Wicked: The Life and Times of the Wicked Witch of the West: A Novel
Wicked: The Life and Times of the Wicked Witch of the West: A Novel
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Paperback ©1995--
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HarperCollins
Just the Series: Wicked Years Vol. 1   

Series and Publisher: Wicked Years   

Annotation: Retelling of The Wizard of Oz with an evil Wizard and a good Witch of the West. Contains Mature Material
Genre: [Fantasy fiction]
 
Reviews: 5
Catalog Number: #4845699
Format: Paperback
Special Formats: Adult Language Adult Language Mature Content Mature Content
Publisher: HarperCollins
Copyright Date: 1995
Edition Date: 2000 Release Date: 11/28/00
Pages: 409 pages
ISBN: 0-06-098710-3
ISBN 13: 978-0-06-098710-7
Dewey: Fic
Dimensions: 24 cm.
Language: English
Reviews:
ALA Booklist

Dorothy and her journey through Oz get a fresh perspective when viewed through the eyes of Elphaba, the Wicked Witch of the West and star of this fantasy tale. McDonough maintains a leisurely pace as he spins the story of Elphaba's troubled childhood, unhappy youth, and reluctant growth into a powerful force. McDonough does a credible job voicing the main characters, and his somewhat old-fashioned reading style fits well with the story. Listeners familiar with the popular Broadway musical will spot the clever plot twists that made the theatrical production so much fun. The novel is a much darker, richer story that ruminates on the nature of good and evil.

Kirkus Reviews

Maguire, up to now a writer of kids' books, turns his considerable child-captivating skills to adultsand adult childrenin this magical telling of the land of Oz before and up to the arrival of Dorothy and company. While perhaps not quite as wonderful a land as Alice's, Maguire's Oz is magical and intriguing, and he adeptly fills in the ``historical'' background of talking animals, tin woodsmen, flying monkeys, and rejoicing Munchkins without it ever seeming familiar or contrived. In Munchkinland, a green-skinned baby is born to an often absent missionary preacher and the often drunk heiress to the county seat, neither of them Munchkins themselves. Baby Elphaba's parents' habits being what they are, though, her true father long remains a mysteryas it does for her sister, Nessarose, born two years later with pink skin but sans arms (magic red shoes will later enable her to walk without assistance). The girls grow up and attend the university, where Elphie, always the outsider in her verdant skin, is bright, sharp-tongued, and aloof. Nessie, unable to touch, has chosen an untouchable world and lives her life in religious sanctimoniousness. Elphie's roommate isperfectlyGlinda, a dippy, well-intentioned debutante sort majoring in sorcery. Meanwhile, the school's frightening headmistress places a spell on the girls and assigns each of them a quadrant of the land, leaving one unattended. Elphie is conscientious and honest, hardly a witch and certainly not evil, but her life unfolds along a path that is well laid out, though not by her. Her journey along this road is a captivating, funny, and perceptive look at destiny, personal responsibility, and the not-always-clashing beliefs of faith and magic. Save a place on the shelf between Alice and The Hobbitthat spot is well deserved. (First printing of 50,000; $75,000 ad/promo; first serial to Word; author tour)"

School Library Journal

YA--Elphaba, the future Wicked Witch of the West, has gotten a bum rap. Her mother is embarrassed and repulsed by her bright-green baby with shark's teeth and an aversion to water. At college, the coed experiences disapproval and rejection by her roommate, Glinda, a silly girl interested only in clothes, money, and popularity. Elphaba is a serious and inquisitive student. When she learns that the Wizard of Oz is politically corrupt and causing economic ruin, Elphaba finds a sense of purpose to her life--to stop him and to restore harmony and prosperity to the land. A Tin Man, Cowardly Lion, Scarecrow, and an unknown species called a "Dorothy" appear in very small roles... The story presents Elphaba in a sympathetic and empathetic manner-readers will want her to triumph! The conclusion, however, is the same as L. Frank Baum's. The book has both idealism and cynicism in its discussion of social, religious, educational, and political issues present in Oz, and, more pointedly, present in our day and time. The idealism is whimsical and engaging; the cynicism is biting. Sometimes the earthy language seems appropriate and adds to the sense of place; sometimes the four-letter words and sexual explicitness distract from the charm of the tale. The multiple threads to the plot proceed unevenly, so that the pace of the story jumps rather than moves steadily forward. Wicked is not an easy rereading of The Wizard of Oz. It is for good readers who like satire, and love exceedingly imaginative and clever fantasy.--Judy Sokoll, Fairfax County Public Library, VA

Word Count: 153,353
Reading Level: 6.4
Interest Level: 9+
Accelerated Reader: reading level: 6.4 / points: 25.0 / quiz: 74167 / grade: Upper Grades
Reading Counts!: reading level:6.3 / points:34.0 / quiz:Q44913
Lexile: 890L
Wicked
The Life and Times of the Wicked Witch of the West

Chapter One

The Root of Evil

From the crumpled bed the wife said, "I think today's the day. Look how low I've gone."

"Today? That would be like you, perverse and inconvenient," said her husband, teasing her, standing at the doorway and looking outward, over the lake, the fields, the forested slopes beyond. He could just make out the chimneys of Rush Margins, breakfast fires smoking. "The worst possible moment for my ministry. Naturally."

The wife yawned. "There's not a lot of choice involved. From what I hear. Your body gets this big and it takes over—if you can't accommodate it, sweetheart, you just get out of its way. It's on a track of its own and nothing stops it now." She pushed herself up, trying to see over the rise of her belly. "I feel like a hostage to myself. Or to the baby."

"Exert some self-control." He came to her side and helped her sit up. "Think of it as a spiritual exercise. Custody of the senses. Bodily as well as ethical continence."

"Self-control?" She laughed, inching toward the edge of the bed. "I have no self left. I'm only a host for the parasite. Where's my self, anyway? Where'd I leave that tired old thing?"

"Think of me." His tone had changed; he meant this.

"Frex"—she headed him off—"when the volcano's ready there's no priest in the world can pray it quiet."

"What will my fellow ministers think?"

"They'll get together and say, 'Brother Frexspar, did you allow your wife to deliver your first child when you had a community problem to solve? How inconsiderate of you; it shows a lack of authority. You're fired from the position.'" She was ribbing him now, for there was no one to fire him. The nearest bishop was too distant to pay attention to the particulars of a unionist cleric in the hinterland.

"It's just such terrible timing."

"I do think you bear half the blame for the timing," she said. "I mean, after all, Frex."

"That's how the thinking goes, but I wonder,"

"You wonder?" She laughed, her head going far back. The line from her ear to the hollow below her throat reminded Frex of an elegant silver ladle. Even in morning disarray, with a belly like a scow, she was majestically good-looking. Her hair had the bright lacquered look of wet fallen oak leaves in sunlight. He blamed her for being born to privilege and admired her efforts to overcome it—and all the while he loved her, too.

"You mean you wonder if you're the father"—she grabbed the bedstead; Frex took hold of her other arm and hauled her half-upright—"or do you question the fatherliness of men in general?" She stood, mammoth, an ambulatory island. Moving out the door at a slug's pace, she laughed at such an idea. He could hear her laughing from the outhouse even as he began to dress for the day's battle.

Frex combed his beard and oiled his scalp. He fastened a clasp of bone and rawhide at the nape of his neck, to keep the hair out of his face, because his expressions today had to be readable from a distance: There could be no fuzziness to his meaning. He applied some coal dust to darken his eyebrows, a smear of red wax on his flat cheeks. He shaded his lips, A handsome priest attracted more penitents than a homely one.

In the kitchen yard Melena floated gently, not with the normal gravity of pregnancy but as if inflated, a huge balloon trailing its strings through the dirt. She carried a skillet in one hand and a few eggs and the whiskery tips of autumn chives in the other. She sang to herself, but only in short phrases. Frex wasn't meant to hear her.

His sober gown buttoned tight to the collar, his sandals strapped on over leggings, Frex took from its hiding place—beneath a chest of drawers—the report sent to him from his fellow minister over in the village of Three Dead Trees. He hid the brown pages within his sash. He had been keeping them from his wife, afraid that she would want to come along—to see the fun, if it was amusing, or to suffer the thrill of it if it was terrifying.

As Frex breathed deeply, readying his lungs for a day of oratory, Melena dangled a wooden spoon in the skillet and stirred the eggs. The tinkle of cowbells sounded across the lake. She did not listen; or she listened but to something else, to something inside her. It was sound without melody—like dream music, remembered for its effect but not for its harmonic distresses and recoveries. She imagined it was the child inside her, humming for happiness. She knew he would be a singing child.

Melena heard Frex inside, beginning to extemporize, warming up, calling forth the rolling phrases of his argument, convincing himself again of his righteousness.

How did that proverb go, the one that Nanny singsonged to her, years ago, in the nursery?

Born in the morning,
Woe without warning;
Afternoon child
Woeful and wild;
Born in the evening,
Woe ends in grieving.
Night baby borning
Same as the morning.

But she remembered this as a joke, fondly. Woe is the natural end of life, yet we go on having babies.

No, said Nanny, an echo in Melena's mind (and editorializing as usual): No, no, you pretty little pampered hussy. We don't go on having babies, that's quite apparent. We only have babies when we're young enough not to know how grim life turns out. Once we really get the full measure of it—we're slow learners, we women—we dry up in disgust and sensibly halt production.

But men don't dry up, Melena objected; they can father to the death.

Ah, we're slow learners, Nanny countered. But they can't learn at all.

"Breakfast," said Melena, spooning eggs onto a wooden plate. Her son would not be as dull as most men. She would raise him up to defy the onward progress of woe.

"It is a time of crisis for our society," recited Frex. For a man who condemned worldly pleasures he ate with elegance. She loved to watch the arabesque of fingers and two forks. She suspected that beneath his righteous asceticism he possessed a hidden longing for the easy life.

"Every day is a great crisis for our society." She was being flip, answering him in the terms men use. Dear thick thing, he didn't hear the irony in her voice.

"We stand at a crossroads. Idolatry looms. Traditional values in jeopardy. Truth under siege and virtue abandoned."

Wicked
The Life and Times of the Wicked Witch of the West
. Copyright © by Gregory Maguire. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

Excerpted from Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

The New York Times bestseller and basis for the Tony-winning hit musical, soon to be a major motion picture starring Cynthia Erivo and Ariana Grande

With millions of copies in print around the world, Gregory Maguire’s Wicked is established not only as a commentary on our time but as a novel to revisit for years to come. Wicked relishes the inspired inventions of L. Frank Baum’s 1900 novel, The Wonderful Wizard of Oz, while playing sleight of hand with our collective memories of the 1939 MGM film starring Margaret Hamilton (and Judy Garland). In this fast-paced, fantastically real, and supremely entertaining novel, Maguire has populated the largely unknown world of Oz with the power of his own imagination. 

Years before Dorothy and her dog crash-land, another little girl makes her presence known in Oz. This girl, Elphaba, is born with emerald-green skin—no easy burden in a land as mean and poor as Oz, where superstition and magic are not strong enough to explain or overcome the natural disasters of flood and famine. Still, Elphaba is smart, and by the time she enters Shiz University, she becomes a member of a charmed circle of Oz’s most promising young citizens.

But Elphaba’s Oz is no utopia. The Wizard’s secret police are everywhere. Animals—those creatures with voices, souls, and minds—are threatened with exile. Young Elphaba, green and wild and misunderstood, is determined to protect the Animals—even if it means combating the mysterious Wizard, even if it means risking her single chance at romance. Ever wiser in guilt and sorrow, she can find herself grateful when the world declares her a witch. And she can even make herself glad for that young girl from Kansas. 

Recognized as an iconoclastic tour de force on its initial publication, the novel has inspired the blockbuster musical of the same name—one of the longest-running plays in Broadway history. Popular, indeed. But while the novel’s distant cousins hail from the traditions of magical realism, mythopoeic fantasy, and sprawling nineteenth-century sagas of moral urgency, Maguire’s Wicked is as unique as its green-skinned witch. 


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