The Royal Book of Oz is a fairly decent book. I wouldn't say it is one of Thompson best work, but it is a good read. Thompson's writing is more fun and bouncy then L.Frank Baum's(don't get me wrong I love Baum's work). You can tell the difference alot in this story. An interesting fact is that in the original publishing was created to L. Frank Baum. It wasn't until the DEL REY version that Thompson was finally created as the author. I'm glad that Books of Wonder has made this new edition of this book. Now I get a chance to see the color plates that were missing in the other version. I hope that you enjoy this book as much as I did when I was a thirteen year old boy.

I must say that I disagree more strongly with the two negative reviews this book has received than with any other reviews I have ever seen on amazon.com. The first time I read this book I realized that it was the best Oz book I had ever read, and I still think so. It has everything one could possibly desire in an Oz book--humor, suspense, a deeply intriguing storyline that clears up mysteries that go back to "The Wizard of Oz," and material that deepens our understanding of nearly all the characters. Thompson's depictions of Baum's characters were somewhat different from Baum's but still consistent with them, just as her style was different from Baum's but equally well suited to writing Oz books; in this book both her characterizations and her style get off to a flying start. If, as one reviewer said, she improved in later Oz books, why did she keep featuring Sir Hokus, Doubty and Camy (whom I consider excellent characters) rather than letting them fade out of the series? Also, I must disagree with the reviewer who feels that the Wogglebug was always perfectly kind and sweet. Even Baum depicts him as having a self-satisfied, intellectually superior side to his personality. In this book he does hurt the Scarecrow's feelings, but clearly does not realize how deeply hurtful his comments will be; and Thompson makes clear at the end of the book that the Wogglebug feels profoundly sorry for what he did. The Oz book that truly contains an overly unpleasant depiction of Professor Wogglebug is John R. Neill's "The Runaway in Oz" (which was not published until the 1990's, when it was published by Books of Wonder). To sum up, "The Royal Book of Oz" is my favorite Oz book, and it amazes me that it was Ruth Plumly Thompson's very first book in the series (and, I think, her first novel of any kind)!

When the Wogglebug says the Scarecrow has no family tree, Scarecrow sets out to his field where he was born to prove him wrong. But when he slides down the bean pole (which is magic!) the people of the Silver Isles say he is a reincarnation of Chang Wang Woe, their former king. I think if you love Oz, you have to read this book. Five Cheers for "The Royal Book of Oz"!

The Royal Book of Oz is Thompson's first, but strangest Oz book. Here, Thompson displays the talents and the imagination that made her famous as a writer, but her abilities seem misdirected. Here she manages to introduce elements into the Oz canon that have annoyed Oz fans for 80 years. Her insistence that the Scarecrow is the reincarnation of an Oriental king has to be seen to be believed, and is quietly rejected (or ignored) by most Oz fans. The introduction of Sir Hokus of Pokes brings English folklore, (complete with references to knights, quests, damsels in distress, dragons and other such stock ingredients) to the Oz mix, badly, and unnessarily. The Comfortable Camel and Doubtful Dromedary are the most smelly, repugnant, cud-chewing characters ever brought to life on paper, and are sure to elicit groans from new readers, unaware that they're supposed to be funny. The mixing (or clashing) of all these different inspirations and cultures make for some mighty strange, almost narcotic reading. Thankfully, by her next book, Thompson "got it," and she wrote 18 excellent Oz books for you to look forward to. If you want to start with a GOOD Thompson Oz book, I recommend buying Kabumpo in Oz (my personal favorite) or The Silver Princess in Oz...now those are good OZ books.

Ruth Plumly Thompson is an excellent author and the perfect person to pick up where L. Frank Baum left off, unfortunately, her first romp in the Land of Oz is one of her worst. If you want to see some of Thompson's better work, "Royal Book" is not the right place to look.

After Professor H.M. Wogglebug T.E. inadverdently makes the Scarecrow feel like he doesn't belong, the he gets upset and leaves to see if he can find his family tree.

Finding the beanpole that Dorothy lifted him off of years before, he slides down and finds the underground Silver Islands, a subterranean world with a strikingly Asian culture. Only in literature of this vintage can we find such wonderfully horrid racially stereotypical caricatures. The Scarecrow learns from the Silver Islanders that he is the reincarnated emperor Chang Wang Woe.

Meanwhile, Dorothy and the Cowardly Lion set out to find him. Along the way, they become lost in a medieval city called Pokes. In this city, everyone is half asleep. Reading these few chapters literally made me yawn! Boring story, or amazingly effective power of suggestion, I may never know. They meet a knight named Sir Hokus of Pokes (a perfect example of the puns that Thompson is loved for).

After meeting such wonderful personalities as the Comfortable Camel and Doubtful Dromedary, and stumbling across the magical Wish Way, the Scarecrow's friends finally bring him home.

Although this is a wonderful story, it falls slightly short of the high standard set by Baum, a standard met in later books by Thompson herself. Nevertheless, it's necessary for your complete collection.

This book is Ruth Plumly Thompson's first foray into Oz writing (and it is entirely hers, despite the publishers' initial story that she had written it based on notes left by L. Frank Baum), and it is hardly her best work, but it isn't her worst, either. She does a good job working with Baum's characters, and the premise of the book is an attempt to solve one of the greatest mysteries left behind by Baum: why the Scarecrow is alive. I know some people have been dissatisfied with the explanation, but I have no problem with it. A weak point to this book is that it isn't especially tightly plotted, with some moments where the action stops for no reason.

Thompson seemed to want to make Oz more multicultural than Baum left it, and, to this end, she used this book to introduce an Arthurian knight and an Oriental kingdom. While this is admirable in a way, Thompson uses a lot of stereotypes in writing about foreign cultures. The Scarecrow considers the Oriental Silver Islanders to be "stupid," and is disturbed to find out that they eat cats. The illustrations are even worse in this respect. I would say these stereotypes are the only potentially offensive part of the book, though (unless you're of a similar mind to the Wogglebug fan who posted an earlier review, in reply to whom I can only say that the Wogglebug might be slightly meaner here than in Baum's books, but overall, he's just as Baum introduced him: a stuffy, stuck-up academic, who is rarely intentionally mean or unfriendly, but often rubs people the wrong way). I would say any Oz fan should read this at some point, but, if it's your first Thompson book, keep in mind that she gets better.

L. Frank Baum died in 1919. His last Oz book, _Glinda of Oz_, was published in 1920. Shortly thereafter, a young children's book author named Ruth Plumly Thompson was hired to continue the series. Initial publicity claimed that she was Baum's niece (she was not) and that she created _The Royal Book of Oz_ (1921) using notes by Baum (she did not).

There are some purists who will argue that no writer of the Oz books can hold a candle to Baum. But actually, Thompson was a worthy successor to him. She had a smooth style, a good imagination, and a light touch that Baum would have liked. Of course, her humor was a bit more heavy-handed, as seen in her names (the A-B-C Serpent, the Rattlesnake, the Muddy Middlings, Slow Pokes, the Grand Chew-Chew, the Doubtful Dromedary, Fix City, etcetera, etcetera). And her puns and jokes are much more frequent and obvious than those of Baum.

The story begins when H.M. Wogglebug, T.E. decides that all prominant citizens of Oz must have a proper geneology before they may be considered royalty. Intelligence or previous leadership do not count. He treats the Scarecrow shabbily because he does not have a proper family tree. If we see the Wogglebug at his worst here, his academic snobbery is consistent with his character in the earlier Oz books.

The Scarecrow, his feelings hurt, sets out on a quest to his old bean pole to (as Alex Haley would say) find his roots. The ground around the pole breaks open beneath him, and he slides down the pole until he eventually lands in the underground kingdom of the Silver Island. Thompson hints that this kingdom is on the other side of the world, far away from Oz. But she is careful not to be overly specific.

In the meantime, Dorothy and the Cowardly Lion go in search of their old friend. But because they are not sure where he went, they go on some false searches first. During one trip, they rescue the Knight Sir Hocus from the Land of the Pokuses. Later, they encounter the Doubtful Dromedary and the Comfortable Camel. All of these new characters help them in their attempts to rescue the Scarecrow.

Thompson hints that the Scarecrow _may_ be the reincarnation of a human ruler of the Silver Isle. At least, that is what he is told. But is it really true? I would prefer to think of the Scarecrow as the newly created being that Dorothy found in the cornfield. Thompson cleverly allows us to draw our own conclusions.

Perhaps a word should be said about the intended audiences of Baum and Thompson. Baum wrote his books for children, and he never forgot that. He often followed suggestions made by children for writing his books. But he had a wider audience in mind as well. There is social and political satire imbedded in Baum's Oz books that children would not understand. In a similar vein, many animated children's movies today contain a certain amount of adult-oriented jokes to appeal to a wider audience.

Thompson wrote more exclusively for children. _The Royal Book of Oz_ is great fun. Do not (like the Wogglebug) be snobbish about reading it just because Baum didn't write it. But it is a juvenile novel, and it does not have as wide an appeal as Baum's better Oz books.