{
  "export": {
    "source": "https://urth.darkrealm.vip/thread/urth/2096",
    "note": "Exported from an unofficial mirror of a public mailing list. Copyright in each message remains with the person who wrote it.  Email addresses are obscured as `user at host`, the form the original archive published. This file was rebuilt from parsed fields rather than retained headers, so it is faithful in content but not byte-exact.",
    "addresses": "obscured as 'user at host'"
  },
  "archive": "urth",
  "thread": {
    "id": 2096,
    "subject": "FLF as Oz, or \"The good company you keep\"",
    "messages": 1,
    "voices": 1,
    "first": "2000-01-27T15:26:39+00:00",
    "last": "2000-01-27T15:26:39+00:00"
  },
  "messages": [
    {
      "message_id": "<urth-v0028-0739@digest.urth.net>",
      "from": {
        "name": "Michael Andre-Driussi",
        "address": "mantis at sirius.com"
      },
      "date": "2000-01-27T15:26:39+00:00",
      "subject": "(urth) FLF as Oz, or \"The good company you keep\"",
      "in_reply_to": null,
      "reply_link": null,
      "blocks": [
        {
          "kind": "text",
          "depth": 0,
          "text": "\"From almost the first page of FREE LIVE FREE, Wolfe makes it clear that\nhis fable can be read as a loose fantasia on the 1939 film version of THE\nWIZARD OF OZ.  When the four finally corner Free at the controls . . . the\nconnection is both pointed and deeply comical.  But OZ is by no means the\nend of it.  FLF reads as an attempt to recapture the essence of the world\nof the American film before the War.  Not only OZ but THE MALTESE FALCON;\nnot only the young Howard Hawks/Hughes but, more importantly, Frank Capra.\nIn its lucid nostalgia, and in its magical-realist populism, FLF is very\nmuch OZ as Frank Capra might have dreamed it.\" --John Clute, \"The\nWashington Post\" (24 Nov 1985).\n\n=mantis="
        }
      ]
    }
  ]
}