Regardless of his own sexual orientation, L. Frank Baum’s fictions revel in queer, trans, and other transgressive themes. Baum’s life in the late 1800s and early 1900s coincided with the rise of sexology in the Western world, as a cascade of studies heightened awareness of the complexity of human sexuality. His years of productivity also coincided with the rise of children’s literature as a unique field of artistic creation. Best known for his Oz series, Baum produced a staggering number of children’s and juvenile book series under male and female pseudonyms, including the Boy Fortune Hunters series, the Aunt Jane’s Nieces series, and the Mary Louise series, along with many miscellaneous tales for young readers. Baum envisioned his fantasy works as progressive fictions, aspiring to create in the Oz series “a modernized fairy tale, in which the wonderment and joy are retained and the heartaches and nightmares are left out.” In line with these progressive aspirations, his works are often sexually progressive as well, with surprisingly queer and trans touches that reject the standard fairy-tale narrative path toward love and marriage. From Ozma of Oz’s backstory as a boy named Tip to the genderless character Chick the Cherub, from the homosocial adventures of his Boy Fortune Hunters to the determined rejection of romance for Aunt Jane’s Nieces, Queer Oz: L. Frank Baum's Trans Tales and Other Astounding Adventures in Sex and Gender shows how Baum utilized the freedoms of children’s literature, in its carnivalesque celebration of a world turned upside-down, to reimagine the meanings of gender and sexuality in early twentieth-century America and to re-envision them for the future.

At the dawn of the 20th century, L. Frank Baum created a world of wonders that was to hold a permanent place in the culture of America: The Wonderful Wizard of Oz. Now these rare cartoon features, based on his famed characters from Oz, are collected for the first time.

In Friends of Dorothy Dee Michel explains the enduring appeal of Oz for gay men and boys. The book also tackles the long-taboo topic of gay boys, examining their feelings about escaping to Oz, the characters they identify with, and the psychological and spiritual uses they make of stories set in Oz.

Photographic portraits and profiles of selected LGBTQ individuals

The Woggle-Bug, a creation from the mind of L. Frank Baum, who also penned the Wizard of Oz series, captivated the United States in the early 1900s. The comical character was a multimedia sensation at the time, appearing in everything from comic strips to books to a live stage show. Though some of the ethnic humor in the book may be somewhat jarring to modern readers, The Woggle-Bug Book remains a captivating read more than 100 years after its initial release.

In a whimsical sequel to the Oz adventures, Dorothy, the Scarecrow, and the Tin Woodman return to Earth, only to be confronted with dangerous New York City gangsters who attempt to abduct Dorothy to prove she is an imposter.

In this colorful and touching story that celebrates what makes each of us unique, a little creature that's not quite a bird and not quite a bunny--it's "neither"--searches for a place to fit in. In the Land of This and That, there are only two kinds: blue bunnies and yellow birds. But one day a funny green egg hatches, and a little creature that's not quite a bird and not quite a bunny pops out. It's neither! Neither tries hard to fit in, but its bird legs aren't good for jumping like the other bunnies, and its fluffy tail isn't good for flapping like the other birds. It sets out to find a new home and discovers a very different place, one with endless colors and shapes and creatures of all kinds. But when a blue bunny and a yellow bird with some hidden differences of their own arrive, it's up to Neither to decide if they are welcome in the Land of All. This colorful, simple, and touching story promotes diversity and offers a valuable lesson to the youngest of audiences: it is our differences that unite us.

Innocence, Heterosexuality, and the Queerness of Children’s Literature examines distinguished classics of children’s literature both old and new—including L. Frank Baum’s Oz books, Laura Ingalls Wilder’s Little House series, J. K. Rowling’s Harry Potter novels, Lemony Snicket’s A Series of Unfortunate Events, and Stephenie Meyer’s Twilight series—to explore the queer tensions between innocence and heterosexuality within their pages. Pugh argues that children cannot retain their innocence of sexuality while learning about normative heterosexuality, yet this inherent paradox runs throughout many classic narratives of literature for young readers. Children’s literature typically endorses heterosexuality through its invisible presence as the de facto sexual identity of countless protagonists and their families, yet heterosexuality’s ubiquity is counterbalanced by its occlusion when authors shield their readers from forthright considerations of one of humanity’s most basic and primal instincts. The book demonstrates that tensions between innocence and sexuality render much of children’s literature queer, especially when these texts disavow sexuality through celebrations of innocence. In this original study, Pugh develops interpretations of sexuality that few critics have yet ventured, paving the way for future scholarly engagement with larger questions about the ideological role of children's literature and representations of children's sexuality. Tison Pugh is Associate Professor in the Department of English at the University of Central Florida. He is the author of Queering Medieval Genres and Sexuality and Its Queer Discontents in Middle English Literature and has published on children’s literature in such journals as Children’s Literature, The Lion and the Unicorn, and Marvels and Tales.

Exploring cultural expressions of Puerto Rican queer migration from the Caribbean to New York, Philadelphia, Chicago, and San Francisco, Lawrence La Fountain-Stokes analyzes how artists have portrayed their lives and the discrimination they have faced in both Puerto Rico and the United States. Highlighting cultural and political resistance within Puerto Rico’s gay, lesbian, bisexual, and transgender subcultures, La Fountain-Stokes pays close attention to differences of gender, historical moment, and generation, arguing that Puerto Rican queer identity changes over time and is experienced in very different ways. He traces an arc from 1960s Puerto Rico and the writings of Luis Rafael Sánchez to New York City in the 1970s and 1980s (Manuel Ramos Otero), Philadelphia and New Jersey in the 1980s and 1990s (Luz María Umpierre and Frances Negrón-Muntaner), and Chicago (Rose Troche) and San Francisco (Erika López) in the 1990s, culminating with a discussion of Arthur Avilés and Elizabeth Marrero’s recent dance-theater work in the Bronx. Proposing a radical new conceptualization of Puerto Rican migration, this work reveals how sexuality has shaped and defined the Puerto Rican experience in the United States.

When L. Frank Baum wrote The Wonderful Wizard of Oz, he created an American myth that has endured the test of time. Echoes of Dorothy and her friends are everywhere: popular television shows often have an Oz episode, novelists borrow character types and echo familiar scenes, and every media--from Broadway to The Muppets--has some variation or continuation of Baum's work. This collection of essays follows Baum's archetypal characters as they've changed over time in order to examine what those changes mean in relation to Oz, American culture and basic human truths. Essays also serve as a bridge between academia and fandom, with contributors representing a cross-section of Oz scholarship from backgrounds including The International Wizard of Oz Club and the Children's Literature Association.