American Oz
On November 3, 1956, families all across America gathered in their living rooms for the first television broadcast of The Wizard of Oz .
1956 年 11 月 3 日，美国各地的家庭聚集在客厅里观看《绿野仙踪》的首次电视转播。
Forty-five million viewers tuned in.
四千五百万观众收看。
Its annual airing on television would cement the story in the American consciousness.
它每年在电视上播出将巩固这个故事在美国人的意识中的地位。
GREGORY MAGUIRE, WRITER: My parents were dubious about television.
作家格雷戈里·马奎尔：我的父母对电视持怀疑态度。
Once a year they lowered their inhibitions and restrictions, and that was when The Wizard of Oz was rebroadcast.
每年一次，他们会降低自己的抑制和限制，也就是《绿野仙踪》重播的时候。
LOUIS WARREN, HISTORIAN: When I was a kid, I saw The Wizard of Oz for the first time on a color TV and was just stunned when you made that transition from the black-and-white photography to the color photography.
路易斯·沃伦，历史学家：当我还是个孩子的时候，我第一次在彩色电视上看到《绿野仙踪》，当我从黑白摄影过渡到彩色摄影时，我感到非常震惊。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: I don't remember the first time I saw it.
美国研究学者迪娜·马萨奇：我不记得第一次看到它是什么时候。
What I remember is wanting to be Dorothy.
我记得的是想成为多萝西。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: The two images that have stuck with me my whole life, the witch and the flying monkeys absolutely terrifying.
蒙托亚，历史学家：女巫和飞猴这两个形象一直萦绕在我的心头，这两个形象绝对令人恐惧。
EVAN SCHWARTZ, WRITER: The movie is not only the most seen movie of all time, but it's the most repeatedly viewed movie of all time.
编剧埃文·施瓦茨：这部电影不仅是有史以来观看次数最多的电影，而且是有史以来观看次数最多的电影。
Itís almost impossible to conceive of American life without growing up with The Wizard of Oz.
如果没有《绿野仙踪》的陪伴，几乎无法想象美国的生活。
The Wonderful Wizard of Oz first appeared more than half a century earlier, as a childrenís book.
《绿野仙踪》早在半个多世纪前就以儿童读物的形式首次问世。
Published in 1900, the story of Dorothyís fantastical journey down the yellow brick road was the brainchild of L.
多萝西沿着黄砖路的奇幻之旅的故事出版于 1900 年，是 L.
Frank Baum, a writer whose penchant for reinvention reflected a uniquely American brand of confidence, imagination and innovation.
弗兰克·鲍姆（Frank Baum）是一位作家，他对革新的热衷反映了美国独有的自信、想象力和创新精神。
During a time of rapid change, he wrote a fairytale that embraced the values and direction of a new society.
在一个快速变化的时代，他写了一个拥抱新社会价值观和方向的童话故事。
LOUIS WARREN, HISTORIAN: Baum is at the center of a kind of culture of inviting people to dream of a new life.
历史学家路易斯·沃伦：鲍姆处于一种邀请人们梦想新生活的文化的中心。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: The Wizard of Oz is the quintessential story of going to another world, working out issues and problems, and then returning and being in a better place in a world that is challenging.
德洛莉亚，历史学家：《绿野仙踪》是一个典型的故事，讲述的是前往另一个世界，解决问题，然后返回并在一个充满挑战的世界中处于一个更好的地方。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: What's underlying this seemingly easy children's story is actually a complicated person who has a complicated story, and brings all that to the underpinnings of the book.
蒙托亚，历史学家：这个看似简单的儿童故事背后实际上是一个复杂的人，他有一个复杂的故事，并将所有这些都带入了这本书的基础。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: His life suggests a kind of American spirit on the cusp of a new century turning towards what the modern and the new would be.
小琼斯，人文学者：他的一生表明了一种在新世纪风口浪尖上转向现代和新事物的美国精神。
On a chilly evening in January 1894, a determined Lyman Frank Baum wrote his mother from a small rail town west of Chicago, rejecting her offer of support.
1894 年 1 月一个寒冷的夜晚，意志坚定的莱曼·弗兰克·鲍姆 (Lyman Frank Baum) 从芝加哥西部的一个铁路小镇给母亲写了一封信，拒绝了她提出的支持建议。
"I shall somehow manage to provide for those dependent on me," he told her.
“我会设法养活那些依赖我的人，”他告诉她。
A tall order for the impractical man who throughout his adult life had quit work where he found successó and pursued his passions into near-ruin.
对于一个不切实际的人来说，这是一项艰巨的任务，他在成年后辞掉了成功的工作，并几乎毁掉了自己的激情。
Narration: To support his family in the midst of a crushing economic depression, thirty-seven-year-old Baum, who went by Frank, had accepted a trial position as a traveling salesman.
旁白：为了在严重的经济萧条中养家糊口，三十七岁的鲍姆（化名弗兰克）接受了一份旅行推销员的试用职位。
Working on commission, he hauled heavy trunks of breakable glassware and dishes to store owners across the Midwest.
他靠佣金工作，将装满易碎玻璃器皿和盘子的沉重行李箱拖到中西部各地的商店老板那里。
MICHAEL PATRICK HEARN, WRITER: Even though heís barely getting by selling crockery on the road, heís determined to support his family on his own, on his own terms.
迈克尔·帕特里克·赫恩，作家：尽管他在路上卖陶器勉强维持生计，但他决心以自己的方式养活家人。
He was always looking for the next best thing, where he might, might make some decent money.
他总是在寻找下一个最好的事情，在那里他可能会赚到一些可观的钱。
SHARON HARTMAN STROM, HISTORIAN: Baum was trying to find a way that he could stay at home and be with his family, not be on the road.
莎朗·哈特曼·斯特罗姆，历史学家：鲍姆试图找到一种方法，让他可以呆在家里与家人在一起，而不是在路上。
That was his ultimate goal.
这是他的最终目标。
EVAN SCHWARTZ, WRITER: He started to reconnect to his original childhood dream of being a great writer and started writing poems and stories on any scrap of paper he could find.
作家埃文·施瓦茨 (Evan Schwartz)：他开始重新实现童年时期成为一名伟大作家的梦想，并开始在他能找到的任何纸片上写诗和故事。
As he journeyed from town to town, Baum bore witness to a nation in transitionóa country of shifting tastes, increasing population and growing industrial might.
当鲍姆从一个城镇旅行到另一个城镇时，他目睹了一个转型中的国家——一个品味不断变化、人口不断增加、工业实力不断增强的国家。
He traveled across a land in which vast fortunes were being made; at the same time, millions lived in extreme poverty.
他穿越了一片正在创造巨额财富的土地。与此同时，数百万人生活在赤贫之中。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: Baum sits at the cusp of the changes of the 19th century as it gives way to the 20th century, and Americans are, are forced to think self-reflectively about what's happening to their country, thinking about what was, and what will be.
历史学家德洛莉亚：鲍姆正处于 19 世纪向 20 世纪转变的风口浪尖，美国人被迫自我反思自己的国家正在发生什么，思考过去和未来。
ROBERT BAUM, GREAT GRANDSON: He would be meeting new people, going to new places, hearing new things, seeing new things.
曾孙罗伯特·鲍姆：他会结识新朋友，去新地方，听到新事物，看到新事物。
All of these could be food for his imagination.
所有这些都可以成为他想象的食物。
MICHAEL PATRICK HEARN, WRITER: L.
迈克尔·帕特里克·赫恩，编剧：L.
Frank Baum was always aware of the importance of the imagination.
弗兰克·鲍姆始终意识到想象力的重要性。
He basically nurtured his imagination and he trusted it.
他基本上培养了自己的想象力，并且相信它。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: The imagination could sometimes be fueled by, uh, the, the travails of the world.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：想象力有时会被，呃，世界的艰辛所激发。
It enabled him to imagine places where want, and depression, were not a possibility.
这使他能够想象那些不可能出现匮乏和抑郁的地方。
Baum channeled his keen observations into magical tales.
鲍姆将他敏锐的观察力转化为魔法故事。
The most famous of which would become "America's First Great Fairy Tale" —a story about an almost unbelievable journey that projected the sentiments of its author, a man who wanted to find his place in the world and to make his way back to his family.
其中最著名的是“美国第一个伟大的童话故事”——一个关于一次几乎令人难以置信的旅程的故事，反映了作者的情感，一个想要在世界上找到自己的位置并回到家人身边的人。
WONDERFUL WIZARD OF Oz V.O.: No matter how dreary and gray our homes are, we people of flesh and blood would rather live there than in any other country, be it ever so beautiful.
奇妙的绿野仙踪画外音：无论我们的家园多么沉闷和灰暗，我们这些有血有肉的人都宁愿生活在那里，也不愿生活在任何其他国家，无论它多么美丽。
There is no place like home.
没有一个地方像家一样。
EVAN SCHWARTZ, WRITER: Home was coming back to your hopes and dreams.
作家埃文·施瓦茨 (Evan Schwartz)：家是你的希望和梦想的归宿。
It was more than just family.
这不仅仅是家庭。
It was a sense of self as well.
这也是一种自我意识。
THE WIZARD OF OZ (1939): GLINDA: "Tap your heels together three times.
《绿野仙踪》(1939)：格林达：“用脚跟轻敲三下。
And think to yourself, there's no place like home, there's no place like home." Dorothy: "There's no place like home; there's no place like home."
想想自己，没有一个地方比得上家，没有一个地方比得上家。”多萝西：“没有一个地方比得上家；没有一个地方比得上家。”
ROBERT BAUM, GREAT GRANDSON: My great grandfather, L.
罗伯特·鲍姆，曾孙：我的曾祖父，L.
Frank Baum, grew up on a place called Rose Lawn, which was his parentsí home and farm.
弗兰克·鲍姆在一个叫罗斯草坪的地方长大，那是他父母的家和农场。
Roselawn consisted of a gorgeous house with a big library, lots of books.
罗斯劳恩有一座华丽的房子，里面有一个大图书馆，藏有很多书。
There were fields and forests and streams.
那里有田野、森林和溪流。
This was a wonderful place to be a child.
这是一个童年的美好地方。
Born in 1856, Frank Baum enjoyed an idyllic childhood on the outskirts of Syracuse, New York.
弗兰克·鲍姆出生于 1856 年，在纽约州锡拉丘兹郊区度过了田园诗般的童年。
His father, originally a barrel-maker, had struck it rich in the oilfields of Pennsylvania, making him a wealthy man during a volatile era of industrialization.
他的父亲原本是一名制桶工人，后来在宾夕法尼亚州的油田发家致富，使他在工业化的动荡时期成为一名富翁。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: Baum grew up reading fairy tales that were older European fairy tales, your Brothers Grimm and Hans Christian Andersen.
美国研究学者迪娜·马萨奇：鲍姆从小就读着古老的欧洲童话故事，即格林兄弟和汉斯·克里斯蒂安·安徒生童话。
A lot of them end with very didactic morals, and they're dark.
他们中的很多人都以非常说教的道德结尾，而且他们很黑暗。
MICHAEL PATRICK HEARN, WRITER: He loved the adventure of these stories and also the, the magic and, and the wonder that they possessed.
迈克尔·帕特里克·赫恩，作家：他喜欢这些故事的冒险，也喜欢它们所拥有的魔力和奇迹。
": Childhood," Baum would later write, "is the time for fables, for dreams, for joy."
“：童年，”鲍姆后来写道，“是寓言、梦想和欢乐的时期。”
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: His imagination was where he spent much of his time.
莎莉·罗施·瓦格纳 (Sally Roesch Wagner)，女性研究学者：他的大部分时间都花在了想象力上。
He could explore his passions.
他可以探索他的激情。
And, the fanciful world that he created then I think stayed with him throughout his life.
而且，我认为他当时创造的奇幻世界一直伴随着他一生。
At age 19, when he was old enough to start earning a living for himself, Frank Baum showed little interest in following in his father's footsteps.
19 岁时，弗兰克·鲍姆已经足够开始自己谋生了，但他对追随父亲的脚步并没有兴趣。
After a short stint as a store clerk, Frank struck out on his own path.
在担任了短暂的店员后，弗兰克开始了自己的道路。
He decided to ride the wave of an unusual national craze, breeding fancy chickens.
他决定顺应全国不同寻常的热潮，培育优质鸡。
To support this new passion, his father established B.W.
为了支持这种新的热情，他的父亲创立了 B.W.
Baum & Sons on the family 80-acre stock farm adjacent to Rose Lawn.
Baum & Sons 位于玫瑰草坪 (Rose Lawn) 附近占地 80 英亩的家庭牧场。
EVAN SCHWARTZ, WRITER: Frank wasnít content just to breed chickens for food.
埃文·施瓦茨（Evan Schwartz），作家：弗兰克并不满足于仅仅饲养鸡来获取食物。
He wanted to breed fancy chickens that were gonna be shown at various festivals and, and shows.
他想培育出漂亮的鸡，这些鸡将在各种节日和表演中展示。
And it was really emblematic of the way he approached almost every endeavor.
这确实象征着他几乎每一项努力的方式。
He wanted to be the best at it.
他想成为最擅长的。
A leading trade magazine praised him as one of the most active and enthusiastic fanciers, and noted his prolific and pleasant writing for various poultry journals.
一家领先的贸易杂志称赞他是最活跃和热情的鸽友之一，并指出他为各种家禽杂志撰写的多产且令人愉快的文章。
But Baumís interest in the fancy poultry craze did not last long.
但鲍米对精美家禽热潮的兴趣并没有持续多久。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: Frank Baum was a restless spirit and he was always looking for the next big thing.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：弗兰克·鲍姆（Frank Baum）是一个焦躁不安的人，他总是在寻找下一件大事。
There was always something more and so there was, there was a quest.
总是有更多的东西，所以就有了，就有了探索。
SHARON HARTMAN STROM, HISTORIAN: The obsessions of many Americans in the late 19th century were to get beyond the small world of the village; to change their identities and occupations; to imagine a whole new way of being as in comparison to their parents and grandparents.
莎伦·哈特曼·斯特罗姆（SHARON HARTMAN STROM），历史学家：19 世纪末，许多美国人痴迷于超越乡村的小世界；改变身份和职业；与他们的父母和祖父母相比，想象一种全新的生活方式。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: Baum is a middle-class man of white-American descent, and so he can freely move across the North American landscape.
蒙托亚，历史学家：鲍姆是一位具有美国白人血统的中产阶级人士，因此他可以自由地穿越北美地区。
And so when something calls to him he has the resources to jump on that dream and try to make it work for him.
因此，当有事情召唤他时，他就有资源去实现这个梦想，并努力让它为他所用。
Twenty-four-year-old Frank Baum headed to New York City in 1881 to study acting.
1881 年，24 岁的弗兰克·鲍姆 (Frank Baum) 前往纽约学习表演。
MICHAEL PATRICK HEARN, WRITER: Frank Baum loved to perform.
迈克尔·帕特里克·赫恩，编剧：弗兰克·鲍姆喜欢表演。
He was basically a ham.
他基本上是一个火腿。
And this was one profession that he felt he could make a name for himself.
他觉得这是一项能让他扬名立万的职业。
But, it was not considered a particularly admirable profession to go into theater at that time.
但是，当时进入戏剧界并不被认为是一个特别令人钦佩的职业。
SHARON HARTMAN STROM, HISTORIAN: There's a view in proper American society that acting is kind of a low-grade occupation.
莎伦·哈特曼·斯特罗姆（SHARON HARTMAN STROM），历史学家：美国社会有一种观点认为，表演是一种低级职业。
But the public loves actors.
但公众喜欢演员。
Itís a way to become popular.
这是一种变得受欢迎的方式。
Baum soon landed a job touring with a repertory company.
鲍姆很快就找到了一份在一家剧目公司巡演的工作。
He played small roles under the name George Brooks, and was described as a deserving actor "who had genuine dramatic ability," but Frank aspired to something more.
他以乔治·布鲁克斯（George Brooks）的名字扮演小角色，并被描述为“具有真正的戏剧能力”的当之无愧的演员，但弗兰克渴望更多。
He wanted to write, produce and star in his own plays, and asked his father to bankroll his new venture.
他想自己编剧、制作并主演自己的戏剧，并请求父亲为他的新事业提供资金。
MICHAEL PATRICK HEARN, WRITER: His father was very indulgent to Frankís interests.
迈克尔·帕特里克·赫恩，作家：他的父亲对弗兰克的兴趣非常纵容。
If Frank wanted to sell poultry, he would support him on that.
如果弗兰克想卖家禽，他会支持他。
If he wanted to become an actor, he was the one who put up the money.
如果他想成为一名演员，他就是出钱的人。
On May 15, 1882, crowds in Syracuse, Baumís hometown, flocked to the Grand Opera House to see the premiere of Frank's first theatrical creation, a musical melodrama titled The Maid of Arran.
1882 年 5 月 15 日，鲍米的家乡锡拉丘兹的人群涌向大歌剧院，观看弗兰克的第一部戏剧创作——音乐情节剧《雅兰少女》的首演。
Written under the name Louis F.
以路易斯·F.
Baum, the play told a story of adventure and romance.
鲍姆，该剧讲述了一个冒险和浪漫的故事。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: Baum would be in a tradition of theater makers who were trying to make it respectable.
小琼斯，人文学者：鲍姆将继承戏剧制作者的传统，他们试图使其受到尊重。
They were trying to make a theater that was both popular, which is to say profitable, but also respectable so they could bring in middle class audience members, so they could bring in church members.
他们试图建立一个既受欢迎，也就是说有利可图，又受人尊敬的剧院，这样他们就可以吸引中产阶级观众，这样他们就可以吸引教会成员。
ROBERT BAUM, GREAT GRANDSON: This was Frank's big chance, this was his play.
曾孙罗伯特·鲍姆：这是弗兰克的绝佳机会，这是他的比赛。
He did the scenery, he did the music, he did the lyrics to the song, and he actually sang on stage.
他做了布景，他做了音乐，他做了这首歌的歌词，他还在舞台上唱歌。
SHARON HARTMAN STROM, HISTORIAN: Theater is one of the early forms of make believe.
莎朗·哈特曼·斯特罗姆，历史学家：戏剧是早期的虚构形式之一。
As a theater maker he was continuing a lifetime of playing.
作为一名戏剧制作人，他继续着一生的演奏。
Itís a way of expressing his inventiveness and disappearing into another world.
这是表达他的创造力并消失在另一个世界的一种方式。
Among the attendees at the Grand Opera House that night was Maud Gage, an independent-minded 21-year-old student at Cornell University, one of the few male colleges that had begun admitting women.
莫德·盖奇 (Maud Gage) 是当晚在大歌剧院出席的与会者之一，她是康奈尔大学 (Cornell University) 一名思想独立的 21 岁学生，康奈尔大学是少数几所开始招收女性的男学院之一。
The couple had been courting for months.
这对夫妇已经恋爱了几个月。
SALLY ROESCH WAGNER, WOMEN'S STUDIES SCHOLAR: When Frank met Maud, he met a woman probably unlike any that heíd met before.
莎莉·罗施·瓦格纳，女性研究学者：当弗兰克遇到莫德时，他遇到了一个可能与他以前遇到过的女人不同的女人。
She was smart, she was witty, she was opinionated.
她很聪明，她机智，她有主见。
This is a woman to contend with.
这是一个需要对付的女人。
ROBERT BAUM, GREAT GRANDSON: Frank saw, in Maud, all the things he didnít have.
曾孙罗伯特·鲍姆：弗兰克在莫德身上看到了他所没有的一切。
She saw in him a life that would be very different and wonderful, and must have seen his abilities and talents and wanting to be a part of it,
她在他身上看到了一种非常不同和美妙的生活，并且一定看到了他的能力和才华，并想成为其中的一部分，
The young couple faced resistance from Maud's mother, Matilda Joslyn Gage.
这对年轻夫妇面临莫德母亲玛蒂尔达·乔斯林·盖奇的抵制。
A formidable figure, Gage was a nationally-known activist in the growing movement for womenís equality.
盖奇是一位令人敬畏的人物，是日益发展的妇女平等运动中全国知名的活动家。
She was a founding member with Susan B.
她与 Susan B. 是创始成员之一。
Anthony and Elizabeth Cady Stanton of the National Woman Suffrage Association.
全国妇女选举权协会的安东尼·卡迪·斯坦顿和伊丽莎白·卡迪·斯坦顿。
Matilda had very definite thoughts about her daughterís new suitor.
玛蒂尔达对女儿的新追求者有非常明确的想法。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: At first she didnít like L.
美国研究学者迪娜·马萨奇：起初她不喜欢 L.
Frank Baum.
弗兰克·鲍姆.
Here is this actor that her college daughter is going to drop out of school to run off with and, no, no, that's not gonna work.
这是一位演员，她的大学女儿即将辍学并与她私奔，不，不，这是行不通的。
But, Maud was just as stubborn as her mother and said, "No. I, I'm doing this."
但是，莫德和她母亲一样固执地说：“不，我，我要这么做。”
On November 9, 1882, Frank and Maud married in the parlor of the Gage home in Fayetteville, New York.
1882 年 11 月 9 日，弗兰克和莫德在纽约费耶特维尔盖奇家的客厅里结婚。
"The promises of the bride," a local paper noted with surprise, "were precisely the same as those required of the groom."
当地一家报纸惊讶地指出，“新娘的承诺与新郎的要求一模一样。”
SALLY ROESCH WAGNER, WOMEN'S STUDIES SCHOLAR: This is at a time in the 1880s when men expected subordination and subservience from women.
莎莉·罗施·瓦格纳 (SALLY ROESCH WAGNER)，女性研究学者：现在是 1880 年代，男性期望女性处于从属地位和屈从地位。
And it was a unique man who wanted to be with a woman who spoke her own mind, who would not be dominated.
这是一个独特的男人，他想和一个说出自己想法、不受支配的女人在一起。
And I think it speaks volumes about the character of Frank that he loved a woman with that kind of strength.
我认为这充分说明了弗兰克的性格，他爱一个有这种力量的女人。
Matilda's biggest fear about Frank, he has, uh, all these fine qualities, but, Lord, he is never gonna be able to make a living.
玛蒂尔达最担心弗兰克，他拥有，呃，所有这些优良品质，但是，上帝，他永远无法谋生。
After the wedding, Maud joined Frank and his company of actors on the road, going on a westward tour with The Maid of Arran.
婚礼结束后，莫德与弗兰克一行人一起上路，与《阿兰少女》一起西行。
But winter in the plains wasn't kind to the production.
但平原地区的冬天对生产并不有利。
EVAN SCHWARTZ, WRITER: The tour of The Maid of Arran was very successful at first, but Frank really pushed it.
作家埃文·施瓦茨 (Evan Schwartz)：《阿兰少女》的巡演一开始非常成功，但弗兰克确实推动了它。
He kept it going too long.
他让这件事持续得太久了。
And it ends up going into Kansas, and it was really telling that Maud wrote a letter saying, "I couldn't be paid to live here.
它最终进入了堪萨斯州，莫德写了一封信说：“我无法支付住在这里的费用，这确实很能说明问题。
This is the grimmest place iíve ever seen."
这是我见过的最严峻的地方。”
Frankís responsibilities changed dramatically that spring when he found out that Maud was pregnant.
那年春天，当弗兰克发现莫德怀孕时，他的责任发生了巨大的变化。
He now recognized a career in the theater was not going to pay the bills, and closed down the tour.
他现在认识到在剧院的职业生涯无法维持生计，因此结束了巡演。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: You see Baum feeling the pressure to succeed.
美国研究学者迪娜·马萨奇：你可以看到鲍姆感受到了成功的压力。
Being a man in that time, there was even more pressure because there was really the expectation he would provide for his family.
那个时候作为一个男人，压力就更大了，因为他真的有养家糊口的期望。
MICHAEL PATRICK HEARN, WRITER: I think it was devastating when The Maid of Arran failed.
迈克尔·帕特里克·赫恩（编剧）：我认为《雅兰少女》的失败是毁灭性的。
This was the first time he really had control of his own life and was doing something he really enjoyed.
这是他第一次真正掌控自己的生活，并做自己真正喜欢的事情。
He was building a career that suddenly was gone.
他正在建立的事业突然消失了。
And then he wrote his father begging him, basically, for a job.
然后他写信给父亲乞求他找一份工作。
EVAN SCHWARTZ, WRITER: Frank Baum came of age when America was transforming from an agrarian, agricultural society into an urban, industrial society, and it was happening at breakneck speed with all kinds of new technologiesóthe railroad, the telegraph, the telephone, and it was unsettling for people.
作家埃文·施瓦茨：弗兰克·鲍姆成年时，美国正在从农业社会转变为城市工业社会，各种新技术——铁路、电报、电话——正在以极快的速度发生，这让人们感到不安。
The Wonderful Wizard of Oz was created out of American parts.
绿野仙踪是用美国零件制成的。
Scene from Wizard of Oz (1939) - Dorothy: "Where do you want to be oiled, first?" Scarecrow: "He said his mouth."
《绿野仙踪》(1939) 中的场景 - 多萝西：“你想先在哪里涂油？”稻草人：“他嘴上说的。”
EVAN SCHWARTZ, WRITER: Frank Baumís talent was turning these visual symbols into meaningful and sometimes spiritual symbols that worked in the context of the story.
埃文·施瓦茨（Evan Schwartz），编剧：弗兰克·鲍米（Frank Baum）的才华在于将这些视觉符号转化为在故事背景下发挥作用的有意义的、有时甚至是精神符号。
Tin Man: ìMy goodness, I can talk again!î
铁皮人：“天哪，我又能说话了！”
GREGORY MAGUIRE, WRITER: One of the things that Baum contributed to our understanding of how the imagination works in storytelling, but perhaps also in the industrializing world in which he was working, is that he taught us to take the scraps, and bits, and shards and to assemble them into something new.
作家格雷戈里·马奎尔：鲍姆为我们理解想象力如何在讲故事中发挥作用做出了贡献，也许在他工作的工业化世界中也是如此，他教会我们如何将边角料、碎片和碎片组合成新的东西。
In May 1883 after almost six months on tour, Frank and Maud returned to Syracuse where Baumís father set him up in the family oil business.
1883 年 5 月，在巡演近六个月后，弗兰克和莫德回到锡拉丘兹，鲍米的父亲在那里让他经营家族石油生意。
Frank's job was marketing Baumís Castorine Oil, a new petroleum product used on horse-drawn carts and buggies.
弗兰克的工作是营销 Baumís Castorine Oil，这是一种用于马车和四轮车的新型石油产品。
The young sales superintendent managed to conjure the drama in axle grease.
这位年轻的销售主管成功地用车轴油脂演绎了这一戏剧性的场面。
SUSAN ARONSTEIN, LITERARY SCHOLAR: Baum understood very instinctively that one of the ways in which people connected to products was through the idea of narrative.
文学学者苏珊·阿伦斯坦：鲍姆非常本能地理解，人们与产品联系的方式之一是通过叙事的想法。
The Castorine Oil ad in which you see a dandy in his carriage looking utterly appalled that these scruffy children in a farm wagon and a pony have just raced past him.
在蓖麻油广告中，你会看到一位坐在马车里的花花公子，他看上去非常震惊，因为这些邋遢的孩子们开着一辆农用马车和一匹小马从他身边跑过。
It tells the story about, you know, "Oh boy.
它讲述了一个故事，你知道，“哦，孩子。
I'm gonna be humiliated by a bunch of little kids if I don't have the right oil.
如果我没有合适的油，我会被一群小孩子羞辱。
He sold that oil in a way that would catch people's eye.
他以一种能吸引人们眼球的方式出售石油。
EVAN SCHWARTZ, WRITER: Frank Baum was a natural salesman.
埃文·施瓦茨（Evan Schwartz），作家：弗兰克·鲍姆（Frank Baum）是一位天生的推销员。
He was always trying to connect with people, to please people.
他总是试图与人们建立联系，取悦人们。
He could make up stories about anything.
他可以编造任何事情的故事。
Whether it was chickens or cans of oil, Frank Baum had a story for it.
无论是鸡还是罐头油，弗兰克·鲍姆都有一个故事。
Sales were good and Frank was able to support his growing family.
销售情况良好，弗兰克能够养活日益壮大的家庭。
In February of 1886, shortly after the birth of his second son, Frankís older brother died suddenly.
1886 年 2 月，弗兰克的第二个儿子出生后不久，他的哥哥突然去世。
A year later, after Frank had taken on new responsibilities in the Castorine Oil companyóhis father died.
一年后，弗兰克在蓖麻油公司承担了新的职责后，他的父亲去世了。
MICHAEL PATRICK HEARN, WRITER: When his father died that was an important lifeline that he lost.
迈克尔·帕特里克·赫恩，编剧：当他的父亲去世时，他失去了一条重要的生命线。
EVAN SCHWARTZ, WRITER: He didnít want to continue the oil business.
作家埃文·施瓦茨 (Evan Schwartz)：他不想继续从事石油业务。
He wanted something greater, something more in tune to who he was.
他想要一些更伟大的东西，一些更符合他是谁的东西。
In the summer of 1888, after visiting Maudís brother in Dakota Territory, Baum decided to move out West.
1888 年夏天，鲍姆在达科他领地探望莫迪的兄弟后，决定搬到西部。
"I realize how crowded the East is, and how competition keeps a man down," he wrote to his brother-in-law.
“我意识到东方是多么拥挤，竞争是如何让一个人沮丧的，”他在给姐夫的信中写道。
"In your country, there is an opportunity to be somebody."
“在你们的国家，有机会成为名人。”
JEANINE BASINGER, FILM HISTORIAN: The prairie has two different effects on people.
电影历史学家珍妮·贝辛格：草原对人们有两种不同的影响。
It opens them up to their own significance and importance.
它让他们认识到自己的意义和重要性。
Itís a place in which they can make their mark, or it tends to crush them, even drive them mad.
这是一个他们可以留下自己印记的地方，否则就会压垮他们，甚至让他们发疯。
You either use your imagination and feel capable of handling it or you don't.
你要么发挥你的想象力并感觉自己有能力处理它，要么你没有。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: Cyclones were the terror.
莎莉·罗施·瓦格纳（SALLY ROESCH WAGNER），女性研究学者：旋风是可怕的。
If they struck, they removed entire buildings.
如果他们发动袭击，他们就会拆除整座建筑物。
Wizard of Oz (1939) scene with storm.
绿野仙踪 (1939) 的风暴场景。
Aunt Em (shouts): "Dorothy!"
艾姆婶婶（喊道）：“多萝西！”
MICHAEL PATRICK HEARN, WRITER: Baum had a great sense of transformation.
迈克尔·帕特里克·赫恩（MICHAEL PATRICK HEARN），编剧：鲍姆有一种强烈的转变感。
Baum turns the cyclone into something positive.
鲍姆将旋风变成了积极的东西。
Wonderful Wizard of Oz V.O.: 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.
奇妙的绿野仙踪画外音：在气旋中间，空气一般是静止的，但房子四面八方的风压却把空气吹得越来越高，直到到达气旋的最顶端；它就留在那里，并像携带一根羽毛一样容易地被带到数英里以外的地方。
MICHAEL PATRICK HEARN, WRITER: It should have been something so destructive, devastating, and yet that becomes Dorothy's way of going to the Land of Oz.
迈克尔·帕特里克·赫恩，编剧：这本来应该是具有破坏性的事情，然而这却成了多萝西前往奥兹国的方式。
Three months after his visit to Dakota Territory, Frank, Maud and their two young sons boarded a train heading west, bound for Aberdeen, a city just then shimmering to life.
访问达科他领地三个月后，弗兰克、莫德和他们的两个年幼的儿子登上了一列向西开往阿伯丁的火车，这座城市当时正焕发出勃勃生机。
Aberdeen had already grown from fewer than 300 people at its founding six years earlier, to more than three thousand.
阿伯丁已经从六年前成立时的不到 300 人发展到了 3000 多人。
And showed no signs of slowing.
并且没有任何放缓的迹象。
MICHAEL PATRICK HEARN, WRITER: These were not people who came out in, in covered wagons.
迈克尔·帕特里克·赫恩，编剧：这些人并不是乘坐有盖马车出来的。
They came out on the railroad and they were young, adventurous capitalists thinking that they were going to make it big.
他们走上铁路，是年轻、富有冒险精神的资本家，认为自己能把事情做大。
They didnít know what to expect, they were basically, uh, betting on hope.
他们不知道会发生什么，他们基本上，呃，押注于希望。
Built at the crossroads of three railroads, the "Hub City," as it was known to its proud new residents, was a boom town.
这座“枢纽城市”建在三条铁路的十字路口，被骄傲的新居民称为“枢纽城市”，是一座新兴城镇。
Aberdeen boasted schools, a library, an opera house, a telephone company, banks, hotels and restaurants.
阿伯丁拥有学校、图书馆、歌剧院、电话公司、银行、酒店和餐馆。
The latest modern convenience, electric lights, lined the townís dusty streets.
最新的现代便利设施——电灯，排列在小镇尘土飞扬的街道上。
Eastern transplants like Frank Baum were convinced their fair city would be the next Chicago, or Minneapolis, or Kansas City.
像弗兰克·鲍姆这样的东部移民相信他们的公平城市将是下一个芝加哥、明尼阿波利斯或堪萨斯城。
LOUIS WARREN, HISTORIAN: The West is so much the subject of a hard sell by land agents for the railroad corporations and by other boosters in the region who will paint all kinds of pictures of what a glorious verdant paradise South Dakota will be.
路易斯·沃伦（LOUIS WARREN），历史学家：西部地区一直是铁路公司土地代理商和该地区其他支持者强行推销的主题，他们会描绘南达科他州将成为一个辉煌的青翠天堂的各种画面。
EVAN SCHWARTZ, WRITER: Aberdeen at that time was trying to position itself as part of Americaís breadbasket.
作家埃文·施瓦茨：阿伯丁当时正试图将自己定位为美国粮仓的一部分。
They were building out a town that was surrounded by farmland.
他们正在建造一个被农田包围的城镇。
LOUIS WARREN, HISTORIAN: The railroads would advertise the land promising that this is a place where middle-class families will proliferate, and all of the comforts of a good middle-class home will be yours.
路易斯·沃伦（LOUIS WARREN），历史学家：铁路公司会在这块土地上做广告，承诺这里是中产阶级家庭将激增的地方，而中产阶级家庭的所有舒适设施都将属于你。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: When people like Baum and other settlers head out into the American West in the 1880s, they think theyíre coming into an empty landscape.
历史学家蒙托亚：当鲍姆和其他定居者等人在 1880 年代前往美国西部时，他们认为自己正在进入一片空旷的土地。
And nothing could have been farther from the truth.
事实并非如此。
What theyíre actually walking into is a landscape thatís been inhabited for hundreds, and in some cases, thousands of years.
他们实际上走进的是一片已经有人居住了数百年，有时甚至数千年的景观。
LOUIS WARREN, HISTORIAN: The land that Aberdeen was on and most of The Dakotas had been part of the homeland of the Western Sioux or Lakota.
历史学家路易斯·沃伦：阿伯丁所在的土地以及达科他州的大部分地区曾经是西苏族或拉科塔族故乡的一部分。
For Baum, as for most western settlers, Indian people were often an afterthought if they thought about them at all.
对于鲍姆来说，就像对于大多数西方定居者一样，如果他们真正想到印第安人，他们往往是事后才想到的。
Not long after Baum and his family had settled in Aberdeen, a group of Native Americans arrived in town.
鲍姆和他的家人在阿伯丁定居后不久，一群美洲原住民来到了小镇。
"Crowds of curious white men," a local paper reported, stared at the delegation of Lakota leaders who had stepped off the train for dinner.
当地一家报纸报道称，“一群群好奇的白人”盯着走下火车吃晚饭的拉科塔领导人代表团。
Sitting Bull, famed Lakota chief and decisive victor over the U.S. Calvary at the Battle of Little Bighorn, drew the most attention.
坐牛是著名的拉科塔酋长，也是小比格霍恩战役中对美国加略山的决定性胜利者，引起了最多的关注。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: Imagine that experience if you're Sitting Bull or if you're part of this delegation, you're put on display for this town that sit and gawk at you.
德洛莉亚，历史学家：想象一下，如果你是“坐牛”，或者如果你是这个代表团的一员，那么你就会被展示给这个坐着呆呆地看着你的小镇。
White Americans have always seen Native people in contradictory terms.
美国白人总是以矛盾的方式看待原住民。
"They are noble, children of nature." "No. They're degraded savages." And Baum shows up at, at exactly a moment when these contradictions are getting really complex, and changing towards a more harsh and hostile racialization.
“他们是高贵的，自然之子。” “不。他们是堕落的野蛮人。”鲍姆的出现，恰逢这些矛盾变得非常复杂，并转向更加严厉和敌对的种族化的时刻。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: Native Americans are being consolidated, they're being moved and put onto reservations.
历史学家蒙托亚：美洲原住民正在被整合，他们正在被迁移并进入保留地。
LOUIS WARREN, HISTORIAN: For most Americans, the idea that native people had to give up land so that white people could take it, that was just the way of the world.
历史学家路易斯·沃伦：对于大多数美国人来说，原住民必须放弃土地以便白人能够占领它，这就是世界的规律。
As far as Lakotas were concerned it was theft.
就拉科塔斯而言，这是盗窃。
On Monday, October 1, 1888, less than two weeks after moving to town, Frank Baum—dramatically announcing his arrival—held a much-publicized grand opening of a new store called Baumís Bazaar.
1888 年 10 月 1 日星期一，也就是搬到城里不到两周后，弗兰克·鲍姆 (Frank Baum) 戏剧性地宣布了他的到来，并为一家名为 Baumís Bazaar 的新店举行了盛大的开业仪式，广为人知。
Nearly a thousand people showed up, some likely enticed by the promise of "a box of chocolates, shipped in from Chicago, for every lady attending."
近千人到场，其中一些人可能是被“为每位出席的女士赠送一盒从芝加哥运来的巧克力”的承诺所吸引。
SUSAN ARONSTEIN, LITERARY SCHOLAR: He had a flair for the theatrical.
苏珊·阿伦斯坦，文学学者：他有戏剧天赋。
And so for him the store is a stage.
所以对他来说，商店就是一个舞台。
It had to be an experience, It's like, "Come, see the exotic goods.
这必须是一种体验，就像，“来吧，看看异国情调的商品。
See it all on display.
看到这一切都在展出。
Youíve never seen so much in one place before."
你以前从未在一个地方见过这么多东西。”
"On either side of the room," raved a local newspaper, "are cases of pottery, glassware, toys, oxidized brass ornaments, Japanese novelties, fancy leather and plush goods."
当地一家报纸盛赞道：“房间的两边都是陶器、玻璃器皿、玩具、氧化黄铜装饰品、日本新奇物品、精美皮革和毛绒制品的箱子。”
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: He doesn't go to start a feed store.
德洛莉亚，历史学家：他不会去开一家饲料店。
He goes to start a novelty store.
他去开一家新奇商店。
He sells all kinds of things, many of which are not actually needed, but they represent the dreams and the desires of people to engage in this new kind of world of goods and commodities.
他卖各种各样的东西，其中许多东西并不是实际需要的，但它们代表了人们参与这种新型商品和商品世界的梦想和愿望。
MICHAEL PATRICK HEARN, WRITER: Baum wrote all the ads that appeared in local newspapers for Baumís Bazaar.
迈克尔·帕特里克·赫恩（MICHAEL PATRICK HEARN），编剧：鲍姆为 Baumís Bazaar 撰写了当地报纸上出现的所有广告。
He would have special events to bring people into, into the store.
他会举办特别活动来吸引人们进入商店。
Baum believed in entertaining children and all the kids just loved going to Baumís Bazaar because there were all these wonderful toys.
鲍姆相信让孩子们开心，所有的孩子都喜欢去鲍姆集市，因为那里有很多很棒的玩具。
": Mr. Baum has demonstrated in a very short time," wrote the Aberdeen Daily News, "that he possesses to an enviable degree the push and enterprise necessary to the western businessman."
《阿伯丁每日新闻》写道：“鲍姆先生在很短的时间内就证明了他拥有西方商人所必需的令人羡慕的进取心和进取心。”
n May 1889, Baum and a group of local businessmen put up the money for the "Hub City Nine," Aberdeen's first professional baseball team.
1889 年 5 月，鲍姆和一群当地商人出资组建了“枢纽城九队”，这是阿伯丁的第一支职业棒球队。
The town built a field and a grandstand that could seat five hundred.
镇上建了一块球场和一个可容纳五百人的看台。
Baumís Bazaar supplied the teamís jerseys, bats and gloves.
Baumís Bazaar 为球队提供了球衣、球棒和手套。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: Baum envisions himself as being really the harbinger of civilization for Aberdeen, this potentially great city on the Great Plains.
传播学者肯特·德拉蒙德：鲍姆认为自己是阿伯丁这座大平原上潜在的伟大城市的真正文明先驱。
So heís imbued with this sense of transformation that starts through the consumption of exotic goods but leads to so many other things.
因此，他充满了这种转变感，这种转变感始于消费异国情调的商品，但又导致了许多其他事情。
Narration: Baum planned to start new clubs, lawn tennis, stamp collecting, photography, bicycling and stock all the necessary supplies on the shelves of Baum's Bazaar.
旁白：鲍姆计划开办新俱乐部、草地网球、集邮、摄影、骑自行车，并在鲍姆集市的货架上储备所有必要的用品。
EVAN SCHWARTZ, WRITER: He got really involved in the civic life of the town and tried to create a sense of community around the store.
作家埃文·施瓦茨 (EVAN SCHWARTZ)：他真正参与了城镇的公民生活，并试图在商店周围营造一种社区感。
It wasnít just about selling, but about bringing people together.
这不仅仅是为了销售，而是为了将人们聚集在一起。
MICHAEL PATRICK HEARN, WRITER: I think that Baum was hoping that Baumís Bazaar would draw people from outside of Aberdeenópeople from the farms, from the other towns would come to this new mecca of South Dakota.
迈克尔·帕特里克·赫恩，作家：我认为鲍姆希望鲍姆的集市能够吸引来自阿伯丁以外的人们——来自农场、其他城镇的人们来到南达科他州的这个新圣地。
JEANINE BASINGER, FILM HISTORIAN: The Dakota Territory is a harsh environment.
电影历史学家珍妮·贝辛格：达科他地区的环境十分恶劣。
The winters are very, very cold, and hard, and long.
冬天非常非常寒冷、严酷、漫长。
The summers are hot, and dry, and challenging.
夏季炎热、干燥且充满挑战。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: Youíre out on the prairie, your nearest neighbor is a mile away, you don't see anything on the horizon but flatness.
莎莉·罗施·瓦格纳（SALLY ROESCH WAGNER），女性研究学者：你在草原上，你最近的邻居在一英里之外，你在地平线上看不到任何东西，除了平坦。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: Baum envisioned people could go into this store; it would be a tremendous escape.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：鲍姆设想人们可以走进这家商店；这将是一次巨大的逃脱。
And it would be one in which they could completely forget about the workaday world.
这将是一个他们可以完全忘记日常世界的地方。
Itís very magical and itís transformative.
它非常神奇并且具有变革性。
LOUIS WARREN, HISTORIAN: What Baum is saying is, "It's okay to dream about having those nice things.
历史学家路易斯·沃伦：鲍姆所说的是，“梦想拥有那些美好的东西是可以的。
Why shouldn't you have them?
为什么你不应该拥有它们？
There's nothing wrong with it.
没有什么问题。
Go ahead.
继续吧。
Buy them.
买它们。
Express yourself through your purchases."
通过购买来表达自己。”
Frank's big ideas, persistent optimism and lack of experience of the vagaries of farming blinded him to the realities of life on the Plains.
弗兰克的远大想法、持续的乐观态度和对变幻莫测的农业经验的缺乏使他看不到平原生活的现实。
After years of consistent rain, a drought hit the region in 1889.
经过多年持续降雨后，1889 年该地区遭遇干旱。
Wheat fields turned into dust, and heavy winds blew away freshly sown seed.
麦田变成了尘土，大风吹走了刚播下的种子。
By harvest time, crop yields had plummeted.
到了收获季节，农作物产量急剧下降。
LOUIS WARREN, HISTORIAN: It is one of the worst droughts in American history.
历史学家路易斯·沃伦：这是美国历史上最严重的干旱之一。
Many of the farmers fall on very hard times, and in that moment Baum's Bazaar is not gonna do well.
许多农民都陷入了非常困难的时期，而在那一刻，鲍姆集市的日子也不会好过。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: When farmers donít have money for seed wheat they are not gonna buy toys for their children.
莎莉·罗施·瓦格纳（SALLY ROESCH WAGNER），女性研究学者：当农民没有钱购买小麦种子时，他们就不会为孩子购买玩具。
And while there was a short boom when Baumís Bazaar may have made sense, by 1890 there was no way it could succeed at all.
虽然 Baumís Bazaar 可能曾经历过短暂的繁荣，但到了 1890 年，它根本不可能成功。
Baumís Bazaar closed on January 1, 1890 after only fifteen months in business.
Baumís Bazaar 于 1890 年 1 月 1 日关闭，开业仅 15 个月。
Maud had just given birth to their third child.
莫德刚刚生下他们的第三个孩子。
"Frank had let his tastes run riot," his sister-in-law later said.
“弗兰克放纵了自己的品味，”他的嫂子后来说。
"It was too impractical a store for a frontier town."
“对于一个边陲小镇来说，这家商店太不切实际了。”
EVAN SCHWARTZ, WRITER: The economic situation for the Baum family was dire.
作家埃文·施瓦茨 (Evan Schwartz)：鲍姆家族的经济状况十分严峻。
He was really on a shoestring now, very little money, but he used whatever money he had left to take over a newspaper.
他现在确实很拮据，钱很少，但他用剩下的钱接手了一家报纸。
And he tried to make a go of it, falling back on his talent for writing.
他试图依靠自己的写作天赋来成功。
SHARON HARTMAN STROM, HISTORIAN: Baum was very optimistic about his own talents.
莎朗·哈特曼·斯特罗姆，历史学家：鲍姆对自己的才能非常乐观。
Whatever situation he's in he figures out a new strategy for selling something or selling himself.
无论他处于什么情况，他都会想出一个新的策略来推销东西或推销自己。
Just a month after he shuttered Baumís Bazaar, Frank published the inaugural edition of The Aberdeen Saturday Pioneer.
就在弗兰克关闭鲍米斯集市一个月后，弗兰克出版了《阿伯丁周六先锋》的创刊号。
LOUIS WARREN, HISTORIAN: Getting into that business is both a way that he can express his interest in writing, but itís also a way for him to paint pictures with words of the future of Aberdeen and the future of South Dakota.
路易斯·沃伦，历史学家：涉足这一行业既是他表达写作兴趣的一种方式，也是他用文字描绘阿伯丁和南达科他州未来的一种方式。
Baum was at pains to set his weekly apart from the townís eight other papers, and put his faith in his own distinctive voice.
鲍姆煞费苦心地将他的周刊与镇上其他八份报纸区分开来，并相信自己独特的声音。
Under the heading "The Editor's Musings," Baum offered his personal opinions on a wide range of topics.
在“编辑的沉思”标题下，鲍姆就广泛的话题提出了他的个人观点。
LOUIS WARREN, HISTORIAN: Baumís voice as a newspaper editor was an interesting voice.
路易斯·沃伦，历史学家：鲍米作为报纸编辑的声音很有趣。
He writes about alternative religions.
他撰写有关另类宗教的文章。
He writes about spiritual mediums in his newspaper.
他在报纸上写了有关精神媒介的文章。
These are not topics that every editor would touch.
这些并不是每个编辑都会触及的话题。
The issue Baum most strongly championed in 1890 was Woman suffrage.
1890 年鲍姆最强烈支持的问题是妇女选举权。
South Dakota had become a state the previous year, and an amendment to give women the vote would be decided in the November election.
南达科他州已于去年成为一个州，赋予女性投票权的修正案将在 11 月的选举中决定。
Frank's support of the suffrage movement stemmed from time he spent with his mother-in-law, Matilda Joslyn Gage, who was a frequent visitor to Aberdeen.
弗兰克对选举权运动的支持源于他与岳母玛蒂尔达·乔斯林·盖奇在一起的时光，她是阿伯丁的常客。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: Gage was very involved with the Baum family, and she really influenced L.
美国研究学者迪娜·马萨奇：盖奇与鲍姆家族关系密切，她确实影响了 L.
Frank Baum.
弗兰克·鲍姆.
He joined the Suffrage Movement because of her.
他因为她而加入了选举权运动。
And you see this play out in his newspaper writing.
你可以在他的报纸文章中看到这一点。
EVAN SCHWARTZ, WRITER: Frank Baum wrote editorial after editorial trying to convince fellow towns folks to vote for womenís rights.
埃文·施瓦茨（Evan Schwartz），作家：弗兰克·鲍姆（Frank Baum）写了一篇又一篇社论，试图说服同城的人们投票支持妇女权利。
": We must do away with sex prejudice and render equal distinction and reward to brains and ability," Baum argued, "no matter whether found in man or woman."
“我们必须消除性别偏见，对大脑和能力给予平等的区别和奖励，”鲍姆认为，“无论男性还是女性。”
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: His respect for women I think is strengthened seeing these western women.
莎莉·罗施·瓦格纳（SALLY ROESCH WAGNER），女性研究学者：我认为，看到这些西方女性，他对女性的尊重得到了加强。
They had already succeeded in proving themselves as equals to the men.
她们已经成功地证明了自己与男人的平等。
If youíre homesteading you are an active participant in the process.
如果您正在自建家园，那么您就是这个过程的积极参与者。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: White women who are moving out into the American West are seen as bringing civilization to these communities.
历史学家蒙托亚：移居美国西部的白人妇女被视为给这些社区带来了文明。
This is not possible, without the labor of women, both the physical labor of women but the cultural, social, political labor of women to build these communities.
如果没有妇女的劳动，无论是妇女的体力劳动，还是妇女的文化、社会和政治劳动来建设这些社区，这是不可能的。
MICHAEL PATRICK HEARN, WRITER: Frank was determined to get the vote in South Dakota.
迈克尔·帕特里克·赫恩，作家：弗兰克决心在南达科他州获得选票。
He believed in progress.
他相信进步。
He believed we were always advancing forward.
他相信我们一直在前进。
And, he generally assumed that other people would just agree with him.
而且，他通常认为其他人也会同意他的观点。
": This great question, involving the political future of our wives, mothers, sisters and daughters will be decided for South Dakota next Tuesday," Baum appealed to his readers.
“这个重大问题涉及我们的妻子、母亲、姐妹和女儿的政治未来，下周二将在南达科他州做出决定，”鲍姆向读者呼吁。
"The enfranchisement of one-half of the citizens of this great state is in your hands."
“这个伟大国家一半公民的选举权掌握在你们手中。”
On Election Day, November 1890, nearly 70,000 men across South Dakota went to the polls.
1890 年 11 月选举日，南达科他州近 70,000 名男子前往投票站。
Womenís equality was soundly rejected, by a margin of two to one.
妇女平等被以二比一的比例彻底拒绝。
"What a reproach upon our civilization," he wrote, "and upon the people of a state who have made a pretense of being liberal and just!"
他写道：“这对我们的文明以及一个假装自由和公正的国家的人民来说是多么大的耻辱啊！”
The drought that began in 1889 dragged on for nearly two years, exposing the lie of railroad promoters and land agents that the rain follows the plow.
1889 年开始的干旱持续了近两年，揭穿了铁路推广者和土地代理商“耕耘后雨”的谎言。
MICHAEL PATRICK HEARN, WRITER: The great American Dream turned out to be a nightmare for these people.
迈克尔·帕特里克·赫恩，作家：伟大的美国梦对这些人来说变成了一场噩梦。
And Frank Baum was out there witnessing this.
弗兰克·鲍姆 (Frank Baum) 就在场目睹了这一切。
And all of this is expressed in the opening chapter of The Wonderful Wizard of Oz.
所有这一切都在《绿野仙踪》的开篇章节中得到了表达。
The Wonderful Wizard of Oz: V.O.: " When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side.
绿野仙踪：画外音：“当多萝西站在门口环顾四周时，除了四面都是灰色的大草原，她什么也看不见。
The sun had baked the plowed land into a gray mass, with little cracks running through it.
太阳把耕过的土地烤成了一片灰色，上面布满了细小的裂缝。
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."
就连草也不是绿色的，因为太阳已经把长长的叶片顶部烤焦了，直到它们变成随处可见的灰色。”
LOUIS WARREN, HISTORIAN: One of the most telling moments in The Wizard of Oz is right at the beginning with the description of Aunt Em and Uncle Henry as old before their time, as unable to imagine happiness.
路易斯·沃伦，历史学家：《绿野仙踪》中最有说服力的时刻之一就在开头，对埃姆姨妈和亨利叔叔的描述就像他们的时代一样老，无法想象幸福。
The Wonderful Wizard of Oz V.O.: "Uncle Henry never laughed.
绿野仙踪旁白：“亨利叔叔从来不笑。
He worked hard from morning till night and did not know what joy was.
他从早忙到晚，不知道什么是快乐。
He looked stern and solemn, and rarely spoke."
他看上去严肃而严肃，很少说话。”
LOUIS WARREN, HISTORIAN: Baum in many ways is saying that this Western dream seems to have hit a wall.
历史学家路易斯·沃伦：鲍姆在很多方面都在说，这个西方梦想似乎已经碰壁了。
Itís a place of great disappointment for many of the people who had invested their lives in it.
对于许多为此付出生命的人来说，这是一个非常失望的地方。
On the Standing Rock and Pine Ridge reservations west of Aberdeen, conditions were even more dire for the over 10,000 Lakota living there.
在阿伯丁以西的立岩 (Standing Rock) 和松树岭 (Pine Ridge) 保留地，居住在那里的 10,000 多名拉科塔人的生活条件更加严峻。
And with access to only meager government rations, many families were on the verge of starvation.
由于只能获得微薄的政府口粮，许多家庭处于饥饿的边缘。
In the middle of this unfolding apocalypse, a new religion known as the Ghost Dance began to spread through many western tribes.
在这场正在展开的世界末日中，一种被称为鬼舞的新宗教开始在许多西方部落中传播。
They believed the dance, which preached a defiant message of hope, would wash away the white settlers and return the land to its original state.
他们相信这种舞蹈传达了一种挑衅性的希望信息，能够冲走白人定居者，让土地恢复到原来的状态。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: It's a regenerative religious practice.
历史学家德洛莉亚：这是一种再生性的宗教实践。
Itís not people yelling and screaming.
这不是人们的喊叫和尖叫。
You do this dance until you sort of fall into a vision state, and you fall down out of the circle, and you have a vision, and people come and take care of you, and other people keep dancing.
你跳这个舞蹈，直到你进入一种视觉状态，然后你从圆圈中掉下来，你就有了一个视觉，人们过来照顾你，其他人继续跳舞。
White Americans see this and they think that the Ghost Dance is the prelude to an armed uprising.
美国白人看到了这一点，他们认为鬼舞是武装起义的前奏。
Desperate to keep his Aberdeen dream afloat, Frank blasted rival newspapers for ginning up a "false and senseless scare," fearing that headlines screaming of "Indian uprisings" would drive settlers away.
弗兰克不顾一切地想要维持他的阿伯丁梦想，他抨击竞争对手的报纸制造了“虚假和毫无意义的恐慌”，担心“印第安人起义”的头条新闻会赶走定居者。
"After two years of successive crop failures," he wrote, "comes the Indian scare, and the consequence is we are getting a very bad name."
“连续两年农作物歉收后，”他写道，“印度人开始恐慌，结果是我们的名声很坏。”
EVAN SCHWARTZ, WRITER: A lot of businesses were going under and the economic collapse in South Dakota was threatening his very concept of home.
作家埃文·施瓦茨 (Evan Schwartz)：许多企业都在破产，南达科他州的经济崩溃威胁着他对家的概念。
He invested so much of himself there that it was almost unthinkable that everything would collapse.
他在那里投入了太多的精力，以至于几乎无法想象一切都会崩溃。
President Benjamin Harrison ordered his Secretary of War to suppress the Ghost Dance, by force if necessary.
本杰明·哈里森总统命令他的战争部长镇压鬼舞，必要时可以使用武力。
On December 15, 1890, Lakota Chief Sitting Bull was shot and killed on the Standing Rock Reservation during a botched arrest for his alleged support of the Ghost Dance.
1890 年 12 月 15 日，拉科塔酋长坐牛因涉嫌支持鬼舞而在立岩保留地一次拙劣的逮捕行动中被枪杀。
When news reached Aberdeen, one hundred and fifty miles away, the townspeople feared retaliation.
当消息传到一百五十英里外的阿伯丁时，镇民们担心遭到报复。
LOUIS WARREN, HISTORIAN: It creates a response of panic among white people.
历史学家路易斯·沃伦：它在白人中引起了恐慌。
Newspaper editors begin to demand federal protection in case thereís what they call an outbreak.
报纸编辑开始要求联邦政府提供保护，以防出现他们所谓的疫情爆发。
Baum's newspaper ran wire reports warning of imminent reprisal.
鲍姆的报纸刊登了电讯报道，警告即将实施报复。
Caught up in the mass hysteria and watching his Aberdeen efforts spiraling into failure, Frankís usually optimistic rhetoric changed drastically.
陷入集体歇斯底里并眼睁睁地看着他在阿伯丁的努力逐渐走向失败，弗兰克通常乐观的言辞发生了巨大的变化。
In an editorial, he praised Sitting Bull, but described the remaining Lakota people as a ìpack of whining cursî and called for a vicious ethnic cleansing.ìThe Whites, by law of conquest, by justice of civilization, are masters of the American continent,î Baum asserted, ìand the best safety of the frontier settlements will be secured by the total annihilation of the few remaining Indians.î
在一篇社论中，他赞扬了《坐牛》，但将剩余的拉科塔人描述为“一群抱怨的诅咒”，并呼吁进行恶毒的种族清洗。“根据征服法和文明正义，白人是美洲大陆的主人，”鲍姆断言，“通过彻底消灭仅存的少数印第安人，可以确保边境定居点的最佳安全。”
SHARON HARTMAN STROM, HISTORIAN: Baum thinks that the extermination of Native Americans is inevitable.
莎伦·哈特曼·斯特罗姆，历史学家：鲍姆认为美洲原住民的灭绝是不可避免的。
His view of tolerance comes out of the milieu that he is in.
他的宽容观源于他所处的环境。
Itís really about middle-class white people getting along well.
这实际上是关于中产阶级白人相处融洽的问题。
The US Army dispatched troops to disarm and arrest a group of Lakota, including followers of Sitting Bull.
美国陆军派遣部队解除了拉科塔人的武装并逮捕了他们，其中包括坐牛的追随者。
Within days of these orders, the US Seventh Cavalry massacred as many as 300 Lakota men, women and children at Wounded Knee Creek.Frank responded again.
在这些命令发出后的几天内，美国第七骑兵团在伤膝溪屠杀了多达 300 名拉科塔男女和儿童。弗兰克再次作出回应。
ìHaving wronged them for centuries, we had better, in order to protect our civilization, follow it up by one more wrong and wipe these untamed and untamable creatures from the face of the earth.î
“几个世纪以来，我们一直冤枉了他们，为了保护我们的文明，我们最好再犯一次错误，把这些未驯服的、难以驯服的生物从地球上抹去。”
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: What Baum says in the editorials tells us exactly how Americans are seeing Indian people.
历史学家德洛莉亚：鲍姆在社论中所说的话准确地告诉了我们美国人是如何看待印度人的。
Thereís no mercy, no quarter, no sympathy.
没有怜悯，没有宽恕，没有同情。
It is a definitive and defining statement of intense racial animosity.
这是对强烈种族仇恨的明确和明确的陈述。
And I think Baum is capturing, perhaps, some of his own ambivalence, but he is channeling a major, and important, and deadly current of American thought.
我认为鲍姆也许捕捉到了他自己的一些矛盾心理，但他正在引导美国思想的一个主要的、重要的、致命的潮流。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: I donít know how to understand Frankís reaction other than to understand that an "either-or" interpretation of history is a lie, that we're "both-and." L.
莎莉·罗施·瓦格纳，女性研究学者：我不知道如何理解弗兰克的反应，除了理解对历史的“非此即彼”的解释是一个谎言，我们是“两者兼而有之”。 L。
Frank Baum carried that, that poison of racism in him that I carry, that we all carry as settlers.
弗兰克·鲍姆身上带有这种种族主义的毒药，我身上也带有这种毒药，我们作为定居者都带有这种毒药。
The drought, the despair, and the foreclosures continued.
干旱、绝望和丧失抵押品赎回权仍在继续。
Ad sales dropped and subscriptions dried up, forcing Baum to abandon his newspaper and make plans to leave Aberdeen.
广告销量下降，订阅量枯竭，迫使鲍姆放弃他的报纸并计划离开阿伯丁。
His western venture had turned into another failure.
他的西部冒险又再次失败。
THE WIZARD OF OZ (1939) - DOROTHY: "But how do I start for Emerald City?" Glinda: "It's always best to start at the beginningóand all you do is follow the Yellow Brick Road."
《绿野仙踪》(1939) - 多萝西：“但是我该如何开始前往翡翠城呢？”格林达：“最好从头开始——而你所做的就是沿着黄砖路走。”
GREGORY MAGUIRE, WRITER: Dorothy goes into a land in which magic spells are part of the apparatus of governance.
格雷戈里·马奎尔，作家：多萝西进入了一个魔法咒语成为统治机构一部分的国家。
GREGORY MAGUIRE, WRITER: And most of what she achieves she achieves without recourse to the magic.
作家格雷戈里·马奎尔：她所取得的大部分成就都是在不借助魔法的情况下取得的。
She comes with her true grit.
她带着真正的勇气而来。
She just puts one foot in front of another along the Yellow Brick Road to achieve what it is that she needs to do.
她只是沿着黄砖路把一只脚放在另一只脚前面，以实现她需要做的事情。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: There is a real American value of being self-reliant, and you see that with Dorothy.
美国研究学者迪娜·马萨奇：美国有一种真正的自力更生的价值观，你在多萝西身上看到了这一点。
Dorothy really set the stage for little girls getting out of the house and going on adventures the way that boys do.
多萝西确实为小女孩走出家门，像男孩一样去冒险奠定了基础。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: She goes on what is quintessentially the great American quest to find the place that will bring her happiness, will bring her the things that she needs.
蒙托亚，历史学家：她继续着典型的美国伟大追求，寻找能给她带来幸福、给她带来她需要的东西的地方。
Frank Baum next set his sights on a new homeóChicago, Illinois.
弗兰克·鲍姆接下来将目光投向了新家——伊利诺伊州芝加哥市。
EVAN SCHWARTZ, WRITER: Chicago was the most dynamic and energetic city in America.
作家埃文·施瓦茨：芝加哥是美国最具活力和活力的城市。
It had been devastated in the fires of 1871 but it had completely rebuilt itself.
它在 1871 年的大火中被毁，但现在已经完全重建。
There was a sense of hope and optimism for the future of America.
人们对美国的未来充满希望和乐观。
LOUIS WARREN, HISTORIAN: In many ways Chicago was the city of 19th century America.
历史学家路易斯·沃伦：从很多方面来说，芝加哥都是 19 世纪美国的城市。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: This massive, large, industrial city, which is at the center of really making continental America at this time.
德洛里亚，历史学家：这座巨大的工业城市，是此时真正创造美洲大陆的中心。
It is the center of the flow of commodities.
是商品流通的中心。
It is a center for immigration.
它是一个移民中心。
African Americans from the South, immigrants from Europe, people who give up on their homesteading and make their way into the larger city.
来自南方的非裔美国人、来自欧洲的移民、放弃家园并进入大城市的人们。
Arriving with little money, Maud set up their growing household, which now included a fourth son, in a small rental house in a working-class neighborhood.
莫德带着很少的钱来到这里，在工人阶级社区的一间出租小房子里组建了他们不断壮大的家庭，现在已经有了第四个儿子。
She taught embroidery lessons to help the family stay afloat.
她教授刺绣课程以帮助家庭维持生计。
Frank briefly worked at a daily paper before landing a higher-paying sales position at a wholesale crockery firm.
弗兰克曾在一家日报短暂工作过，然后在一家陶瓷批发公司找到了一份高薪销售职位。
The most exciting project in Chicago when the Baums arrived was the construction of the highly anticipated Worldís Columbian Exposition, known as the Chicago Worldís Fair.
鲍姆夫妇抵达芝加哥时最激动人心的项目是建造备受期待的世界哥伦比亚博览会，即芝加哥世界博览会。
Conceived as a celebration of the 400th anniversary of Columbusí voyage to America, the exposition was an immediate sensation when it opened on May 1, 1893.
该博览会旨在庆祝哥伦布航行美洲 400 周年，于 1893 年 5 月 1 日开幕后立即引起轰动。
Over the next six months, 27 million fairgoers from around the world descended on Chicago to witness the spectacleóFrank Baum and his family among them.
在接下来的六个月里，来自世界各地的 2700 万参观者齐聚芝加哥，见证这一奇观——弗兰克·鲍姆 (Frank Baum) 和他的家人也在其中。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: The Chicago Worldís Fair is a place where America is sort of proclaiming its own.
历史学家德洛莉亚：芝加哥世界博览会是美国宣示自己地位的地方。
It has arrived.
它已经到了。
It is a showcase for modern industrialism, for technological innovation.
它是现代工业主义和技术创新的展示。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: It was an attempt in the white American imagination of understanding the United States as being the leading light in this new century.
小琼斯，人文学者：这是美国白人想象力的一次尝试，试图将美国理解为新世纪的领军人物。
It was a way in which to show the world in 1893 that America was at the vanguard of a new, modern, western world.
1893 年，这是向世界展示美国处于新的现代西方世界先锋地位的一种方式。
In the Electricity Building, visitors marveled at the 80-foot tower of light created by the Wizard of Menlo Park, Thomas Edison.
在电力大厦，参观者惊叹于由门洛帕克奇才托马斯·爱迪生建造的 80 英尺高的光塔。
He had patented a mind-boggling number of inventions and proved to be a master of self-promotion.
他获得了数量惊人的发明专利，并被证明是一位自我推销的大师。
JEANINE BASINGER, FILM HISTORIAN: Thomas Edison is this great combination of imagination, and forward-looking modern ideas, and also a businessman who makes money from the things that he does.
珍妮·贝辛格，电影史学家：托马斯·爱迪生是想象力与前瞻性现代思想的伟大结合，也是一位从他所做的事情中赚钱的商人。
So this would undoubtedly be inspirational to Baum who himself was looking to find that thing that he could do that would make him not so much famous but successful, rich, or at least occupied in a way that he enjoyed.
因此，这无疑对鲍姆来说是鼓舞人心的，因为他自己正在寻找他能做的事情，这会让他不那么出名，但会成功，富有，或者至少以他喜欢的方式从事。
EVAN SCHWARTZ, WRITER: There was a sense of magic and wonder and splendor that really appealed to Frank Baum, that almost anything was possible if you could imagine it.
编剧埃文·施瓦茨 (Evan Schwartz)：有一种神奇、惊奇和辉煌的感觉真正吸引了弗兰克·鲍姆 (Frank Baum)，只要你能想象，几乎一切皆有可能。
The centerpiece of the Exposition was a gleaming man-made lake, surrounded by neoclassical buildings of monumental proportion, each with a bright, white exterior.
博览会的中心是一个闪闪发光的人造湖，周围环绕着宏伟的新古典主义建筑，每座建筑都有明亮的白色外观。
The White City, as it was called, was constructed as a temporary affairóall paint and plaster.
所谓的白城是临时建造的——全部是油漆和灰泥。
But breathtaking.
但令人叹为观止。
LOUIS WARREN, HISTORIAN: The White City looks like a vision of some imaginary place that is supposed to call Americans to think about what their cities could be.
历史学家路易斯·沃伦：白城看起来就像某个想象中的地方的愿景，应该让美国人思考他们的城市可能是什么样子。
It is a giant space for dreaming about the American future, and Baum wouldíve found that enormously attractive.
这是梦想美国未来的巨大空间，鲍姆会发现这极具吸引力。
MICHAEL PATRICK HEARN, WRITER: They created this ideal city, and in some respects itís very much the same metaphor that we see in The Wizard of Oz.
编剧迈克尔·帕特里克·赫恩：他们创造了这座理想的城市，在某些方面，它与我们在《绿野仙踪》中看到的隐喻非常相似。
The Wizard of Oz (1939) Guard: ìWho rang that bell?î Dorothy, Scarecrow, Tin Man and Lion:ìWe did.îThe Wonderful Wizard of Oz V.O: The streets were lined with beautiful houses all built of green marble and studded everywhere with sparkling emeralds.
《绿野仙踪》 (1939) 守卫：“谁按响了那个门铃？” 多萝西、稻草人、铁皮人和狮子：“我们敲响了。” 神奇的绿野仙踪 画外音：街道两旁都是漂亮的房子，全部用绿色大理石建造，到处都镶嵌着闪闪发光的祖母绿。
Even the sky above the City had a green tint, and the rays of the sun were green.
连城上空都染上了绿色，阳光也是绿色的。
MICHAEL PATRICK HEARN, WRITER: The Emerald City is not really as green as we think it is.
作家迈克尔·帕特里克·赫恩：翡翠城并不像我们想象的那么绿色。
It turns out that everyone has to wear green glasses so they think the Emerald City is far greener than it really is.
事实证明，每个人都必须戴上绿色眼镜，所以他们认为翡翠城比实际情况要绿得多。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: One of the things that happens in the Emerald City is the realization that all of this may just be a charade.
德洛莉亚，历史学家：翡翠城发生的事情之一就是意识到所有这一切可能只是一场谜语。
The world that seems so alluring, and so true, and so desirous may all just be a fraud.
这个看似如此诱人、如此真实、如此令人向往的世界，也许只是一个骗局。
And, the White City gives us that as well.
而且，白城也给了我们这一点。
The Exhibition Halls of the White City were reserved for high art, high culture, and advanced science.
白城的展览厅专门用于展示高雅艺术、高雅文化和先进科学。
But the real energy of the Fair was on the outskirtsóa mile-long, open-air boulevard known as the Midway Plaisance.
但博览会的真正活力在于郊区一条一英里长的露天林荫大道，被称为“中途乐园”(Midway Plaisance)。
Thousands of fairgoers paid to see Egyptian belly dancers, dwarf elephants, Hindu jugglers, snake charmers and a young entertainer named Harry Houdini.
数以千计的博览会参观者付费观看埃及肚皮舞者、矮象、印度杂耍者、耍蛇者和一位名叫哈里·胡迪尼的年轻艺人。
Towering above the crowds was the first-ever ferris wheel.
高耸于人群之上的是有史以来第一个摩天轮。
At over 250-feet, a ride to the top provided a birds-eye view of the city and beyond.
在超过 250 英尺的高度，登上山顶可以鸟瞰城市及更远的地方。
A New York entrepreneur ordered a ferris wheel for his park in Coney Island, telling a reporter, "We Americans want either to be thrilled or amused, and are ready to pay well for either sensation."
一位纽约企业家为他位于康尼岛的公园订购了一个摩天轮，他告诉记者：“我们美国人要么想要刺激，要么想要娱乐，并且准备好为这两种感觉付出高昂的代价。”
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: At this moment in American history entertainment was becoming commoditized.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：在美国历史上的这个时刻，娱乐正在变得商品化。
There were vaudeville shows.
有杂耍表演。
There were Wild West shows.
有狂野西部表演。
There were amusement parks.
有游乐园。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: What weíre now seeing is entertainment for the masses.
历史学家蒙托亚：我们现在看到的是大众娱乐。
Anybody can participate in it.
任何人都可以参与其中。
People are beginning to work for wages in the cities.
人们开始在城市里为工资而工作。
They have money at the end of the day that they will spend not only on the things that they need to feed themselves and clothe themselves, but now they have money to spend on entertainment.
他们最终有钱了，不仅可以花在自己的衣食住行上，现在他们还有钱可以花在娱乐上。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: There were all sorts of theatrical experiences that had to do with experiencing someone elseís imagined world that they beckoned you to enter into.
肯特·德拉蒙德，传播学者：有各种各样的戏剧体验，这些体验都与体验别人的想象世界有关，他们召唤你进入这个世界。
The clangorous urban life of Chicago, and its Worldís Fair, fed Baumís penchant for noveltyóin all things.
芝加哥喧闹的城市生活及其世界博览会满足了鲍米对所有事物的新奇嗜好。
For some time, Frank had been drawn to an emerging philosophical and religious movement called Theosophy.
一段时间以来，弗兰克被一种名为神智学的新兴哲学和宗教运动所吸引。
"Its followers," he described, "are simply 'searchers after Truth." ...[They]...are the dissatisfied of the world, the dissenters from all creeds."
“它的追随者，”他描述道，“只是‘真理的探索者’。” ……[他们]……是对世界不满的人，是所有信仰的异议者。”
LOUIS WARREN, HISTORIAN: Thereís a dissatisfaction with conventional Protestantism and Catholicism.
历史学家路易斯·沃伦：人们对传统的新教和天主教感到不满。
There are people searching for new ways of relating to their creator and to the cosmos, and Theosophy was for many people a very attractive alternative.
人们正在寻找与他们的创造者和宇宙建立联系的新方法，而神智学对许多人来说是一个非常有吸引力的选择。
EVAN SCHWARTZ, WRITER: Theosophy was appealing because it combined Hinduism, and Buddhism, and Western science.
作家埃文·施瓦茨：神智学很有吸引力，因为它结合了印度教、佛教和西方科学。
It was a way of introducing Eastern religions to America for the first time.
这是首次将东方宗教引入美国的一种方式。
EVAN SCHWARTZ, WRITER: Frank Baum learned about this new amalgam of spirituality from his mother-in-law, Matilda Gage, who really embraced it as a way of calming her own mind.
埃文·施瓦茨（Evan Schwartz），编剧：弗兰克·鲍姆（Frank Baum）从他的岳母玛蒂尔达·盖奇（Matilda Gage）那里了解到了这种新的灵性融合，她真正接受了它作为平静自己心灵的一种方式。
SALLY ROESCH WAGNER, WOMEN'S STUDIES SCHOLAR: The parts of theosophy I think that most resonated with Matilda Joslyn Gage were the idea that that which is scientifically provable is not necessarily the only reality, that that which is considered supernatural, the occult, thatís just simply a reality that hasnít been tested and measured yet.
莎莉·罗施·瓦格纳，女性研究学者：我认为神智学中最能引起玛蒂尔达·乔斯林·盖奇共鸣的部分是这样的观点：科学证明的东西不一定是唯一的现实，那些被认为是超自然的、神秘的东西，只是一个尚未被测试和测量的现实。
EVAN SCHWARTZ, WRITER: : Theosophists believed in projecting your body and your mind into another realm of consciousness that they call the astral plane.
埃文·施瓦茨（Evan Schwartz），作家：：神智学家相信将你的身体和思想投射到另一个意识领域，他们称之为星体层。
Some of the concepts that later showed up in, in The Wonderful Wizard of Oz might have been inspired from Theosophy, especially this idea of traveling to a new plane of imagination.
后来出现在《绿野仙踪》中的一些概念可能是受到神智学的启发，尤其是旅行到一个新的想象层面的想法。
Escape from the daily reality was at a premium by the turn of 1894.
到了 1894 年初，人们迫切需要逃离日常现实。
The American economy had tumbled into the most punishing depression in its history.
美国经济陷入了历史上最严重的萧条。
A quarter of all working people lost their jobs, and their paychecks, with no government safety net to soften the fall.
四分之一的劳动人民失去了工作和薪水，而且没有政府的安全网来缓解下滑的影响。
Just months after the exposition closed, two fires swept through the fairgrounds leaving much of the recently radiant White City in ruins.
世博会闭幕后仅几个月，两场大火席卷了整个展馆，使最近光芒四射的白城大部分地区变成了废墟。
Baum tried to remain optimistic as he scraped out a living for his family as a traveling salesman.He was beginning to get tired of the extensive traveling.
鲍姆以旅行推销员的身份为家人谋生，试图保持乐观。他开始厌倦了频繁的旅行。
The more he aged, the more he realized he needed to find something that he could, that would really support him.
随着年龄的增长，他越意识到自己需要找到一些他能做到的、能够真正支持他的东西。
While on the road, Baum found time to start writing again, and began submitting short stories and poems to writing contests and local newspapers.
在路上，鲍姆找到时间重新开始写作，并开始向写作比赛和当地报纸提交短篇小说和诗歌。
EVAN SCHWARTZ, WRITER: He kept a record of failure, literally logging the rejections he was receiving from magazines and publishers and the occasional success.
作家埃文·施瓦茨 (Evan Schwartz)：他保留了失败的记录，逐字记录了他从杂志和出版商那里收到的拒绝以及偶尔的成功。
You could see Baum persevering.
你可以看到鲍姆的坚持。
Sometimes Frank spun fantastical tales to entertain his boys when he got home from a long week on the road.
有时，弗兰克在漫长的一周旅途中回到家后，会编一些奇幻故事来娱乐他的孩子们。
MICHAEL PATRICK HEARN, WRITER: L.
迈克尔·帕特里克·赫恩，编剧：L.
Frank Baum loved being a dad.
弗兰克·鲍姆喜欢当爸爸。
He was so indulgent of his own children.
他对自己的孩子真是太溺爱了。
When he was home with them he would spend as much time as he could with them and he would create these elaborate little stories.
当他在家和他们在一起时，他会花尽可能多的时间和他们在一起，他会创作这些精心制作的小故事。
And one night Matilda happened to overhear them.
一天晚上，玛蒂尔达碰巧听到了他们的谈话。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: Matilda is a well-published author at this point.
莎莉·罗施·瓦格纳（SALLY ROESCH WAGNER），女性研究学者：玛蒂尔达在这一点上是一位出版颇丰的作家。
She knows the publishing world and she knows what could sell.
她了解出版界，也知道什么可以卖。
She tells Frank to write the stories and publish them.
她告诉弗兰克写故事并发表。
She is challenging him, there is a powerful, intellectual relationship between them.
她在挑战他，他们之间有一种强大的、智力上的关系。
Gage had recently published what she described as her ìchief life work.î Titled Woman, Church and State, she called for a more just and equal society, one that returned to earlier civilizations where women wielded the same power as men.More radical, however, was her indictment of religion for its role in womenís oppression across the world.
盖奇最近出版了她所说的“一生的主要著作”。题为《妇女、教会和国家》的书，她呼吁建立一个更加公正和平等的社会，回到早期文明，妇女与男人拥有同样的权力。然而，更激进的是她对宗教在全世界压迫妇女中所扮演的角色的控诉。
She explored the history of witchcraft and argued that women were accused of being witches because the Church found their intellect threatening.
她探索了巫术的历史，并认为女性被指控为女巫，因为教会发现她们的智力构成威胁。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: Women were burned as witches to remove the knowledge of women, the power of women, the authority of women, and to really place women in a subordinate position.
女性研究学者莎莉·罗施·瓦格纳：女性被当作女巫烧死，是为了消除女性的知识、女性的力量、女性的权威，真正将女性置于从属地位。
One of the things she talks about is that women defined as witches were wise women.
她谈到的一件事是，被定义为女巫的女性都是聪明的女性。
They had voice.
他们有声音。
They had power.
他们有权力。
EVAN SCHWARTZ, WRITER: Matilda as a role model to Frank was essential.
作家埃文·施瓦茨：玛蒂尔达作为弗兰克的榜样至关重要。
And I think he really took to heart some of the ways that people viewed his mother-in-law.
我认为他确实牢记了人们对他岳母的一些看法。
People called her satanic and a heretic, yet he saw that she was very kind.
人们称她为恶魔、异教徒，但他却看到她非常善良。
He developed this dual notion of witches, that there could be a good witch and a bad witch.The Wizard of Oz (1939): Glinda descends in a big pink ball.
他提出了女巫的双重概念，即可能有一个好女巫和一个坏女巫。《绿野仙踪》（1939）：格林达乘坐一个粉红色的大球降临。
Ö Glinda: "Are you a good witch or a bad witch?"; Dorothy: "I'm not a witch at all.
Ö 格林达：“你是好女巫还是坏女巫？”；多萝西：“我根本不是女巫。
Witches are old and ugly."
女巫又老又丑。”
GREGORY MAGUIRE, WRITER: The phrase ìgood witchî doesnít really come into the culture until L.
作家格雷戈里·马奎尔：直到L.“好女巫”这句话才真正进入文化。
Frank Baum.
弗兰克·鲍姆.
Witches from European and English fairy tales were old, and gnarled.
欧洲和英国童话故事中的女巫都是又老又粗糙的。
How brave and thoughtful it was of Baum to take those two words that seemed to have magnetic pulls in opposite directions, the word ìgoodî and the word ìwitchî and to hinge them together so that they could mean something new.The Wizard of Oz (1939): Wicked Witch of the West: "You stay out of this, Glinda!
鲍姆将“好”和“女巫”这两个似乎具有相反方向吸引力的词结合在一起，使它们具有新的含义，这是多么勇敢和周到。《绿野仙踪》（1939）：西方邪恶女巫：“你别插手，格琳达！
Or I'll fix you as well."
不然我也来收拾你。”
MICHAEL PATRICK HEARN, WRITER: One of the important aspects of Oz is the real power is with the witches, both the good and the bad.
编剧迈克尔·帕特里克·赫恩：《奥兹国》的重要方面之一是，真正的力量在于女巫，无论是好人还是坏人。
Theyíre the ones who have the power.The Wizard of Oz (1939): Wicked Witch: ìiíll get you, my pretty!
他们是拥有力量的人。 绿野仙踪 (1939)：邪恶女巫：“我会抓住你的，我的美女！”
And your little dog, too.î The Wicked Witch of the West cackles and disappears into a ball of flames.
还有你的小狗。” 西方邪恶女巫咯咯地笑着，消失在一团火球中。
GREGORY MAGUIRE, WRITER: Before the end of the 19th century books provided for children were almost entirely for instruction, their aim was to educate.
作家格雷戈里·马奎尔：在 19 世纪末之前，为儿童提供的书籍几乎完全是为了指导，其目的是教育。
What happened in the United States is that there began to be a population of middle class children.
美国发生的事情是，中产阶级的孩子开始出现。
They were children who did not have to work in the mines, or the mills.
他们是不需要在矿山或工厂工作的孩子。
There was enough prosperity that kids could be a little bit more childlike for slightly longer.
有足够的繁荣，孩子们可以稍微保持童心一点。
And that allowed for a growth of an industry to help entertain them.
这使得一个可以帮助他们娱乐的行业得以发展。
Now we have time to go to the gym of the mind, as it were, to make ourselves strong in our capacity to imagine new things.
现在我们有时间去心灵的健身房，可以说是为了增强我们想象新事物的能力。
SUSAN ARONSTEIN, LITERARY SCHOLAR: This is a period where there is a sense of children as a special class that have a vivid world of imagination and play available to them; that gets lost with adulthood and that that time should be valued.
苏珊·阿伦斯坦，文学学者：在这个时期，人们感觉儿童是一个特殊的阶层，他们有一个生动的想象世界和玩耍的空间；成年后就会迷失，并且应该珍惜那段时光。
In late 1897, forty-one year old Baum published Mother Goose in Prose, inspired by the stories he had been inventing for his boys.
1897 年末，41 岁的鲍姆出版了《鹅妈妈散文》，灵感来自于他为儿子们创作的故事。
ìNow that I am getting old,î Frank wrote his sister, ìmy first book is to amuse children.î
“现在我已经老了，”弗兰克写信给他的妹妹，“我的第一本书是为了让孩子们开心。”
MICHAEL PATRICK HEARN, WRITER: He wanted to make children feel good.
迈克尔·帕特里克·赫恩，作家：他想让孩子们感觉良好。
He wanted them to know the joy of reading and the joy of, of wonderful stories.
他希望他们知道阅读的乐趣和精彩故事的乐趣。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: Baum was the eternal boy.
美国研究学者迪娜·马萨奇：鲍姆是永恒的男孩。
He never really grew up.
他从未真正长大。
If you leave behind your childhood and really are firmly grounded in the adult world itís hard to think of that rich, fertile, imaginative way that children think and play, and I donít think Baum ever left that.
如果你抛开童年，真正扎根于成人世界，你很难想象孩子们思考和玩耍时那种丰富、丰富、富有想象力的方式，我认为鲍姆从未离开过这一点。
Mother Goose in Prose was a critical success, but did not bring the fame or the financial reward Baum desired.
《散文中的鹅妈妈》取得了巨大的成功，但并没有带来鲍姆想要的名声或经济回报。
"I have been more worried than usual over business matters this summer," Frank confessed in a letter to his sister, ìand have scarcely spent time to sleep and eat.
弗兰克在给妹妹的信中承认：“今年夏天我比平时更加担心生意上的事情，几乎没有时间睡觉和吃饭。”
...I have wanted to find some employment that would enable me to stay at home."
......我一直想找一些工作，让我能够呆在家里。”
SHARON HARTMAN STROM, HISTORIAN: He's a willful person, but heís also a strategist in his own life, of finding a way out of a situation he doesnít like and then using his talents to create a new one.
莎伦·哈特曼·斯特罗姆，历史学家：他是一个任性的人，但他也是自己生活中的战略家，找到摆脱他不喜欢的情况的出路，然后利用自己的才能创造新的情况。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: If you were walking down State Street in Chicago, you would be offered a cavalcade of sights, and sounds, and sensations.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：如果你走在芝加哥的州街，你会看到一系列的景象、声音和感觉。
One of the most important of which would be the shop windows, and the most effective store windows would be like the soul of the store.
其中最重要的就是商店橱窗，而最有效的商店橱窗就像商店的灵魂。
And if you could look in those windows and be captured, and be enticed, then maybe it would be enough to go in.
如果你能看到那些窗户并被捕获并被诱惑，那么也许进去就足够了。
LOUIS WARREN, HISTORIAN: The American economy turns more and more to a dynamic that relies on selling goods to consumers, and merchants have to invent new ways of getting people to want things, which is one of the big transitions thatís happening in the late 19th and early 20th centuries.
历史学家路易斯·沃伦：美国经济越来越依赖于向消费者销售商品，商人必须发明新的方式来让人们想要东西，这是 19 世纪末和 20 世纪初发生的重大转变之一。
And Baum is at the center of that transition.
鲍姆处于这一转变的中心。
": I conceived of the idea of a magazine devoted to window trimming," Baum explained to his sister, ìwhich I know is greatly needed.îThe first issue of The Show Window, a trade journal that instructed merchants in the art of window display, appeared in November 1897.
“：我想到了创办一本专门介绍窗户装饰的杂志的想法，”鲍姆向他的妹妹解释说，“我知道这是非常需要的。”第一期《The Show Window》出版于 1897 年 11 月，这是一份指导商人橱窗展示艺术的贸易杂志。
SUSAN ARONSTEIN, LITERARY SCHOLAR: : Baum is very aware of the tricks of advertising.
苏珊·阿伦斯坦，文学学者： ：鲍姆非常了解广告的技巧。
Heís very good at using them.
他非常擅长使用它们。
He had a talent for and interest in technology, a talent for and interest in sales.
他对技术有天赋和兴趣，对销售也有天赋和兴趣。
He knew how to present and frame things and he knew how to tell a story.
他知道如何呈现和构建事物，也知道如何讲故事。
And The Show Window called on all of those things.
《橱窗》呼唤了所有这些东西。
An executive at Marshall Fieldísóthe gold standard of retail in downtown Chicagoóhailed The Show Window as ìan indispensable organî for department stores.
马歇尔菲尔德百货公司（芝加哥市中心零售业的黄金标准）的一位高管称赞橱窗是百货公司“不可或缺的机构”。
Circulation took off, gaining thousands of subscribers in a few months, and Baum was finally able to quit his traveling salesman job and spend more time at home.
该书的发行量迅速增加，几个月内就获得了数千名订阅者，鲍姆终于辞去了旅行推销员的工作，花更多的时间呆在家里。
For the first time in his life, Frank Baum was making a solid living.
弗兰克·鲍姆有生以来第一次过上了稳定的生活。
Not long after the start of his new venture, Matilda Gage died of a stroke while visiting the Baums in Chicagoóleaving Maud inconsolable and Frank without one of his most stalwart supporters.
在他的新事业开始后不久，玛蒂尔达·盖奇在拜访芝加哥的鲍姆一家时死于中风，这让莫德伤心欲绝，弗兰克也失去了最坚定的支持者之一。
For a writer and magazine editor like Baum, Chicago was an ideal city.
对于像鲍姆这样的作家和杂志编辑来说，芝加哥是一个理想的城市。
It had become a major center for commercial printingósecond only to New York.
它已成为仅次于纽约的主要商业印刷中心。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: Chicago at that time was really booming with writers, artists and publishers.
迪娜·马萨奇，美国研究学者：当时的芝加哥确实蓬勃发展，作家、艺术家和出版商众多。
Baum was a very charismatic likable kind of guy who seemed to make friends very quickly and easily, and one of the connections he made was William Wallace Denslow.
鲍姆是一个非常有魅力、讨人喜欢的人，他似乎很快很容易就能交到朋友，他建立的联系之一就是威廉·华莱士·丹斯洛。
MICHAEL PATRICK HEARN, WRITER: Denslow was one of the most important illustrators in Chicago at the time.
迈克尔·帕特里克·赫恩（MICHAEL PATRICK HEARN），作家：丹斯洛是当时芝加哥最重要的插画家之一。
And Baum met him at the Press Club of Chicago and the two of them started talking about possibly doing a book together.
鲍姆在芝加哥新闻俱乐部遇见了他，两人开始讨论可能一起写一本书。
Frank was already at work on a series of comic rhymes that was a twist on Mother Goose, and Denslow agreed to do the illustrations.
弗兰克已经在创作一系列与鹅妈妈不同的喜剧韵律，丹斯洛同意制作插图。
Their first collaboration, Father Goose, His Book, became an unexpected best-seller.
他们的第一次合作《鹅爸爸，他的书》意外地成为畅销书。
Energized by his success, Baum threw himself into his next big writing project.
鲍姆受到成功的鼓舞，全身心投入到他的下一个大型写作项目中。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: The intuitive process of writing is that you absorb everything around you and that becomes fuel for the process of writing.
莎莉·罗施·瓦格纳（SALLY ROESCH WAGNER），女性研究学者：写作的直观过程是你吸收周围的一切，并成为写作过程的燃料。
And you draw from places that you donít even know youíre drawing from.
你从你甚至不知道自己在画的地方画画。
Baum set out to tell the story of Dorothy, a young orphan girl stranded in the vast and unforgiving American landscape.
鲍姆开始讲述多萝西的故事，她是一个年轻的孤女，被困在广阔而无情的美国风景中。
Dorothyís dreary life on a Kansas farm is changed in a flash when a fierce cyclone drops her in a strange and wonderful land called "Oz." The story at the heart of the book was Dorothyís quest to get back home to her aunt and uncle in Kansas.
多萝西在堪萨斯农场的沉闷生活瞬间发生了变化，一场猛烈的旋风把她带到了一个陌生而美妙的地方，名叫“奥兹国”。这本书的核心故事是多萝西寻找回到堪萨斯州姑妈和叔叔身边的故事。
The Good Witch of the North points the way, which leads down a yellow brick road, where Dorothy is to enlist the help of the Great Wizard of Oz.
北方好女巫指引了一条黄砖路，多萝西将在那里寻求伟大的绿野仙踪的帮助。
ìIt is a long journey,î the good witch warns, ìthrough a country that is sometimes pleasant and sometimes dark and terrible.î
“这是一段漫长的旅程，”善良的女巫警告说，“穿过一个时而愉快、时而黑暗、可怕的国家。”
JEANINE BASINGER, FILM HISTORIAN: It's a story of a journey and being given a challenge by a new world where you have to learn what it is, face its dangers, find new friends, and get yourself together in it.
电影史学家珍妮·贝辛格：这是一个关于一段旅程的故事，讲述了一个新世界给你带来的挑战，你必须了解它是什么，面对它的危险，找到新朋友，并让自己融入其中。
Dorothy accumulates a trio of traveling companions along the wayóa Scarecrow, who wishes he had brains, a Tin Woodman, who longs for a heart, and a Cowardly Lion, who seeks courage.
多萝西一路上结识了三位旅伴——希望自己有大脑的稻草人、渴望一颗心的铁皮樵夫和寻求勇气的胆怯的狮子。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: They want her to fulfill her dreams as well as have their own dreams come true, and so they set off on this journey together that gives them that sense of camaraderie and community.
肯特·德拉蒙德，传播学者：他们希望她实现自己的梦想，也实现自己的梦想，因此他们一起踏上了这段旅程，这给了他们友情和社区的感觉。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: He did not see gender the way a lot of people of his time saw gender.
美国研究学者迪娜·马萨奇：他对性别的看法与他那个时代的许多人不同。
His supporting Scarecrow, Tin Man, Lion didnít conform to this typical male role.
他的配角稻草人、铁皮人、狮子都不符合这种典型的男性角色。
You have the Tin Woodman, who is so sensitive that he cries when he steps on a beetle.
你有锡樵夫，他非常敏感，当他踩到甲虫时他会哭。
MICHAEL PATRICK HEARN, WRITER: There are very few girls who are as assertive as Dorothy is in The Wonderful Wizard of Oz.
编剧迈克尔·帕特里克·赫恩：很少有女孩像《绿野仙踪》中的多萝西那样自信。
In every other fairy tale the heroine has to marry the prince.
在所有其他童话故事中，女主角都必须嫁给王子。
But Dorothy doesnít have to wait for her prince to come; she goes out and solves her own problems.
但多萝西不必等待她的王子到来；她出去解决自己的问题。
SALLY ROESCH WAGNER, WOMENíS STUDIES SCHOLAR: The voice of Dorothy, the sureness of her, the confidence, the figuring out how to solve problems, thatís Maud, thatís Matilda.
莎莉·罗施·瓦格纳（Sally Roesch Wagner），女性研究学者：多萝西的声音，她的自信，她的自信，她想出如何解决问题的能力，这就是莫德，这就是玛蒂尔达。
Narration: On October 9, 1899, Baum declared his new manuscript complete.
旁白：1899 年 10 月 9 日，鲍姆宣布他的新手稿完成。
He dedicated the book to his wife Maud, who he called his ìgood friend and comrade.î Underneath was Denslowís spritely illustration of the Good Witch of the North.
他将这本书献给他的妻子莫德，他称她为“好朋友和同志”。下面是丹斯洛为北方好女巫所作的生动插图。
The new book began to roll off the printing press in the first summer of a new century.
这本新书在新世纪的第一个夏天开始印刷。
It is "the best thing I have ever written, they tell me," a nervous Frank Baum wrote to his brother.
紧张的弗兰克·鲍姆在给他弟弟的信中写道，“他们告诉我，这是我写过的最好的东西”。
"But the queer, unreliable Public has not yet spoken."
“但是奇怪的、不可靠的公众还没有说话。”
MICHAEL PATRICK HEARN, WRITER: When the book came out in 1900, it was not typical of the childrenís books being published at that time.
作家迈克尔·帕特里克·赫恩：这本书于 1900 年出版时，在当时出版的儿童读物中并不常见。
The title was so intriguing, with this strange lion on the cover.
标题太有趣了，封面上有这只奇怪的狮子。
No one knew what it was.
没有人知道那是什么。
And a book with full color, full page illustrations but also all these other two-color illustrations that changed as the story progressed from one episode to another.
还有一本带有全彩、全页插图的书，但也有所有其他双色插图，随着故事从一集到另一集的进展而变化。
There was nothing on the market quite like it.
市场上没有任何东西能与之媲美。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: Baum says in his introduction that he wants to create a modernized fairy tale full of wonderment where the heartache and nightmares are left out.
美国研究学者迪娜·马萨奇：鲍姆在介绍中说，他想创造一个充满惊奇的现代化童话故事，而心痛和噩梦都被排除在外。
JEANINE BASINGER, FILM HISTORIAN: It's not like the fairy tales that come to us from Europe.
电影史学家珍妮·贝辛格：这不像欧洲传来的童话故事。
Itís a more optimistic, less grim and dangerous world.
这是一个更加乐观、不那么严峻和危险的世界。
Itís a world of solving problems.
这是一个解决问题的世界。
GREGORY MAGUIRE, WRITER: What he did in The Wonderful Wizard of Oz was harness his great idea of a child going out and coming back home in strict, plain, American prose.
作家格雷戈里·马奎尔：他在《绿野仙踪》中所做的就是用严格、朴素的美国散文来表达他关于孩子外出和回家的伟大想法。
He let the characters move about the landscape and speak with a sincerity with which America was then known and for which it was often much mocked.
他让人物在风景中走来走去，并以一种真诚的态度说话，这在当时是美国闻名的，但也因此经常受到嘲笑。
But it was a genuine tone.
但这是真诚的语气。
That what you say means something.
你说的这句话是有一定意义的。
Reviews praised Baum for writing a story that ìnever insults childhood intelligence by writing down to itî and for his ability to make "the little girl's odd companions—seem very real." "Delightful humor and rare philosophy are found on every page."
评论称赞鲍姆写的故事“永远不会因为写下来而侮辱儿童的智力”，而且他有能力让“小女孩的奇怪同伴看起来非常真实”。 “每一页都充满令人愉快的幽默和罕见的哲学。”
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: The Wonderful Wizard of Oz speaks specifically to a kind of American understanding of the modern periodótechnology, expansion, self-invention of the individual.
小琼斯，人文学者：《绿野仙踪》特别谈到了美国人对现代时期的一种理解——技术、扩张、个人的自我发明。
At the center of that is adventure and dreaming.
其核心是冒险和梦想。
EVAN SCHWARTZ, WRITER: It was about finding your place in the world, about identity and, ìWhere do I fit in?î Frank Baum was really pioneering a new literature for American children.
作家埃文·施瓦茨：这是关于找到你在世界上的位置、关于身份以及“我适合在哪里？”弗兰克·鲍姆确实为美国儿童开创了一种新文学。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: The Wonderful Wizard of Oz was an instant best-seller.
美国研究学者迪娜·马萨奇：《绿野仙踪》立即成为畅销书。
Everybody wanted to get their hands on it.
每个人都想亲自动手。
It was wildly popular.
它非常受欢迎。
Overwhelmed by orders, the publisher went back to press four times.
由于订单过多，出版商四次重新印刷。
In the first Christmas season of the 20th century, it became the best-selling childrenís book in America.
20世纪第一个圣诞节，它成为美国最畅销的儿童读物。
On New Yearís Eve at one of Chicagoís finest restaurants, the Baums, with Denslow and his wife, toasted their great success.
新年前夕，在芝加哥最好的餐厅之一，鲍姆夫妇与登斯洛和他的妻子一起庆祝了他们的巨大成功。
At age forty-four, Frank Baum had achieved the renown he had dreamed of all his life.
四十四岁时，弗兰克·鲍姆获得了他一生梦想的名声。
An unflagging belief in his own imagination had finally paid off.
他对自己想象力的坚定信念终于得到了回报。
ìSo everything conspires to make me glad,î he wrote his sister-in-law, ìand I send you heartiest wishes for a "glad New Year—and century."
“所以一切都让我很高兴，”他写信给他的嫂子，“我向你致以最衷心的祝愿，祝你“新年快乐，世纪快乐”。
On June 16, 1902, a staged musical adaptation of Baumís popular book, now with the shortened title The Wizard of Oz, opened to a packed house in Chicago.
1902 年 6 月 16 日，根据鲍米的畅销书改编的音乐剧（现简称为《绿野仙踪》）在芝加哥上演，座无虚席。
Frank Baum took enthusiastic curtain calls for this new interpretation of his cherished story.
弗兰克·鲍姆（Frank Baum）对他所珍视的故事进行了新的诠释，引起了热烈的谢幕。
The idea of returning to the theater and the challenge of adapting his book for the stage had thrilled Baum, but it had been a rocky journey.
重返剧院的想法以及将他的书改编成舞台的挑战让鲍姆兴奋不已，但这是一段坎坷的旅程。
MICHAEL PATRICK HEARN, WRITER: When the director read Baumís libretto, he wrote across it, ìNo good.î He then brought in several script doctors and completely refocused the play.
迈克尔·帕特里克·赫恩，编剧：当导演读到鲍米的剧本时，他在上面写道：“不好。”然后他请来了几位剧本医生，彻底重新调整了剧本的焦点。
By opening night, few of Baumís original lines remained in the script.
到首映之夜，鲍米的原创台词已经很少保留在剧本中了。
ìThe original story was practically ignored,î Baum complained, ìthe dialogue rehashed, the situations transposed, my Nebraska wizard made into an Irishman.î
“原来的故事几乎被忽视了，”鲍姆抱怨道，“对话被重新安排，情境被调换，我的内布拉斯加州巫师变成了爱尔兰人。”
MICHAEL PATRICK HEARN, WRITER: There were all kinds of changes.
作家迈克尔·帕特里克·赫恩：发生了各种各样的变化。
Toto became a cow named Imogene.
托托变成了一头牛，名叫伊莫金。
The producer added all kinds of secondary characters that had nothing to do with the original childrenís book.
制片人添加了各种与原著儿童读物无关的次要角色。
And Dorothy became a teenager who falls in and out of love throughout the play.
而多萝西则在整个剧中成为了一个陷入爱情又失恋的青少年。
In the musical, Dorothy and Imogene were blown to Oz along with a waitress from Topeka named Trixie Tryfle, the Cowardly Lion was turned into a bit part and the Wicked Witch of the West was removed from the story.
在音乐剧中，多萝西和伊莫金与来自托皮卡的女服务员特里克西·特里夫一起被吹到了奥兹国，胆小的狮子被变成了一个小角色，而西方邪恶的女巫则被从故事中删除了。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: If you go back and read reviews, what they oftentimes latch on to are not the original parts, necessarily, from The Wizard of Oz, but how they were able to integrate elements from vaudeville, from minstrelsy, from the variety show, and from the circus into this musical.
小琼斯，人文学者：如果你回去阅读评论，你会发现他们常常关注的不一定是《绿野仙踪》的原创部分，而是他们如何将歌舞杂耍、吟游诗人、综艺节目和马戏团的元素融入到这部音乐剧中。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: The musical was incredibly popular, particularly in the characters of the Scarecrow and the Tin Man.
小琼斯，人文学者：这部音乐剧非常受欢迎，尤其是稻草人和铁皮人的角色。
They kind of have a show within the show.
他们有点像节目中的节目。
What audiences saw in the dance routines was a set of movements, jokes and gags that were very popular on the minstrel stage.
观众在舞蹈动作中看到的是一系列在吟游诗人舞台上非常流行的动作、笑话和笑话。
They took the new material of the musical and they melded it with popular elements of American theater culture and made them anew.
他们采用了音乐剧的新素材，将其与美国戏剧文化的流行元素融合并重新制作。
So itís a transitional event in American popular culture.
所以这是美国流行文化的一个过渡事件。
The show was a smash hit in Chicago, then at New Yorkís Majestic Theatre, and then on a seven-year nationwide tour.
该剧在芝加哥大受欢迎，随后在纽约大剧院上演，随后进行了为期七年的全国巡演。
Given the commercial success, L.
鉴于商业上的成功，L.
Frank Baum was philosophical about the changes.
弗兰克·鲍姆对这些变化持哲学态度。
If anyone understood the power of spectacle, it was the creator of Oz.
如果有人了解奇观的力量，那就是《奥兹国》的创造者。
ìThe people will have what pleases them,î Baum concluded ìand not what the author happens to favor.î
“人们会得到他们喜欢的东西，”鲍姆总结道，“而不是作者碰巧喜欢的东西。”
JEANINE BASINGER, FILM HISTORIAN: Here he is at the turn of the century, confronting what was really gonna be the main issue in terms of art and commerce.
珍妮·贝辛格，电影史学家：他正处于世纪之交，面临着艺术和商业方面真正的主要问题。
If youíre going to make a mass audience piece then youíre going to have to have it please a mass audience, and he makes a decision, ìI want my work to succeed in pleasing a large number of people so they will enjoy it and will return to seeing it.î
如果你要制作一部面向大众的作品，那么你就必须让它取悦广大观众，他做出了决定，“我希望我的作品能够成功地取悦很多人，这样他们就会喜欢它，并会再次观看它。”
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: What the success of the show told Baum about Oz as a commodity is that it had endless potential, and that here it was in a wholly new experience, a new medium, and it worked.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：这部剧的成功告诉鲍姆，《奥兹国》作为一种商品，它具有无限的潜力，在这里，它是一种全新的体验、一种新的媒介，而且它有效。
It meant that so many more people could see it.
这意味着更多的人可以看到它。
I think he was smitten and he wanted more of it.
我认为他被迷住了并且他想要更多。
To capitalize on the musicalís success, Baum quickly wrote a new Oz book, The Marvelous Land of Oz.
为了利用这部音乐剧的成功，鲍姆很快写了一本新的《绿野仙踪》书《绿野仙踪》。
Published in 1904, it was marketed as a sequel that featured ìcharacters already famous the country over,î and added new Oz inhabitants, including Princess Ozma, the rightful ruler of Oz.
该书于 1904 年出版，作为续集进行营销，其中以“已经闻名全国的人物”为特色，并增加了新的奥兹国居民，其中包括奥兹国的合法统治者奥兹玛公主。
DINA MASSACHI, AMERICAN STUDIES SCHOLAR: Oz is this society run by women, and Oz itself really is this utopian version of America.
美国研究学者迪娜·马萨奇：《奥兹国》是一个由女性统治的社会，而《奥兹国》本身就是一个乌托邦版的美国。
In Oz, thereís plenty of everything.
在奥兹国，什么都有。
Everybody is provided for; everybody has what they need.
每个人都得到了满足；每个人都有他们需要的东西。
Two months after the bookís release, Baum started publishing a weekly newspaper serial, Queer Visitors from the Marvelous Land of Oz.
该书出版两个月后，鲍姆开始出版周报连载《来自奇妙绿野仙踪的酷儿访客》。
JEANINE BASINGER, FILM HISTORIAN: One of the things that is so significant about what Baum is doing here is he is creating a brand thatís built on his name and his particular product, which is Oz.
电影史学家珍妮·贝辛格 (JEANINE BASINGER)：鲍姆在这里所做的一件非常重要的事情是，他正在创建一个以他的名字和他的特定产品（Oz）为基础的品牌。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: Baum's work provides a window onto that which is popular and dominant in the American imagination in this period.
小琼斯，人文学者：鲍姆的作品为了解这一时期美国想象中流行和占主导地位的事物提供了一个窗口。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: Racial stereotypes have been central to American popular culture; those cultural forms are exploring how to reach larger mass audiences.
历史学家德洛莉亚：种族刻板印象一直是美国流行文化的核心。这些文化形式正在探索如何接触更多的大众受众。
Like other creations of popular entertainment, Baumís Oz universeóas well as other writingsóreflected the countryís charged discourse around race and the related issues of national identity, immigration and colonialism.
与其他流行娱乐作品一样，鲍米的《绿野仙踪》以及其他作品反映了该国围绕种族以及民族认同、移民和殖民主义等相关问题的激烈话语。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: One of the lessons that I think Baum wants to teach in this new century is: How do we deal with difference?
小琼斯，人文学者：我认为鲍姆想在这个新世纪传授的教训之一是：我们如何处理差异？
How do we deal with difference in the United States as a multiracial society?
美国作为一个多种族社会，我们如何处理差异？
Baumís Oz books are about characters consistently encountering different types of persons, different types of animals, different types of objects and learning something about them.
鲍米的《奥兹国》书籍讲述了人物不断遇到不同类型的人、不同类型的动物、不同类型的物体并了解他们的一些事情的故事。
Even as Baum modeled worlds where people with different features and backgrounds cheerfully interacted, he incorporated characters representing widely circulated racial stereotypes.
尽管鲍姆塑造了具有不同特征和背景的人们愉快互动的世界，但他也融入了代表广泛流传的种族刻板印象的角色。
MARIA E.
玛丽亚·E。
MONTOYA, HISTORIAN: The way that Baum characterizes others or different people in his writings, those were things that were just so embedded in American culture.
蒙托亚，历史学家：鲍姆在他的著作中描述他人或不同人的方式，这些都是深深植根于美国文化中的东西。
Baum is just reflecting what American society thinks about these groups of people.
鲍姆只是反映了美国社会对这些人群的看法。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: It's always important to think about historical figures in complicated kinds of ways.
德洛莉亚，历史学家：以复杂的方式思考历史人物总是很重要的。
The most interesting way to think about a life is to grab the stuff out of the corners and move it to the center and ask yourself, like, ìHow does this make me understand the person differently?
思考生活最有趣的方式就是把角落里的东西拿出来，移到中心，然后问自己，“这如何让我以不同的方式理解这个人？”
Narration: The musical had made Frank a wealthy man, and he and Maud reveled in the luxuries they could now afford, including a five-month tour of Europe and Egypt.
旁白：这部音乐剧让弗兰克成为了一名富有的人，他和莫德陶醉于他们现在能负担得起的奢侈品，包括为期五个月的欧洲和埃及之旅。
Maud had a keen interest in Egypt as much of the teachings of Theosophy centered on accessing the secret wisdom of ancient knowledge.
莫德对埃及有着浓厚的兴趣，因为神智学的大部分教义都集中在获取古代知识的秘密智慧上。
They explored the Temple of Isis and Frank joyfully watched as an undaunted Maud climbed to the top of the Great Pyramid.
他们探索了伊希斯神庙，弗兰克高兴地看着无所畏惧的莫德爬上大金字塔的顶端。
"Few women," Maud proudly stated, "undertake the feat."
莫德自豪地说：“很少有女性能够完成这一壮举。”
At an oasis, the Baums met a family crossing the desert on a camel train.
在一片绿洲，鲍姆一家遇到了一个乘坐骆驼队穿越沙漠的家庭。
ROBERT BAUM, GREAT GRANDSON: And on the back of the camel was a young girl and in this girlís arm on one side was her doll and on the other side, a first edition of "The Wonderful Wizard of Oz." This really surprised Frank, and he realized the widespread popularity of his book and how much the children loved the story.
罗伯特·鲍姆，曾孙：骆驼背上坐着一个小女孩，女孩的手臂一侧是她的洋娃娃，另一侧是第一版的《绿野仙踪》。这确实让弗兰克感到惊讶，他意识到他的书受到广泛欢迎，也意识到孩子们有多么喜欢这个故事。
The Baums summered at Macatawa Park, a resort town on Lake Michigan, where Frank wrote many of his books, and tried to answer the dozens of letters that arrived for him each day.
鲍姆一家在密歇根湖畔的度假胜地马卡塔瓦公园避暑，弗兰克在那里写下了许多书，并试图回复每天收到的数十封信件。
This outpouring of affection inspired Baum to keep expanding the world of Oz.
这种倾注的感情激励鲍姆继续拓展奥兹国的世界。
In each new sequel, he included an "Author's Note" about his young friends.
在每一部新的续集中，他都包含了一篇关于他的年轻朋友的“作者的话”。
"If...the little folks find this story "real Ozzy," Baum wrote in one, "I shall be very glad indeed."
鲍姆在一篇文章中写道：“如果……小人们认为这个故事是‘真正的奥兹’，我真的会非常高兴。”
SUSAN ARONSTEIN, LITERARY SCHOLAR: He's very much aware of the children as his audience and heís very much aware of building a relationship with them.
苏珊·阿伦斯坦，文学学者：他非常清楚孩子们是他的观众，并且非常清楚与他们建立关系。
Um, and he sees them as co-creators of Oz.
嗯，他认为他们是《奥兹国》的共同创造者。
Over and over again, he says, "I have responded to your request for more Oz." Oz becomes a conversation between Baum and his readers.
他一遍又一遍地说：“我已经回应了你要更多奥兹的请求。”奥兹国成为鲍姆和他的读者之间的对话。
MICHAEL PATRICK HEARN, WRITER: Baum was always looking for new ways of promoting his books, and what was popular at the time were these travelogues.
迈克尔·帕特里克·赫恩，作家：鲍姆一直在寻找新的方式来推广他的书籍，当时流行的是这些游记。
People would go around the country talking about China, or their trip to Japan and it would be a combination of hand colored slides and possibly some film.
人们会在全国各地谈论中国，或者他们的日本之旅，这将是手绘彩色幻灯片和可能一些电影的结合。
So Baum thought, "Well, why donít we do a travelogue of ...Oz?"
所以鲍姆想，“好吧，我们为什么不写一篇……奥兹国的游记呢？”
In 1908, Baum created a multimedia traveling show called The Fairylogue and Radio-Plays to coincide with the publication of a new Oz book.
1908 年，鲍姆创作了一个名为《童话和广播剧》的多媒体巡回节目，以配合一本新的《奥兹国》书的出版。
Baum narrated the story in person as the action unfolded onstage: a mixture of hand-colored lantern slides of illustrations from his Oz books and a series of short, hand-colored trick movies that he called ìRadio-Plays.î All accompanied by an orchestra performing an original score.
随着舞台上的动作展开，鲍姆亲自讲述了这个故事：混合了他的《奥兹国》书中插图的手绘灯笼幻灯片和一系列他称之为“广播剧”的手绘彩色特技短片。所有这些都由管弦乐队演奏原创乐谱伴奏。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: It was this extraordinary vision of artistry, of technology, of inventiveness, and ultimately of risk taking.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：这是对艺术、技术、创造力以及最终冒险精神的非凡愿景。
Now, if you read accounts of people who attended the shows they were absolutely transported.
现在，如果你读过参加演出的人们的报道，他们绝对会被感动。
There were gasps.
有喘息声。
They were completely caught up in it.
他们完全陷入了其中。
JEANINE BASINGER, FILM HISTORIAN: He understood that selling things was about embracing the media.
电影史学家珍妮·贝辛格：他明白卖东西就是拥抱媒体。
It was about advertising that didnít look like advertising.
这是关于看起来不像广告的广告。
And that, I think, is something very forward looking about him.
我认为，这是他非常具有前瞻性的一点。
He meshed the story and the creative artistic product with the sell, and thatís the real magic of what he was able to do so effectively.
他将故事和创意艺术产品与销售结合起来，这就是他能够如此有效地做到这一点的真正魔力。
Wizard of Oz (1939) - Cowardly Lion: "Look at that, look at that!" Wizard: "I am Oz.
绿野仙踪 (1939) - 胆小的狮子：“看看那个，看看那个！”巫师：“我是奥兹。
The great and powerful."
伟大而强大。”
MICHAEL PATRICK HEARN, WRITER: One thing L.
迈克尔·帕特里克·赫恩，作家：有一件事 L.
Frank Baum deals with is appearance.
弗兰克·鲍姆处理的是外表。
Are things as we first encounter them?
事情还是我们第一次遇到的样子吗？
The Wizard of Oz turns out to be a humbug.
事实证明，《绿野仙踪》是一个骗子。
The male leader of the country turns out to be not what he claims to be.
事实证明，这个国家的男性领导人并不是他所声称的那样。
Wizard of Oz (1939) - Wizard (pulls curtain closed): "Pay no attention to that man behind the curtain!" Dorothy: "Who are you?" Wizard: I am the great and powerful Wizard of Oz." Dorothy: "You are!"
绿野仙踪 (1939) - 巫师（拉上幕布）：“别注意幕布后面的那个人！”多萝西：“你是谁？”巫师：我是伟大而强大的绿野仙踪。”多萝西：“你就是！”
MICHAEL PATRICK HEARN, WRITER: T: he Wizard of Oz turns out to be no more than a flim-flam man, a circus performer from Nebraska.
迈克尔·帕特里克·赫恩（MICHAEL PATRICK HEARN），编剧： T：事实证明，《绿野仙踪》中的他只不过是一个来自内布拉斯加州的马戏团演员，一个胡言乱语的人。
Wonderful Wizard of Oz V.O.: "Really, 'said the Scarecrow, "you ought to be ashamed of yourself for being such a humbug.
精彩的绿野仙踪画外音：“真的，”稻草人说，“你应该为自己是个骗子而感到羞耻。
"O' I think you are a very bad man," said Dorothy.
“哦，我认为你是一个非常坏的人，”多萝西说。
"Oh, no, my dear; I'm really a very good man; but I'm a very bad Wizard."
“哦，不，亲爱的；我确实是一个非常好的人；但我是一个非常糟糕的巫师。”
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: Baum does not cast the Wizard as a villain figure, but rather he sees the Wizard as playing a very particular kind of function for this group of people who want something.
小琼斯，人文学者：鲍姆并没有将巫师视为恶棍人物，而是认为巫师为这群想要某种东西的人发挥着一种非常特殊的作用。
He suggests that if deception can fulfill oneís desires, there is a need for that.
他认为，如果欺骗能够满足一个人的愿望，那么就有必要这样做。
SUSAN ARONSTEIN, LITERARY SCHOLAR: If you think about what the Cowardly Lion, the Scarecrow and the Tin Man all want.
文学学者苏珊·阿伦斯坦：如果你想想胆小的狮子、稻草人和铁皮人都想要什么。
What the Wizard gives them isnít that thing, but because they believe itís that thing, that actually does magically transform them.
巫师给他们的不是那个东西，但因为他们相信那就是那个东西，这实际上确实神奇地改变了他们。
n the early 20th century, Los Angeles was becoming the new capital of American popular culture and entertainment.
20世纪初，洛杉矶正在成为美国流行文化和娱乐的新首都。
Production companies had left New York to take advantage of the sunny climate and easy access to a variety of natural settings.
制作公司纷纷离开纽约，以利用阳光明媚的气候和方便前往各种自然环境的优势。
Film studios began popping up all over Hollywood, a sparsely settled village surrounded by citrus groves.
电影制片厂开始在好莱坞各地涌现，这是一个人烟稀少的村庄，周围环绕着柑橘园。
In 1910, Frank and Maud, who had spent several winters in southern California and grown to love it, moved full-time to Hollywood.
1910 年，弗兰克和莫德在南加州度过了几个冬天并渐渐爱上了这里，他们全职搬到了好莱坞。
Baum built a comfortable home that he called Ozcot, and continued writing.
鲍姆建造了一个舒适的家，他称之为奥兹考特，并继续写作。
He penned numerous books and series, often using both male and female pseudonyms.
他写了许多书籍和系列作品，经常使用男性和女性笔名。
And he kept up with the demand for more Oz, making good on the arrangement with his publisher of producing one book a year.
他满足了对更多《奥兹国》的需求，兑现了与出版商每年出版一本书的安排。
Calling himself "The Royal Historian of Oz," Frank divided his time between writing and nurturing his new flower garden.
弗兰克自称为“奥兹国皇家历史学家”，他将自己的时间分配给写作和培育他的新花园。
He also joined the Uplifters, a social club of wealthy businessmen, artists and actors, many of them in the film industry.
他还加入了 Uplifters，这是一个由富商、艺术家和演员组成的社交俱乐部，其中许多人在电影界工作。
Baum enjoyed songs and lively conversation with what he called his "band of 'good fellows."
鲍姆喜欢与他所谓的“好伙伴乐队”一起唱歌和进行热烈的交谈。
JEANINE BASINGER, FILM HISTORIAN: He found a group of creative, imaginative people and they decided that making, uh, the Oz books into movies would be a very good idea.
珍妮·贝辛格，电影史学家：他找到了一群富有创造力、想象力的人，他们认为将《绿野仙踪》的书籍拍成电影将是一个非常好的主意。
Everybody loved the books.
每个人都喜欢这些书。
They were extremely popular.
他们非常受欢迎。
They felt that this would be a successful venture for them.
他们认为这对他们来说将是一次成功的冒险。
In 1914, the group put up $100,000 to launch The Oz Film Manufacturing Company with Baum as president.
1914 年，该集团斥资 10 万美元成立了奥兹电影制造公司，鲍姆担任总裁。
"I will put all my books into film, [so] that every child in the whole country may see them," Baum told a reporter.
“我会把我所有的书拍成电影，这样全国的每个孩子都可以看到它们，”鲍姆告诉记者。
At age 58, Baum threw himself into this new venture, building a massive seven-acre studio.
58 岁时，鲍姆全身心投入到这个新事业中，建造了一个占地七英亩的大型工作室。
Within two months, he had started filming their first production, The Patchwork Girl of Oz.
两个月内，他开始拍摄他们的第一部作品《绿野仙踪》。
Expectations and enthusiasm were high.
期望和热情很高。
Would-be chorus girls mobbed the studio looking to make their big break.
想要成为合唱团的女孩们涌入录音室，希望能取得重大突破。
A huge spread in a trade magazine hyped the anticipated release of the film.
商业杂志上的巨大传播炒作了这部电影的预期上映。
Baum, sparing no expense, opened The Patchwork Girl of Oz in the biggest movie theater in New York.
鲍姆不惜重金，在纽约最大的电影院开设了《绿野仙踪》的《拼布女孩》。
MICHAEL PATRICK HEARN, WRITER: Not only did they have very elaborate production values but also he had an original score for each of the films.
编剧迈克尔·帕特里克·赫恩：他们不仅有非常精细的制作价值，而且他为每部电影都有原创配乐。
But the audience said, "This is a kid's show.
但观众说：“这是一个儿童节目。
Why should adults be paying full price?" And the films were not well received.
为什么成年人要支付全价？”这些电影并没有受到好评。
It was a big disappointment to him.
这对他来说是一个很大的失望。
Baum produced four feature films, but the company fizzled out after only a year.
鲍姆制作了四部故事片，但该公司仅一年后就宣告失败。
MICHAEL PATRICK HEARN, WRITER: After the failure of the Oz Film Company Baum pretty much retired to Ozcot and just continued writing an Oz book a year.
迈克尔·帕特里克·赫恩（MICHAEL PATRICK HEARN），编剧：在《奥兹国》电影公司失败后，鲍姆几乎退休到了《奥兹国》，每年继续写一本《奥兹国》的书。
He wrote other work as well but he was resolved to the idea that he should stick to what he knew best, and that was writing childrenís books.
他也写过其他作品，但他决心坚持自己最了解的事情，那就是写儿童读物。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: I think in Ozcot, Baum found his own personal Oz.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：我认为鲍姆在奥兹考特找到了他自己的奥兹国。
It was the perfect bookend to what Rose Lawn had been when he was a child.
这是罗斯·劳恩小时候的完美书挡。
It was a place to dream.
那是一个梦想的地方。
It was a place to escape.
这是一个逃避的地方。
And in some ways it was a return to childhood.
从某些方面来说，这是对童年的回归。
Ozcot also provided a tranquil place of convalescence as Frank had been suffering from congestive heart failure for some time.
由于弗兰克患有充血性心力衰竭已有一段时间，奥兹科特还为弗兰克提供了一个安静的康复场所。
Gallbladder surgery weakened him even more.
胆囊手术使他更加虚弱。
On May 6, 1919, just before his sixty-third birthday, L.
1919 年 5 月 6 日，就在他 63 岁生日之前，L.
Frank Baum died.
弗兰克·鲍姆去世。
The thirteenth Oz book was on its way to press, and Baum had left one more completed Oz manuscript.
第十三本《奥兹国》书即将付印，鲍姆还留下了一份完整的《奥兹国》手稿。
KENT DRUMMOND, COMMUNICATIONS SCHOLAR: Here was someone who endured so many setbacks professionally.
肯特·德拉蒙德（KENT DRUMMOND），传播学者：他在职业生涯中经历了如此多的挫折。
But, he was a visionary.
但是，他是一个有远见的人。
He saw the future.
他看到了未来。
He saw what things could look like.
他看到了事情会是什么样子。
Nearly twenty years after L.
L. 近二十年后
Frank Baumís death, on the studio lot of Metro-Goldwyn-Mayer, cameras started rolling on a new interpretation of The Wonderful Wizard of Oz.
弗兰克·鲍米去世后，在米高梅工作室，摄像机开始拍摄对《绿野仙踪》的全新诠释。
MICHAEL PATRICK HEARN, WRITER: MGM was considered the top studio in Hollywood and every year they would put out what they called a prestige film.
迈克尔·帕特里克·赫恩（MICHAEL PATRICK HEARN），编剧：米高梅被认为是好莱坞顶级制片厂，每年他们都会推出他们所谓的声望电影。
And this was a film that would really show off what the studio was able to do better than anyone else out there.
这部电影真正展示了该工作室比其他任何人都能做得更好的能力。
The Wizard of Oz was going to be the prestige film for MGM in 1939.
1939 年，《绿野仙踪》将成为米高梅的代表作。
There had yet to be a successful film version of The Wizard of Oz, and MGM was gambling an unprecedented $3 million on a Technicolor extravaganza to bring the beloved story to screen, starring Judy Garland as Dorothy.
当时《绿野仙踪》还没有成功的电影版本，米高梅史无前例地斥资 300 万美元打造了一场彩色盛宴，将这个深受喜爱的故事搬上银幕，由朱迪·加兰 (Judy Garland) 饰演多萝西 (Dorothy)。
SUSAN ARONSTEIN, LITERARY SCHOLAR: They knew it was a risk and they poured money into the promotion.
苏珊·阿伦斯坦，文学学者：他们知道这是一个风险，所以他们在促销上投入了资金。
MGM was very careful to position the film and the people involved in the film as readers and fans of Baum.
米高梅非常谨慎地将电影和参与电影的人定位为鲍姆的读者和粉丝。
The idea that, "There's continuity between us and the Baum books."
这个想法是，“我们和鲍姆的书之间有连续性。”
Over 5,000 fans cheered the parade of stars arriving for the filmís Hollywood premiere.
超过 5,000 名影迷为出席电影好莱坞首映礼的明星游行欢呼雀跃。
Joining the crush of celebrities at the lavish event was 78-year old Maud Baum.
78 岁的莫德·鲍姆 (Maud Baum) 也加入了这场奢华活动的名人行列。
ìOne of the greatest thrills of my life,î she proclaimed, ìwill be to see the land of Oz Ö come to life under the magic of MGM.î
“我一生中最激动人心的事情之一，”她宣称，“将是看到奥兹国在米高梅的魔力下变得生机勃勃。”
The Wizard of Oz opened in theaters across the country on August 25, 1939.
《绿野仙踪》于 1939 年 8 月 25 日在全国影院上映。
Narration: The story born from L.
旁白：L的故事。
Frank Baumís imagination and the hardships of the 19th century frontier would find its most enduring place in American culture at the tail end of the Great Depression.
弗兰克·鲍米的想象力和 19 世纪边疆的艰辛在大萧条末期的美国文化中找到了最持久的地位。
As we were just coming out of the Depression and as war was on the horizon, The Wizard of Oz was an escapist moment.
当时我们刚刚走出大萧条，战争即将来临，《绿野仙踪》是一个逃避现实的时刻。
It was a chance for Americans, who had been working very, very hard for a very long time to keep body and soul together, to take a deep breath and get out of themselves.
对于长期以来一直非常非常努力地工作以保持身心健康的美国人来说，这是一个深呼吸、摆脱自我的机会。
": There is no cure for a troubled heart, or a troubled world," noted one review, "like a swift journey back to a cherished childhood memory.
一篇评论指出：“对于一颗烦恼的心或一个烦恼的世界来说，没有什么办法可以治愈，就像快速回到珍贵的童年记忆一样。”
Metro-Goldwyn-Mayer's "Wizard of Oz" is just that: a memory glorified on the screen."
米高梅的《绿野仙踪》就是这样：一段在银幕上得到美化的记忆。”
JEANINE BASINGER, FILM HISTORIAN: The 1939 MGM movie made Oz a world everybody could see and experience the same way so that it became real to people and defined collectively as Oz.
电影史学家珍妮·贝辛格：1939 年的米高梅电影让《奥兹国》变成了一个每个人都能以同样的方式看到和体验的世界，因此它对人们来说变得真实起来，并被统称为《奥兹国》。
In 1959, CBS began annual broadcasts of The Wizard of Oz.
1959年，哥伦比亚广播公司开始每年播出《绿野仙踪》。
The shared national event became a cherished tradition, firmly establishing the story as an American icon.
这一共同的全国性事件成为了一项值得珍视的传统，牢固地确立了这个故事作为美国偶像的地位。
GREGORY MAGUIRE, WRITER: In the 1950ís, there was an uncomfortable sense of American certainty.
作家格雷戈里·马奎尔：在 20 世纪 50 年代，人们对美国的确定性有一种不安的感觉。
We knew who we were, and that we were on top of the world.
我们知道我们是谁，我们处于世界之巅。
There is a lot of oppression in that and there is also a lot of possibility.
这里面有很多的压迫，也有很多的可能性。
When The Wizard of Oz was rebroadcast, what it did was provide those children who felt emboldened by that certainty to seek newness, to seek otherness.
当《绿野仙踪》重播时，它所做的就是让那些因这种确定性而感到勇敢的孩子们去寻求新奇、寻求与众不同。
In the years to come, The Wizard of Oz would be transformed again and again.
在接下来的岁月里，《绿野仙踪》将一次又一次地发生转变。
In January 1975, a new interpretation of The Wonderful Wizard of Oz opened on Broadway.
1975 年 1 月，新版《绿野仙踪》在百老汇上演。
Starring an all-black cast with Stephanie Mills as Dorothy, The Wiz was a modern retelling of L.
《绿野仙踪》由全黑人演员主演，斯蒂芬妮·米尔斯饰演多萝西，《绿野仙踪》是对 L.
Frank Baumís fairy tale.
弗兰克·鲍米的童话故事。
The show, subtitled "The Super Soul Musical," gave the story a new cultural framework.
该剧的副标题是“超级灵魂音乐剧”，为这个故事赋予了新的文化框架。
The Wiz (1975) - Dorothy and cast sing "Ease On Down The Road"
《绿野仙踪》(1975) - 多萝西和演员们演唱“Ease On Down The Road”
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: : It is black theater makers grasping on to something thatís dear to Americans and saying, ìThis is ours too.î Itís about bringing the peculiar talents of these artists together to make claims on the American story, what some might call the most American of American stories.
小琼斯，人文学者：：黑人戏剧制作者抓住了美国人所珍视的东西，并说：“这也是我们的。”这是为了将这些艺术家的独特才能聚集在一起，对美国故事做出主张，有些人可能称之为最美国的美国故事。
SUSAN ARONSTEIN, LITERARY SCHOLAR: There hadnít been any real kind of vibrant Oz moments for quite a while.
苏珊·阿伦斯坦，文学学者：已经有一段时间没有真正充满活力的奥兹时刻了。
The Wiz updates it.
Wiz 更新了它。
It makes it modern, and new, and fresh.
它使它变得现代、新颖、新鲜。
The Wiz was a huge hit, winning seven Tony Awards, including best musical.
《绿野仙踪》大受欢迎，赢得了七项托尼奖，其中包括最佳音乐剧奖。
Three years later, Hollywood reworked the story as an urban fantasy set in Harlem.
三年后，好莱坞将这个故事改编为以哈莱姆区为背景的都市奇幻故事。
The movie featured megastars Diana Ross as Dorothy, a 24-year-old school teacher, and Michael Jackson as the Scarecrow.
这部电影由巨星戴安娜·罗斯 (Diana Ross) 饰演 24 岁的学校老师多萝西 (Dorothy)，迈克尔·杰克逊 (Michael Jackson) 饰演稻草人。
In both the stage and film versions, The Wiz explored African American struggle and resistance, and celebrated Black liberation.The Wiz (1978) Scarecrow sings ìYou Canít Win.î Dancers move to ìBrand New Dayî song.
在舞台和电影版本中，《绿野仙踪》探讨了非裔美国人的斗争和抵抗，并庆祝黑人解放。《绿野仙踪》（1978）稻草人唱着“你不能赢”。舞者随着“全新的一天”歌曲移动。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: The Wiz is injecting themes, and images, and ideas of Black liberation, and celebration, and what people call Black joy precisely because these moments of celebration in the film allow for and show the ways in which African Americans can, and do, and continue to overcome.The Wiz (1978) Dorothy: ìIím ready now.î Addaperle: ìThink of home.î
琼斯，JR.，人文学者：《奇才》注入了黑人解放和庆祝的主题、形象和理念，以及人们所说的黑人欢乐，正是因为电影中的这些庆祝时刻允许并展示了非裔美国人能够、所做和继续克服困难的方式。《奇才》(1978) 多萝西：“我现在准备好了。”阿达珀勒：“想家。”
JEANINE BASINGER, FILM HISTORIAN: This is a story that can be adapted to a different time and place without really losing the fundamental idea of Oz and what it means to people.
电影史学家珍妮·贝辛格：这是一个可以适应不同时间和地点的故事，但又不会真正失去《奥兹国》的基本理念及其对人们的意义。
PHILIP J.
菲利普·J.
DELORIA, HISTORIAN: Who wouldíve thought that a failed entrepreneur would write a little story, which would have repercussions and reverberations across the whole course of the 20th century and into the future.
历史学家德洛莉亚：谁能想到，一个失败的企业家会写出一个小故事，对整个 20 世纪乃至未来产生深远的影响和反响。
In 2003, one hundred years after Baumís first theatrical extravaganza, Oz returned to the stage as Wicked, a hugely-popular Broadway musical adapted from a novel.
2003 年，在鲍米首次戏剧盛宴一百年后，奥兹重返舞台，出演改编自小说的广受欢迎的百老汇音乐剧《魔法坏女巫》。
This 21st century take on Oz reimagined Baumís story from the point of view of the Wicked Witch of the West.
这部 21 世纪的《奥兹国》从西方邪恶女巫的角度重新演绎了鲍米的故事。
SUSAN ARONSTEIN, LITERARY SCHOLAR: Wicked focuses on the question of marginalization about, what is it like to grow up in a skin that people reject.
苏珊·阿伦斯坦，文学学者：《魔法坏女巫》聚焦于边缘化问题，即在人们排斥的皮肤中长大是什么感觉。
What does it mean to have power as a woman?
作为一个女人，拥有权力意味着什么？
The focus on female friendship, all of those things I think revitalized Oz for a very new audience
对女性友谊的关注，我认为所有这些都为奥兹国的新观众带来了活力
Michael Patrick Hearn, Writer: Every generation reinterprets the story based upon what their experiences are.
迈克尔·帕特里克·赫恩，编剧：每一代人都会根据自己的经历重新诠释这个故事。
There is this power in Baumís imagination, Baumís invention.
鲍米的想象力、鲍米的发明都具有这种力量。
DOUGLAS A.
道格拉斯·A.
JONES, JR., HUMANITIES SCHOLAR: He was able to create and mold a set of characters that are with us across class, across race.
小琼斯，人文学者：他能够创造和塑造一系列跨越阶级、跨越种族的人物。
Gregory Maguire, Writer: We carried the meaning of the story wherever we went, which is that the small and the powerless can still have agency.
编剧格雷戈里·马奎尔：无论我们走到哪里，我们都带着这个故事的意义，那就是弱者和弱者仍然可以拥有代理权。
EVAN SCHWARTZ, WRITER: Baum left an indelible imprint on the American imagination.
作家埃文·施瓦茨：鲍姆在美国人的想象力中留下了不可磨灭的印记。
In a way, America has become a society of imagination and storytelling, and myth making.
在某种程度上，美国已经成为一个充满想象力、讲故事和创造神话的社会。
Imagination,î Baum wrote, ìtransforms the commonplace into the great and creates the new out of the old.
鲍姆写道，想象力“将平凡变成伟大，从旧中创造新。”
Considering L.
考虑到 L。
Frank Baum’s classic and the generations of adaptations it inspired.
弗兰克·鲍姆的经典作品及其启发的几代改编作品。
L.
L。
Frank Baum is best known for writing the beloved American fairytale, The Wonderful Wizard of Oz.
弗兰克·鲍姆因创作深受人们喜爱的美国童话《绿野仙踪》而闻名。
Matilda Joslyn Gage was an American author and women’s rights advocate.
玛蒂尔达·乔斯林·盖奇是一位美国作家和女权倡导者。
Gage cofounded the National Woman Suffrage Association with Susan B.
盖奇与苏珊·B·盖奇共同创立了全国妇女选举权协会。
Anthony.
安东尼.
L.
L。
Frank Baum’s long and winding road to Oz, and the Chicago World’s Fair that inspired his life’s work.
弗兰克·鲍姆通往奥兹国的漫长而曲折的道路，以及激发了他一生工作灵感的芝加哥世界博览会。
How the American drive to force Indian assimilation turned violent on the plains of South Dakota.
美国强迫印第安人同化的努力如何在南达科他州平原上演变成暴力。
The life and times of L.
L的生平和时代
Frank Baum, creator of the beloved The Wonderful Wizard of Oz .
弗兰克·鲍姆 (Frank Baum)，深受喜爱的《绿野仙踪》的创作者。
The life and times of L.
L的生平和时代
Frank Baum, creator of the beloved The Wonderful Wizard of Oz.
弗兰克·鲍姆 (Frank Baum)，深受喜爱的《绿野仙踪》的创作者。