It was one more way of being a good little boy. He was proving he was no longer afraid of the Witch. He was proving he could take the pain, as the other boy butted him with his head or took a switch to his backside. Being beaten was no different from watching television. The role of entertainment is to toughen us up and whip us into line.

Jonathan wanted to be tough. Above all, he wished he could stop feeling things. He wanted to be a machine. He despised himself. When Jonathan was alone, hidden in his room or, even better, far away from the village, he would visit Oz in secret. He knew it wasn't real, he knew Oz couldn't help him, so he gave no outward sign and hated himself for it. But alone on his good-little-boy holidays, away from school, his mind would begin to wander. He would start to imagine things. Jonathan would walk through Canadian evergreen forests, up the sides of Canadian mountains, or across shelves of rock beside still Canadian lakes, and he would hum the songs of Oz. There were no Canadian songs to fill the silence. Jonathan would imagine the four companions ahead of him on their way through Oz. He saw their backs. The Emerald City would rise up over the brow of a Canadian hill in another part of the story that had been left out.

The story kept on growing. Jonathan imagined a new ending to the movie. Dorothy looks up at her bedroom walls in joy, as before. Then Aunty Em holds up a pair of slippers, slippers that should have been red but now look gray. Aunty Em says, "But Dorothy. Where did you find these shoes?"

And Jonathan would look down at his own gray feet.

Zeandale and Pillsbury's Crossing, Kansas-1883

The Fields were Full of Life

Title of a diorama in the Kansas State Historical Society Museum, Topeka, Kansas. A rather small area is shown full of native grasses and taxidermic wildlife, including one large, hunched, stuffed buffalo. On the rail around the exhibit there is a block of wood covered with a worn hide. A sign beside it says:

BUFFALO HIDE-PLEASE TOUCH

Of course there was a scandal. All the children had heard, and told their parents what Dorothy Gael had said. There was a queasy moment in each Manhattan household as minds seesawed back and forth from shock and indecision.

Nothing is hidden, but some things are blocked out. Everyone in Manhattan knew, really, what was wrong with Dorothy Gael. It was revealed in every twisted movement, each bitter and angry smile, each horrifically knowledgeable look, in the hefty size of her body, in the grimness of her aunty's face, in the child's rages and the way in which she could brook all pain and insult. They all knew, really, what it meant.

But nice people were not supposed to be able to recognize certain things, because they were supposed to be so untainted that they couldn't even think about them. People sincerely believed that they were shocked and surprised and that they had had no idea such things happened. They sincerely thought they found it difficult to believe. There were veiled preachings from the pulpit. The Devil was here, in Kansas, but how to recognize his terrible face? The Devil, the Preacher said, could lurk within each of us. To recognize the Devil, we had only to look into ourselves. Let the other folks alone.

No one would tell Em what it was exactly that Dorothy had done to be expelled. "Some things are best left unsaid," the Principal had told her. "But she has told some wicked lies, and is something of a bully."

It was beyond Emma Gulch. It did not sound like her Dorothy at all. Her little Dodo, a bully? Quiet, shy little Dodo? At first she could not believe any of the stories. What could have been happening? Emma found that people would not speak to her unless she spoke to them. They murmured without looking at her and she began to realize that Dodo, little Dorothy, had been lying about Henry and about her.

"What has the child said?" she demanded to know, hands on hips. She stamped her foot. "I've been part of this town, woman and child, for going on thirty years. Will somebody tell me?"

People were unable to tell her. The words stuck. Their eyes skittered like ball bearings on grease. "Some things," they said, "are best left alone. You mustn't fret, Emma. No one believes her."

"Believes what?" Aunty Em yelped. No one would answer.

So she knew it was really terrible. And she also knew, really, what had happened. Emma knew her husband and herself and the life they led. For that very reason, she did not even begin to contemplate the truth. Instead, Emma made a point of coming into town with Uncle Henry, made a point of parading with him, normal as could be.

They looked normal. They were normal. Em was upstanding and bitter, made ugly by years of sun and drought and dissatisfaction. What could be more normal? Her husband was docile and sweet and unloved, confused and in terror and desperate for the next piece of sport, uncertain that there would ever be one. Underneath the dust and the poverty, the people of Manhattan saw themselves in Em and Henry, and they didn't want to look too deep.

"Mind you," some of the nastier males said, when drunk and alone with each other, "if I lived with a woman as fulsome as Emma Gulch, I'd be looking elsewhere, too."

The "elsewhere" and the "too" meant that they knew, really, what had happened.

But they decided, on balance, to blame Dorothy. Dorothy, they decided, had been lying. She was an unpleasant, ungrateful child with a diseased mind. She would contaminate the other children if left near them. The young, they said, must be protected. They spoke about Dorothy's mother, Em's sister, in dark tones.

"Now that sister of hers was…" theatrical pause, "an actress." The word meant so many sinister things in Kansas. "She went off with one of them fast crowds, went East to St. Lou, and married some minstrel Irishman. Just look at the result. All these years, I wondered what was eating Emma Gulch, and now I know. She's been fighting this, that child, her sister. Mind you, it runs in families." The dark hint was that Emma Gulch had had to fight against it too, the lure of fast crowds. They all had to fight against quickness. They all resented their children, because children were fast and had to be taught to be slow. They all had to be what was called good, and it was a constant battle.

Dorothy Gael ceased to exist. She went into Manhattan only once more. She walked by herself the whole distance, for Aunty Em would not have allowed it. She walked into Manhattan and no one saw her, and no one spoke to her, and no one served her in a store. She was invisible, like the Indians. She walked past the schoolyard and only one child saw her, a little boy in the first grade. He ran to his older sister. She glanced at Dorothy just once. None of the others saw her at all. They jumped rope for a while and then turned and went in before the bell. Dorothy watched them go in, and waited. She thought maybe one of the teachers would come out and chase her away. Even that did not happen.

It was quite remarkable. The children would have taunted or physically wounded a less monstrous transgressor. The teachers would have surely come out and threatened her. But Dorothy had become a legendary figure of fear, as if the Devil would breathe fire on the children, on the teachers, if they got too close to her.