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An astonishingly rich re-creation of the land of Oz, this book retells the story of Elphaba, the Wicked Witch of the West, who wasn't so wicked after all. Taking readers past the yellow brick road and into a phantasmagoric world rich with imagination and allegory, Wicked just might change the reputation of one of the most sinister characters in literature.
Listen up, Munchkins. Stop your singing, stop the dancing. The Wicked Witch is no longer dead. But not to worry. Gregory Maguire's shrewdly imagined and beautifully written first novel, "Wicked: The Life and Times of the Wicked Witch of the West," not only revives her but re-envisions and redeems her for our times.
More Reviews and RecommendationsSpinning fantastical tales for adults and children alike -- from the hit kids' series The Hamlet Chronicles to the decidedly more grown-up adventures played out in Wicked and Mirror, Mirror, Gregory Maguire has cast a potent literary spell on readers of all ages.
More About the AuthorName:
Gregory Maguire
Current Home:
Boston, Massachusetts
Date of Birth:
June 09, 1954
Place of Birth:
Albany, New York
Education:
B.A., SUNY at Albany, 1976; M.A., Simmons College, 1978; Ph.D., Tufts University, 1990
Raised in a family of writers (his father was a journalist and his stepmother a poet), Gregory Maguire grew up with a great love of books, especially fairy tales and fantasy fiction. He composed his own stories from an early age and released his first book for children, The Lightning Time, in 1978, just two years after graduating from the State University of New York at Albany.
Several other children's book followed, but major recognition eluded Maguire. Then, in 1995, he published his first adult novel. A bold, revisionist view of Frank L. Baum's classic Oz stories, Wicked: The Life and Times of the Wicked Witch of the West places one of literature's most reviled characters at the center of a dark dystopian fantasy and raises provocative questions about the very nature of good and evil. Purists criticized Maguire for tampering with a beloved juvenile classic, but the book received generally good reviews (John Updike, writing in The New Yorker, proclaimed it "an amazing novel.") and the enthusiasm of readers catapulted it to the top of the bestseller charts. (Maguire's currency increased even further when the book was turned into the Tony Award-winning Broadway musical Wicked in 2003.)
In the wake of his breakthrough novel, Maguire has made something of a specialty out of turning classic children's tales on their heads. He retold the legends of Cinderella and Snow White in Confessions of an Ugly Stepsister (1999) and Mirror, Mirror (2003); he raised the ghost of Ebenezer Scrooge in Lost (2001); and, in 2005, he returned to Oz for Son of a Witch, the long-awaited sequel to Wicked. He has reviewed fantasy fiction for the Sunday New York Times Book Review and has contributed his own articles, essays, and stories to publications like Ploughshares, The Boston Review, the Christian Science Monitor, and The Horn Book Magazine.
In addition, Maguire has never lost his interest in -- or enthusiasm for -- children's literature. He is the author of The Hamlet Chronicles, a bestselling seven-book series of high-camp mystery-adventures with silly count-down titles like Seven Spiders Spinning and Three Rotten Eggs. He has taught at the Center for the Study of Children's Literature at Simmons College and is a founding member of Children's Literature New England (CLNE), a nonprofit organization that focuses attention on the significance of literature in the lives of children.
In our interview, Maguire shared some fun facts with us about his life:
"While I pride myself on trying to be creative in all areas of my life, I have occasionally gone overboard, like the time I decided to bring to a party a salad that I constructed, on a huge rattan platter, to look like a miniature scale model of the Gardens of Babylon. I built terraces with chunks of Monterey jack, had a forest of broccoli florets and a lagoon of Seven Seas salad dressing spooned into a half a honeydew melon. I made reed patches out of scallion tips and walkways out of sesame seeds lined with raisin borders. Driving to the party, I had to brake to avoid a taxi, and by the time the police flagged me down for poor driving skills I was nearly weeping. ‘But Officer, I have a quickly decomposing Hanging Gardens of Babylon to deliver....' Everything had slopped and fallen over and it looked like a tray of vegetable garbage."
"My first job was scooping ice cream at Friendly's in Albany, New York. I hated the work, most of my colleagues, and the uniform, and I more or less lost my taste for ice cream permanently."
"If I hadn't been a writer, I would have tried to be one of the following: An artist (watercolors), a singer/songwriter like Paul Simon (taller but not very much more), an architect (domestic), a teacher. Actually, in one way or another I have done all of the above, but learned pretty quickly that my skills needed more honing for me to charge for my services, and I'd always rather write fiction than hone skills."
"I steal a bit from one of my favorite writers to say, simply, that I enjoy, most of all, old friends and new places. I love to travel. Having small children at home now impedes my efforts a great deal, but I have managed in my time to get to Asia, Africa, most of Europe, and Central America. My wish list of places not yet visited includes India, Denmark, Brazil, and New Zealand, and my wish for friends not yet made includes, in a sense, readers who are about to discover my work, either now or even when I'm no longer among the living. In a sense, in anticipation, I value those friends in a special way."
What was the book that most influenced your life or your career as a writer?
While I didn't know it at the time, eventually I have come to believe that T. H. White's The Once and Future King was the most influential book. I observed in it several admirable attributes that I try to make hallmarks of my own work. First, the book is derived from a popular set of myths and commonly held stories that form part of our Western foundation myth (the King Arthur stories). Second, the book is by turns profound, endearing, and comical. Third, the story is unwieldy in a way that seems organic and special.
What are your favorite books, and what makes them special to you?
What are some of your favorite films, and what makes them unforgettable to you?
I'm not as much of a film buff as I am a reader, but, with apologies for my perhaps less than startling choices:
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
I like classical music of the late 19th and early 20th centuries, and I adore Bach above all. The late Beethoven string quartets satisfy through their modernity, and they make the symphonies look like the work of a very talented adolescent. I listen to jazz (on the radio) and to Portuguese fado and, when on long trips in the car alone, to original-cast recordings of Broadway musicals. I listen to nothing when I write.
If you had a book club, what would it be reading?
I would force the book club to read all of Dorothy Sayers, as I have read almost nothing of her and I am eager to be well educated enough to read Jill Paton Walsh's continuation of the Peter Wimsey stories.
What are your favorite kinds of books to give -- and get -- as gifts? Increasingly I like books of reference, to get, especially older dictionaries and lists of place names and common surnames etc. Such tomes are helpful in constructing a story with verisimilitude. I like to give autographed novels as presents.
Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
I have too much on my desk while writing. Usually file folders having to do with household repairs (the air conditioning is broken at the moment). I sit under a 1950s-era reproduction calendar portraying a Punchinello character eating a huge plate of pasta, and the instruction below in orangey letters is "MANGIA!" So this reminds me that I write, in part, to eat. With three small children at home, I have no ritual except to write when I can, when they're looking the other way.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes? I rather shockingly sold my first manuscript to Farrar Straus, and it was published -- a chapter book for the 12-to-15 set -- a quarter of a century ago. However it took me 17 years to write a book that would make me any money or earn me any attention as a writer. That was Wicked, which was written while I lived in London in the early 1990s. I had had the idea some years earlier -- to invent a whole life for a very famous and hugely unexplored character -- and when what the English call "financial embarrassment" set in, I decided it was now or never.
What tips or advice do you have for writers still looking to be discovered?
I believe hugely in the value of a journal to keep oneself honest as well as in practice. I also think, though, when the well runs dry for a while you oughtn't berate yourself.
--------------------------------------------------------------------------
In the summer of 2004, we asked authors featured in Meet the Writers to give us a list of their all-time favorite summer reads, and tell us what makes them just right for the season. Here's what Gregory Maguire had to say:
When Dorothy triumphed over the Wicked Witch of the West in L. Frank Baum's classic tale, we heard only her side of the story. But what about her arch-nemesis, the mysterious Witch? Where did she come from? How did she become so wicked?
Gregory Maguire has created a fantasy world so rich and vivid that we will never look at Oz the same way again.
Listen up, Munchkins. Stop your singing, stop the dancing. The Wicked Witch is no longer dead. But not to worry. Gregory Maguire's shrewdly imagined and beautifully written first novel, "Wicked: The Life and Times of the Wicked Witch of the West," not only revives her but re-envisions and redeems her for our times.
A magnificent work, a genuine tour de force.
It's a staggering feat of wordcraft, made no less so by the fact that its boundaries were set decades ago by somebody else. Maguire's larger triumph here is twofold: First, in Elphaba, he has created (re-created? renovated?) one of the great heroines in fantasy literature: a fiery, passionate, unforgettable and ultimately tragic figure. Second, Wicked is the best fantasy novel of ideas I've read since Mervyn Peake's Gormenghast or Frank Herbert's Dune. Would that all books with this much innate consumer appeal were also this good. And vice versa.
An outstanding work of imagination.
An outstanding work of imagination.
Children - children of all ages, as Maguire reminds us in this splendid novel - need witches. Gregory Maguire has taken this figure of childhood fantasy and given her a sensual and powerful nature that will stir adult hearts with fear and longing all over again. It's a brilliant trick - and a remarkable treat.
It is to [Maguire's] everlasting credit that he has succeeded so admirably that his book stands as an independent and inspired whole; it is also very close to being an instant classic.... Maguire has hit a home run his first time at bat. That Wicked is a first novel is remarkable because it is so fully realized, so rich and involving. It is the most seamless interweaving of fantasy and reality since John Crowley's peerless Little, Big, written in poetic language as graceful as a Ray Boldger tap-dance.
Amazing novel.
It's a staggering feat of wordcraft, made no less so by the fact that its boundaries were set decades ago by somebody else. Maguire's larger triumph here is twofold: First, in Elphaba, he has created (re-created? renovated?) one of the great heroines in fantasy literature: a fiery, passionate, unforgettable and ultimately tragic figure. Second, Wicked is the best fantasy novel of ideas I've read since Mervyn Peake's Gormenghast or Frank Herbert's Dune. Would that all books with this much innate consumer appeal were also this good. And vice versa.
An outstanding work of imagination.
Wicked is a punch allegory that alludes to everything from Nazi Germany to Nixon's America. It's delightfully over-the-top at times, mixing serious metafiction with subtle humor and even (gasp) witch sex.
Gregory Maguire's shrewdly imagine first novel... is part fantasy thriller, part psychological study, part political cautionary tale. It's all fascinating. And it's impossible to deny the magic of Gregory Maguire's prose.
Maguire combines puckish humor and bracing pessimism in this fantastical meditation on good and evil, God and free will, which should...captivate devotees of fantasy.
It is to [Maguire's] everlasting credit that he has succeeded so admirably that his book stands as an independent and inspired whole; it is also very close to being an instant classic.... Maguire has hit a home run his first time at bat. That Wicked is a first novel is remarkable because it is so fully realized, so rich and involving. It is the most seamless interweaving of fantasy and reality since John Crowley's peerless Little, Big, written in poetic language as graceful as a Ray Boldger tap-dance.
Lloyd Alexander
Starting with the Wizard of Oz material, Gregory Maguire has added greater depth and different facets, creating something altogether different and unique. A magnificent work, a genuine tour de force.
(Lloyd Alexander, author of The Chronicles of Prydain)
Jane Langton
This book is a glorious frolic, a feast of language, a study of good and evil, and a massive history of the fabulous land of Oz.
(Jane Langton, author of The Diamond in the Window)
John Rowe Townsend
Here is a story that is at once a page-turner and a powerful stimulus to thought.
(John Rowe Townsend, author of The Islanders)
Jill Paton Walsh
Gregory Maguire's donnes in Wicked are from Baum's land of Oz; but everything here has been recut to sparkle fresh and new, with illuminations shining in unexpected directions. Funny and serious, pulsing with imaginative energy, encompassing political thriller and moral reflection, this is truly a fabulous novel.
(Jill Paton Walsh, author of Knowledge of Angels)
Wally Lamb
I fell quickly and totally under the spell of this remarkable, wry, and fully realized story. Maguire's adult fable examines some of literature's major themes: moral ambiguity, the nature of evil, the bittersweet dividends of power, the high costs of love. Elphaba the Wicked Witch of the West is as scary as ever, but this time in a different way: She's undeniably human, She's us.
(Wally Lamb, author of She's Come Undone and I Know This Much Is True
Loading...Of course, it is the Wicked Witch of the West herself who dominates this time around: Elphaba, as she is called, is now the complicated centerpiece of a story that once seemed to belong to the relatively simple Dorothy. Brilliant, troubled, passionate, and powerful, Elphaba stands in marked contrast to the girl from Kansas, who, on the whole, takes a backseat to the natives of Oz in this version. Maguire's method with Elphaba's tale is to unpack the simple idea of a "wicked witch" and ask the question, How do you get to be "wicked"? The novel offers the possibility that what from one perspective is a simple case of villainy could be, from another point of view, a life that doesn't resolve into a simple set of "good" or "bad" actions. Book clubs will be particularly interested in following how, as a heroine, Elphaba is a strong, deeply modern woman, whose intelligence is both her great strength and a curse almost as powerful as her more fantastic features, emerald skin and monstrous teeth.
Beyond the issues of moral character raised by Elphaba's story, Wicked provides readers with a host of delights, some of which echo the original Oz books and some of which are completely original. Reading groups will find that Maguire's language, and particularly his facility for making the world of Oz both contemporary yet fairy talelike, provides fertile grounds for conversation about just where the difference between the "fantastic" and the "realistic" can be drawn, a skill which may invite comparisons to writers like Gabriel García Márquez and Salman Rushdie.
Reading groups will perhaps find their greatest pleasure in discussing what Maguire has taken from the original book, and how he has altered or mutated Baum's world. Book clubs may even be interested in comparing the famed film version of The Wizard of Oz with the novel, to see what the author has borrowed from that source. In this sense Wicked is far more than a cleverly twisted tale about good and evil witches, Munchkin society, and talking animals -- it is a book that shows how a children's story can become a larger myth for an entire society. Maguire invites us to think about how and why we read fantasy, what we take from it as children, and what we can see in it as adults. Wicked may be "updating" L. Frank Baum's original work, but it also reveals how the original remains so captivating to generations of readers, young and old. Bill Tipper
Reading Group Materials from the Publisher
Summary
When Dorothy triumphed over the Wicked Witch of the West in L. Frank Baum's classic tale, we heard only her side of the story. But what about her arch-nemesis, the mysterious witch? Where did she come from? How did she become so wicked? And what is the true nature of evil?
Gregory Maguire creates a fantasy world so rich and vivid that we will never look at Oz the same way again. Wicked is about a land where animals talk and strive to be treated like first-class citizens, Munchkinlanders seek the comfort of middle-class stability and the Tin Man becomes a victim of domestic violence. And then there is the little green-skinned girl named Elphaba, who will grow up to be the infamous Wicked Witch of the West, a smart, prickly and misunderstood creature who challenges all our preconceived notions about the nature of good and evil. Questions for DiscussionWicked LP
Life and Times of the Wicked Witch of the West
Chapter One
The Root of Evil
From the crumpled bed the wife said, "I think today's the day. Look how low I've gone."
"Today? That would be like you, perverse and inconvenient," said her husband, teasing her, standing at the doorway and looking outward, over the lake, the fields, the forested slopes beyond. He could just make out the chimneys of Rush Margins, breakfast fires smoking. "The worst possible moment for my ministry. Naturally."
The wife yawned. "There's not a lot of choice involved. From what I hear. Your body gets this big and it takes over—if you can't accommodate it, sweetheart, you just get out of its way. It's on a track of its own and nothing stops it now." She pushed herself up, trying to see over the rise of her belly. "I feel like a hostage to myself. Or to the baby."
"Exert some self-control." He came to her side and helped her sit up. "Think of it as a spiritual exercise. Custody of the senses. Bodily as well as ethical continence."
"Self-control?" She laughed, inching toward the edge of the bed. "I have no self left. I'm only a host for the parasite. Where's my self, anyway? Where'd I leave that tired old thing?"
"Think of me." His tone had changed; he meant this.
"Frex"—she headed him off—"when the volcano's ready there's no priest in the world can pray it quiet."
"What will my fellow ministers think?"
"They'll get together and say, 'Brother Frexspar, did you allow your wife to deliver your first child when you had a community problem to solve? How inconsiderate of you;it shows a lack of authority. You're fired from the position.'" She was ribbing him now, for there was no one to fire him. The nearest bishop was too distant to pay attention to the particulars of a unionist cleric in the hinterland.
"It's just such terrible timing."
"I do think you bear half the blame for the timing," she said. "I mean, after all, Frex."
"That's how the thinking goes, but I wonder,"
"You wonder?" She laughed, her head going far back. The line from her ear to the hollow below her throat reminded Frex of an elegant silver ladle. Even in morning disarray, with a belly like a scow, she was majestically good-looking. Her hair had the bright lacquered look of wet fallen oak leaves in sunlight. He blamed her for being born to privilege and admired her efforts to overcome it—and all the while he loved her, too.
"You mean you wonder if you're the father"—she grabbed the bedstead; Frex took hold of her other arm and hauled her half-upright—"or do you question the fatherliness of men in general?" She stood, mammoth, an ambulatory island. Moving out the door at a slug's pace, she laughed at such an idea. He could hear her laughing from the outhouse even as he began to dress for the day's battle.
Frex combed his beard and oiled his scalp. He fastened a clasp of bone and rawhide at the nape of his neck, to keep the hair out of his face, because his expressions today had to be readable from a distance: There could be no fuzziness to his meaning. He applied some coal dust to darken his eyebrows, a smear of red wax on his flat cheeks. He shaded his lips, A handsome priest attracted more penitents than a homely one.
In the kitchen yard Melena floated gently, not with the normal gravity of pregnancy but as if inflated, a huge balloon trailing its strings through the dirt. She carried a skillet in one hand and a few eggs and the whiskery tips of autumn chives in the other. She sang to herself, but only in short phrases. Frex wasn't meant to hear her.
His sober gown buttoned tight to the collar, his sandals strapped on over leggings, Frex took from its hiding place—beneath a chest of drawers—the report sent to him from his fellow minister over in the village of Three Dead Trees. He hid the brown pages within his sash. He had been keeping them from his wife, afraid that she would want to come along—to see the fun, if it was amusing, or to suffer the thrill of it if it was terrifying.
As Frex breathed deeply, readying his lungs for a day of oratory, Melena dangled a wooden spoon in the skillet and stirred the eggs. The tinkle of cowbells sounded across the lake. She did not listen; or she listened but to something else, to something inside her. It was sound without melody—like dream music, remembered for its effect but not for its harmonic distresses and recoveries. She imagined it was the child inside her, humming for happiness. She knew he would be a singing child.
Melena heard Frex inside, beginning to extemporize, warming up, calling forth the rolling phrases of his argument, convincing himself again of his righteousness.
How did that proverb go, the one that Nanny singsonged to her, years ago, in the nursery?
Born in the morning,
Woe without warning;
Afternoon child
Woeful and wild;
Born in the evening,
Woe ends in grieving.
Night baby borning
Same as the morning.
But she remembered this as a joke, fondly. Woe is the natural end of life, yet we go on having babies.
No, said Nanny, an echo in Melena's mind (and editorializing as usual): No, no, you pretty little pampered hussy. We don't go on having babies, that's quite apparent. We only have babies when we're young enough not to know how grim life turns out. Once we really get the full measure of it—we're slow learners, we women—we dry up in disgust and sensibly halt production.
But men don't dry up, Melena objected; they can father to the death.
Ah, we're slow learners, Nanny countered. But they can't learn at all.
"Breakfast," said Melena, spooning eggs onto a wooden plate. Her son would not be as dull as most men. She would raise him up to defy the onward progress of woe.
"It is a time of crisis for our society," recited Frex. For a man who condemned worldly pleasures he ate with elegance. She loved to watch the arabesque of fingers and two forks. She suspected that beneath his righteous asceticism he possessed a hidden longing for the easy life.
"Every day is a great crisis for our society." She was being flip, answering him in the terms men use. Dear thick thing, he didn't hear the irony in her voice.
"We stand at a crossroads. Idolatry looms. Traditional values in jeopardy. Truth under siege and virtue abandoned."
Wicked LPFrom the crumpled bed the wife said, "I think today's the day. Look how low I've gone."
"Today? That would be like you, perverse and inconvenient," said her husband, teasing her, standing at the doorway and looking outward, over the lake, the fields, the forested slopes beyond. He could just make out the chimneys of Rush Margins, breakfast fires smoking. "The worst possible moment for my ministry. Naturally."
The wife yawned. "There's not a lot of choice involved. From what I hear. Your body gets this big and it takes over--if you can't accommodate it, sweetheart, you just get out of its way. It's on a track of its own and nothing stops it now." She pushed herself up, trying to see over the rise of her belly. "I feel like a hostage to myself. Or to the baby."
"Exert some self-control." He came to her side and helped her sit up. "Think of it as a spiritual exercise. Custody of the senses. Bodily as well as ethical continence."
"Self-control?" She laughed, inching toward the edge of the bed. "I have no self left. I'm only a host for the parasite. Where's my self, anyway? Where'd I leave that tired old thing?"
"Think of me." His tone had changed; he meant this.
"Frex"--she headed him off--"when the volcano's ready there's no priest in the world can pray it quiet."
"What will my fellow ministers think?"
"They'll get together and say, 'Brother Frexspar, did you allow your wife to deliver your first child when you had a community problem to solve? How inconsiderate of you; it shows a lack of authority. You're fired from the position.'" She was ribbing him now, for there was no one to fire him. The nearest bishop was too distant to pay attention to the particulars of a unionist cleric in the hinterland.
"It's just such terrible timing."
"I do think you bear half the blame for the timing," she said. "I mean, after all, Frex."
"That's how the thinking goes, but I wonder,"
"You wonder?" She laughed, her head going far back. The line from her ear to the hollow below her throat reminded Frex of an elegant silver ladle. Even in morning disarray, with a belly like a scow, she was majestically good-looking. Her hair had the bright lacquered look of wet fallen oak leaves in sunlight. He blamed her for being born to privilege and admired her efforts to overcome it--and all the while he loved her, too.
"You mean you wonder if you're the father"--she grabbed the bedstead; Frex took hold of her other arm and hauled her half-upright--"or do you question the fatherliness of men in general?" She stood, mammoth, an ambulatory island. Moving out the door at a slug's pace, she laughed at such an idea. He could hear her laughing from the outhouse even as he began to dress for the day's battle.
Frex combed his beard and oiled his scalp. He fastened a clasp of bone and rawhide at the nape of his neck, to keep the hair out of his face, because his expressions today had to be readable from a distance: There could be no fuzziness to his meaning. He applied some coal dust to darken his eyebrows, a smear of red wax on his flat cheeks. He shaded his lips, A handsome priest attracted more penitents than a homely one.
In the kitchen yard Melena floated gently, not with the normal gravity of pregnancy but as if inflated, a huge balloon trailing its strings through the dirt. She carried a skillet in one hand and a few eggs and the whiskery tips of autumn chives in the other. She sang to herself, but only in short phrases. Frex wasn't meant to hear her.
His sober gown buttoned tight to the collar, his sandals strapped on over leggings, Frex took from its hiding place--beneath a chest of drawers--the report sent to him from his fellow minister over in the village of Three Dead Trees. He hid the brown pages within his sash. He had been keeping them from his wife, afraid that she would want to come along--to see the fun, if it was amusing, or to suffer the thrill of it if it was terrifying.
As Frex breathed deeply, readying his lungs for a day of oratory, Melena dangled a wooden spoon in the skillet and stirred the eggs. The tinkle of cowbells sounded across the lake. She did not listen; or she listened but to something else, to something inside her. It was sound without melody--like dream music, remembered for its effect but not for its harmonic distresses and recoveries. She imagined it was the child inside her, humming for happiness. She knew he would be a singing child.
Melena heard Frex inside, beginning to extemporize, warming up, calling forth the rolling phrases of his argument, convincing himself again of his righteousness.
How did that proverb go, the one that Nanny singsonged to her, years ago, in the nursery?
Born in the morning,
Woe without warning;
Afternoon child
Woeful and wild;
Born in the evening,
Woe ends in grieving.
Night baby borning
Same as the morning.
But she remembered this as a joke, fondly. Woe is the natural end of life, yet we go on having babies.
No, said Nanny, an echo in Melena's mind (and editorializing as usual): No, no, you pretty little pampered hussy. We don't go on having babies, that's quite apparent. We only have babies when we're young enough not to know how grim life turns out. Once we really get the full measure of it--we're slow learners, we women--we dry up in disgust and sensibly halt production.
But men don't dry up, Melena objected; they can father to the death.
Ah, we're slow learners, Nanny countered. But they can't learn at all.
"Breakfast," said Melena, spooning eggs onto a wooden plate. Her son would not be as dull as most men. She would raise him up to defy the onward progress of woe.
"It is a time of crisis for our society," recited Frex. For a man who condemned worldly pleasures he ate with elegance. She loved to watch the arabesque of fingers and two forks. She suspected that beneath his righteous asceticism he possessed a hidden longing for the easy life.
"Every day is a great crisis for our society." She was being flip, answering him in the terms men use. Dear thick thing, he didn't hear the irony in her voice.
"We stand at a crossroads. Idolatry looms. Traditional values in jeopardy. Truth under siege and virtue abandoned."
Wicked Musical Tie-in Edition
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