The Wishing Horse of Oz — Edition Insights

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Thompson, Ruth Plumly, 1893-1976, Neill, John R. (John Rea), 1877-1943 [Illustrator], Baum, L. Frank (Lyman Frank), 1856-1919 [Other] Project Gutenberg 2017 Not confirmed
Oz (Imaginary place) -- Juvenile fiction; Fantasy fiction; Gale, Dorothy (Fictitious character) -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 47,754
Reading time 208 min
Text sections 7

For The Wishing Horse of Oz — Edition Insights, the stored edition analysis reports 47,754 words, 3 hr 28 min estimated reading time, and 7 detected text sections.

The text analysis averages about 17.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Oz (Imaginary place) -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Ruth Plumly Thompson's 1935 Oz novel opens with a dissatisfied king, a talking horse, and a mysterious wish-granting horse. Dorothy and Pigasus turn black after a river dunking, leading to a dark-room confrontation with a witch. The excerpts show Thompson's playful voice and serialized structure.
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Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

Skampavians were in a perfect pitched battle, helped out by all the guards and palace servants.

"Argument!" roared the King, slapping Pinny Penny rudely on the shoulder. "It's a fight, and you know it! Ho, ho! Just look at the good-for-nothing rascals. I tell you, old Two Pins, however poorly they serve us as farmers and merchants, our Skampavians can certainly fight. And who says I'm too hard on them? Have I not given every man Jack a dress uniform and gun and made them learn military drilling and marching at the Royal College?"

"And what use is all this drilling and marching?" inquired Pinny Penny wearily. Letting the curtain fall, he hurried away, for well he knew, if he did not put a stop to the conflict in the courtyard every window in the palace would be broken.

"Now what did he mean by that?" muttered Skamperoo peevishly as his little Prime Minister whisked out of sight. Pursing his lips, he seated himself heavily on his throne. After all, Pinny Penny had only spoken the truth. Why had his father or his father's father ever picked out this pesky little country in the first place? Located in the southern part of the desert of Noland, between the Kingdoms of Ix and Merryland, Skampavia, he was forced to admit, had neither riches, beauty, nor interest. His castle, though poor and shabby, was comfortable enough, and having lived in it all his life, he was used to it. He had put up with the hot dry climate and the poor quality of the food, but after all, why should he continue to do so? In those long ago days in the school room he had studied of energetic rulers who had taken their armies and gone forth to conquer richer and more desirable lands from their neighbors. Well, then, why should not he take his men, push over the border into a more fertile and kindly land? The idea pleased but at the same time annoyed him. Skamperoo was fat and lazy. He loved quiet and ease and the thought of a hard military campaign made him shudder with distaste. Still, he reflected, remembering Pinny Penny's reproachful face, a King should do something for his subjects and the more he did for them--Ho, ho! the more he could make them do for him. A rich and prosperous country meant a rich and prosperous ruler. Discontentedly fingering the rough cloth from which his royal robes were fashioned, he began to picture himself decked out in splendid satins and velvets heavily encrusted with jewels. Jewels. Pah! All the jewels he had were his plain gold scepter, badly dented and bent from hurling at Pinny Penny. Taking off the crown, he scowled at it critically and began considering the realms on either side of his own dominions.

To the north there was nothing but a sandy strip of desert and the tossing waters of the Nonestic Ocean. East lay the Kingdom of Ix, and Zixie the little Queen he considered too pleasant and friendly to conquer. Besides, the climate of Ix was not much better than that of his own country. To the west of Skampavia was Merryland and at one time a band of his roistering Skampavians had crossed over into that country bent on theft and mischief. Recalling the way they had been welcomed and entertained by the cheerful King of Merryland and sent home simply laden with presents, he hastily dismissed that country too. How could he fight a monarch like that? To the south lay the burning sands of the Deadly Desert, which no man in his own Kingdom had ever succeeded in crossing.

So, having exhausted all the possibilities in the immediate neighborhood, Skamperoo tapped his foot in vexation and began casting about in his mind for some fair and faraway country to conquer. He closed his eyes in order to think better and was just on the point of falling into a pleasant doze of riches and conquest, when Pinny Penny came noisily into the room.

He was preceded by two of the King's Supervisors, who, urged forward by the fearless little Prime Minister, stood sulkily and defiantly before the throne.

"Well, what now?" demanded Skamperoo, blinking his eyes sleepily. "Can you not handle these arguments yourself, Pinny Penny? Is a King to have no rest or privacy at all?"

Instead of answering, Pinny Penny took a small cotton bag from the tallest of the Supervisors and handed it silently to the King. Still half asleep, Skamperoo untied the draw string of the small bag and emptied the contents into his fat hand. What he saw there made his eyes fly open--wide open! Jewels! The very thing for which he had been wishing.

The King of Skampavia frowns at a heap of bags and bales, extracting a dry fig with distaste—an opening that immediately establishes a ruler dissatisfied with his realm. Thompson's narrative voice, direct and slightly wry, sets the tone for a story that balances royal complaints with magical intrigue. The early chapters introduce a talking horse and a merchant, hinting at the wish-granting horse of the title.

Later excerpts plunge Dorothy and Pigasus into a predicament: after being ducked under the Black River, both turn black. In a witch's dark laboratory, they debate whether water can destroy this witch as it did the Wicked Witch of the West. The scene showcases Thompson's integration of Baum's lore with her own twists, as Dorothy's silver shoes and the Good Witch's kiss are referenced but given new context.

A King's Dissatisfaction and a Talking Horse

The story begins not in Oz but in Skampavia, where the king complains that his tribute is insufficient. The first chapter's title, "The King of Skampavia," and the opening line—"Is this all?"—immediately signal a character driven by appetite and discontent. Thompson wastes no time establishing the king's personality through his actions: he "gingerly extracted a fig" and found it dry. The early pages introduce a talking horse, a staple of Oz fantasy, but here the horse belongs to the king, suggesting a dynamic of ownership and perhaps rebellion. The chapter list reveals that the king's horse will later bargain (Chapter 18), so readers should note how the animal's role evolves from royal property to active agent.

Dorothy's Transformation and the Black River

A middle excerpt finds Dorothy and Pigasus turned black after being ducked under the Black River by General Blotz. This physical change is not merely cosmetic; it alters how they perceive the witch's dark laboratory. Dorothy notes that they can now see in the dark room "as well as in the forest," a detail that Thompson uses to explore the limits of the transformation. The dialogue between Dorothy and Pigasus reveals their differing attitudes: Pigasus laments the loss of his "satiny pink" color, while Dorothy pragmatically observes that "maybe there's no harm in being black." This exchange, combined with the later extinguishing of the dark lantern, creates a tense atmosphere where visibility becomes a plot point.

Magic Rules and the Witch's Laboratory

Thompson's handling of magic in the excerpts is precise and rule-bound. Dorothy recalls that water melted the Wicked Witch of the West, and Pigasus seizes on this as a potential weapon. However, the laboratory contains "no water of any kind or even a pail," forcing them to reconsider. The room itself is described with specific objects: "ebony cabinets," a "great black crystal ball," and a "dark lantern" casting "curious luminous black rays." These details ground the fantasy in a tangible setting. The witch Gloma is initially perceived as "really good and beautiful," complicating the simple good-versus-evil framework. Readers should watch for how Thompson subverts expectations about who is trustworthy.

Serialized Structure and Reader Address

The book opens with a letter from Thompson to her readers, a hallmark of the Oz series. She addresses "Dear Boys and Girls" directly, promising "two very mysterious mysteries" and mentioning that "Dorothy has most of the strange adventures in this book." This framing positions the novel as part of an ongoing conversation, with Thompson referencing previous characters like Pigasus and hinting at future books. The chapter titles—such as "A Great Celebration in Oz" and "The Emperor of Oz"—suggest a plot that moves between Skampavia and Oz, with multiple kingdoms and rulers. The serialized structure means that each chapter likely ends on a hook, encouraging readers to continue.

First-time readers of The Wishing Horse of Oz will benefit from paying attention to the early establishment of rules—both magical and social. The king's greed, the horse's wishes, and Dorothy's transformation all set up conflicts that later chapters will resolve. Thompson's style rewards careful reading of dialogue, where characters often reveal their motivations through banter. The book stands as a self-contained adventure but also fits into the larger Oz chronology, so note any references to past events or characters.

Once, shelving late, I held Thompson’s playful witch and thought of another mountain girl, her own quiet magic woven through blue ridges. Both whispered of wishes finding their homes, not in gold, but in steady hearts. There’s a kinship there, like old friends nodding across the stacks: Azalea: The Story of a Little Girl in the Blue Ridge Mountains — Inside the Classic. Each reminds me how courage wears a gentle, patient face.

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