Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

In his day, Christopher Pearse Cranch (1813-1892) was a well-known figure in American arts and letters, with close ties to the New England Transcendentalists. Though Cranch made his mark in fields ranging from poetry and journalism to caricature and oil painting, his most enduring achievements are his novels for children. Collected here for the first time in one volume, these three works - The Last of the Huggermuggers, Kobboltozo: A Sequel to the Last of the Huggermuggers, and The Legend of Dr. Theophilus; or, The Enchanted Clothes - establish Cranch as a pioneer in American fantasy fiction. Until now, these texts have been largely inaccessible. Huggermuggers (1866) and Kobboltozo (1867) went through several printings during the last half of the nineteenth century but have not been reissued since 1901. The manuscript of Cranch's third and last novel, The Legend of Dr. Theophilus, disappeared around 1870 and did not resurface until the 1980s. It has never before been published. As the editors explain in their introduction, Cranch was the first American author to write novel-length works solely for children, and to fuse elements of fantasy and adventure. In an era when most juvenile books emphasized moral rectitude and acquiescence to adult authority, Cranch put a higher premium on humor and the imaginative aspects of storytelling. Huggermuggers and Kobboltozo relate the still-entertaining escapades of a shipwrecked American boy, Jacky Cable, and the gentle giants and evil dwarfs who inhabit the unknown island on which he is marooned. In Dr. Theophilus Cranch takes children to a faraway place where the sun cannot penetrate the fog and where a suit of enchanted clothes can cause mayhem and grief. True to the novel's closing lines - "For the young, a magic story. For the old, an allegory" - Cranch also satirizes the medical profession and his society's stunting reverence for the past. The editors note superficial parallels between Cranch's novels and Robinson Crusoe, Gulliver's Travels, and the English "Jack Tales," but they believe that Cranch's stories actually belong more to the tradition of Hans Christian Andersen and the Brothers Grimm, earlier masters at combining elements of fantasy and adventure. They also detect in Cranch's heroes a thoroughly American self-reliance and resourcefulness. Written during an important transition in the history of American children's literature, these three novels are of special interest to scholars of American Romanticism. Perhaps most important of all they have not lost their attraction for young readers. The presence in this volume of eleven of Cranch's original illustrations for Huggermuggers and Kobboltozo only enhances the stories' imaginative appeal.

How Little Jacket would go to sea -- His good and his bad luck at sea -- How he fared on shore -- How Huggermugger came along -- What happened to Little Jacket in the Giant's boot -- How Little Jacket escabed from Kobboltozo's shop -- How he made use of Huggermugger in travelling -- How Little Jacket and his friends left the Giant's island -- Mr. Nabbum -- Zebedee an Jacky put their heads together -- They sail for Huggermugger's island -- Huggermugger hall -- Kobboltozo astonishes Mr. Scrawler -- Mrs. Huggermugger grows thin and fades away -- The sorrows of Huggermugger -- Huggermugger leaves his island -- The last of Huggermugger.

Reprint of the original, first published in 1860.

When moviegoers accompany Dorothy through the gates of the Emerald City, they may think they have discovered all there is to see of Oz--but as real friends of the Wizard know, more lies behind the curtain. The Wonderful Wizard of Oz, on which the 1939 film was based, was only the first of 14 Oz books. Together these works constitute a series rich in allusions to a broad range of literary traditions, including fairy tale, myth, epic, the picaresque novel, and visions of utopia. Reflecting on L. Frank Baum's entire series of full-length Oz books, this study introduces readers to the great folklorist who created not only Dorothy and friends, but countless wonderful characters who still await discovery. Close analysis of each book invites readers to search Baum's fascinating stories for meaning and mythical quality. Progressing chronologically through the canon, the author discusses literary devices and important thematic implications in each book, arguing that Baum wrote for the pleasure of both children and adults, both to provide entertainment and to teach moral lessons. Of particular significance is the argument, sustained over several chapters, that Baum modeled his Oz books on classic mythical patterns, rewriting Oz history in nearly every book to produce a different set of backgrounds and a different conception of utopia for his imaginary kingdom. This variety of backgrounds and archetypes gives Baum's books a truly universal appeal. Examinations of his non-Oz books and his other Oz works, such as Little Wizard Stories of Oz and The Woggle-Bug Book, illuminate the discussion of the Oz novels.

American publishing in the long nineteenth century was flooded with readers, primers, teaching-training manuals, children’s literature, and popular periodicals aimed at families. These publications attest to an abiding faith in the power of pedagogy that has its roots in transatlantic Romantic conceptions of pedagogy and literacy. The essays in this collection examine the on-going influence of Romanticism in the long nineteenth century on American thinking about education, as depicted in literary texts, in historical accounts of classroom dynamics, or in pedagogical treatises. They also point out that though this influence was generally progressive, the benefits of this social change did not reach many parts of American society. This book is therefore an important reference for scholars of Romantic studies, American studies, historical pedagogy and education.