Eric Shanower
Author of The Wonderful Wizard of Oz (Marvel Illustrated)
About the Author
Image credit: Credit: Georges Seguin, 2007
Series
Works by Eric Shanower
Oz: The Complete Collection - Wonderful Wizard/Marvelous Land (Marvel Illustrated) (2020) 36 copies, 1 review
Badger #29 — Illustrator — 2 copies
College Girl/Daring Coed 1 copy
Age of Bronze 1 copy
A Cidade das Esmeraldas 1 copy
Avventure nel mondo di OZ 1 copy
Associated Works
Star Wars Legends Epic Collection: The New Republic, Vol. 4 (2010) — Illustrator — 146 copies, 5 reviews
The Big Book of Little Criminals: 63 True Tales of the World's Most Incompetent Jailbirds! (1996) — Illustrator — 102 copies
Wonder Woman, Vol. 2 #200 — Illustrator — 3 copies
Tagged
Common Knowledge
- Legal name
- Shanower, Eric James
- Birthdate
- 1963-10-23
- Gender
- male
- Education
- Jo Kubert School of Cartoon and Graphic Art (graduated|1984)
- Occupations
- independent artist
graphic novelist
cartoonist
illustrator - Organizations
- Hungry Tiger Press (San Diego, CA|co-founder|1994)
First Comics (letterer, inker and illustrator, 1984-1990, working on Warp, Nexus, Badger and Starslayer comics)
DC Comics (illustrator, 1985-1990, letterer, penciler, inker and illustrator, working on Conqueror of the Barren Earth, Talent Showcase, Who's Who in the DC Universe, Prez: Smells like Teen President, and others)
Epic Comics (illustrator, 1990, working on The Elsewhere Prince)
Dark Horse Comics (1992-98, inker and illustrator working on Dark Horse Presents, Medal of Honor, Star Wars: The Last Command, Harlan Ellison's Dream Corridor, King Tiger & Motorhead, and others) - Awards and honors
- Will Eisner Comics Industry Award for Best Writer/ Artist, and named to NinthArt Lighthouse Award Roll of Honour for Best Bookshelf Comic, both 2001, both for Age of Bronze: A Thousand Ships
special guest at ComicCon International convention, San Diego, CA, 2002
Will Eisner Comics Industry Award for Best Writer/Artist, 2003, for Age of Bronze series - Relationships
- Maxine, David (partner and co-founder of Hungry Tiger Press|1994)
- Short biography
- son of James Lowell and Karen Elizabeth (Hietanen) Shanower, partner of David Maxine (a record producer, musical theater historian, and artist)
- Nationality
- USA
- Birthplace
- Key West, Florida, USA
- Map Location
- USA
Members
Reviews
Long before he was tapped to write comics adaptations of L. Frank Baum's Oz novels, Eric Shanower wrote and illustrated five original Oz comics, collected here in a single volume by IDW. Shanower's style as an illustrator I've always found very classic Oz, in that it's very John R. Neill: his Dorothy especially is a lot like Neill's. His stories here, too, are very classic Oz in style. There's not a lot of new characters or anything, rather, we have Dorothy going out on adventures in and show more near Oz, almost always with the Scarecrow at her side-- which of course was the very first Oz protagonist pairing. (But one not utilized much outside of Wonderful Wizard, I don't think.)
However, Shanower delves into the history of Oz in a way that is very un-Baum, as Baum was always pressing forwards, by and large. In these stories we see the tree that is the source of Oz's magic (an idea that doesn't feel very Ozzy to me, to be honest), a new character with a flashback-told link to the Wicked Witch of the West, a story about Zurline and the Forest of Burzee (from The Life and Adventures of Santa Claus), and stories that fill in two gaps in the Oz cartography of witches: the Wicked Witch of the South and the Good Witch of the East. I guess what I'm saying is that the book is definitely fannish, in terms of having continuity references to obscure texts, and plugging in gaps, sort of what you might imagine if Big Finish produced original Oz audio dramas or something.
They're also fannish, though, in capturing what makes Oz such an enjoyable place to visit. Each story might have these kind of continuity-driven aspects, but they also feature journeys to strange and interesting places that feel like ones Baum could have come up with. My favorite of the tales was probably "The Secret Island of Oz": Dorothy, the Scarecrow, the Cowardly Lion, and Eureka go on a trip to locate an obscure fish for the gardens of the Emerald City. It feels like the kind of adventure hook Baum himself could have used for a post-Emerald City Oz novel, where this simple quest ends up getting the characters embroiled in the problems of one of those weird magical enclaves within Oz. There are strange characters, both good and evil, and some creative problem-solving, and the characters get split up and reunited-- basically it feels like a prototypical Oz adventure in miniature, and that's why I liked it so much.
The other thing to like about this volume-- and where Shanower most departs from a straight Baum pastiche-- is in the deeper emotional content of these stories. It's hard for me to imagine a Baum story where the resolution hinges on a girl re-accepting the living toy she played with as a child but abandoned (as in "Secret Island"), or one where forbidden love leads to an invasion (as in "The Forgotten Forest of Oz"), or one where a domestic dispute plays out over and over again, stuck in time (as in "The Blue Witch of Oz"). This last one was probably the other highlight of the volume for me, a story about a broken family in need of healing, with lost children and spurned love. Shanower's stories are prototypical Oz in some ways, but uniquely his own in others, the ideal balance of adaptation in my mind.
My only complaint is that it wasn't until typing up this review that I learned the hardcover version has stories and content the trade paperback I read lacks. Now I'm going to have to buy it all over again! show less
However, Shanower delves into the history of Oz in a way that is very un-Baum, as Baum was always pressing forwards, by and large. In these stories we see the tree that is the source of Oz's magic (an idea that doesn't feel very Ozzy to me, to be honest), a new character with a flashback-told link to the Wicked Witch of the West, a story about Zurline and the Forest of Burzee (from The Life and Adventures of Santa Claus), and stories that fill in two gaps in the Oz cartography of witches: the Wicked Witch of the South and the Good Witch of the East. I guess what I'm saying is that the book is definitely fannish, in terms of having continuity references to obscure texts, and plugging in gaps, sort of what you might imagine if Big Finish produced original Oz audio dramas or something.
They're also fannish, though, in capturing what makes Oz such an enjoyable place to visit. Each story might have these kind of continuity-driven aspects, but they also feature journeys to strange and interesting places that feel like ones Baum could have come up with. My favorite of the tales was probably "The Secret Island of Oz": Dorothy, the Scarecrow, the Cowardly Lion, and Eureka go on a trip to locate an obscure fish for the gardens of the Emerald City. It feels like the kind of adventure hook Baum himself could have used for a post-Emerald City Oz novel, where this simple quest ends up getting the characters embroiled in the problems of one of those weird magical enclaves within Oz. There are strange characters, both good and evil, and some creative problem-solving, and the characters get split up and reunited-- basically it feels like a prototypical Oz adventure in miniature, and that's why I liked it so much.
The other thing to like about this volume-- and where Shanower most departs from a straight Baum pastiche-- is in the deeper emotional content of these stories. It's hard for me to imagine a Baum story where the resolution hinges on a girl re-accepting the living toy she played with as a child but abandoned (as in "Secret Island"), or one where forbidden love leads to an invasion (as in "The Forgotten Forest of Oz"), or one where a domestic dispute plays out over and over again, stuck in time (as in "The Blue Witch of Oz"). This last one was probably the other highlight of the volume for me, a story about a broken family in need of healing, with lost children and spurned love. Shanower's stories are prototypical Oz in some ways, but uniquely his own in others, the ideal balance of adaptation in my mind.
My only complaint is that it wasn't until typing up this review that I learned the hardcover version has stories and content the trade paperback I read lacks. Now I'm going to have to buy it all over again! show less
Access a version of the below that includes illustrations on my blog.
Dorothy and the Wizard is probably my favorite of the original six Oz novels, partly I suspect, because it's the only one of those I owned as a kid in an edition with high-quality reproductions of the original illustrations: my others were either low-quality Del Rey editions without color (Ozma and Emerald City), poorly re-illustrated versions (Wizard and Marvellous Land), or just had no illustrations at all (Road)! So to show more me, the underground world of Dorothy and the Wizard has always seemed particularly lavish and detailed-- and, as a result, alien. This means it's, as always, well-suited to the illustration talents of Skottie Young.
Dorothy and the Wizard is probably the darkest of the original six Oz novels. In the others, most of the people Dorothy meets are reasonably nice, and/or are evil thanks to external influence, and/or there's a clear end goal. For the most part, Dorothy and the Wizard lacks any of these: almost every environment Dorothy and her friends encounter is somewhere between actively hostile and completely indifferent, and there's no obvious destination for the group. There's no route to Oz that they're following, they're just trying to stay alive by moving onwards from each terrible place to another, hopefully-but-not-actually less terrible place. I wouldn't like it if every Oz novel was like this, but this one does what it does well.
Its terrifying Mangaboos and Gargoyles give Young so much to work with, but as I came to realize when reviewing Ozma, he best shines with the "normal" animals, this one having Eureka, Dorothy's conceited kitten (but then, aren't they all?), and the Wizard's nine tiny piglets. Because of this, Shanower and Young even manage to rescue the book's extended coda about Eureka being on trial for murder. It drags in prose, but put Young's amazing rendering of Eureka at the center, and every moment of her attitude is a joy. Plus, Shanower even uses the opportunity to smooth over some hiccups in Baum's improvised history of Oz. Another Shanower and Young triumph. show less
Dorothy and the Wizard is probably my favorite of the original six Oz novels, partly I suspect, because it's the only one of those I owned as a kid in an edition with high-quality reproductions of the original illustrations: my others were either low-quality Del Rey editions without color (Ozma and Emerald City), poorly re-illustrated versions (Wizard and Marvellous Land), or just had no illustrations at all (Road)! So to show more me, the underground world of Dorothy and the Wizard has always seemed particularly lavish and detailed-- and, as a result, alien. This means it's, as always, well-suited to the illustration talents of Skottie Young.
Dorothy and the Wizard is probably the darkest of the original six Oz novels. In the others, most of the people Dorothy meets are reasonably nice, and/or are evil thanks to external influence, and/or there's a clear end goal. For the most part, Dorothy and the Wizard lacks any of these: almost every environment Dorothy and her friends encounter is somewhere between actively hostile and completely indifferent, and there's no obvious destination for the group. There's no route to Oz that they're following, they're just trying to stay alive by moving onwards from each terrible place to another, hopefully-but-not-actually less terrible place. I wouldn't like it if every Oz novel was like this, but this one does what it does well.
Its terrifying Mangaboos and Gargoyles give Young so much to work with, but as I came to realize when reviewing Ozma, he best shines with the "normal" animals, this one having Eureka, Dorothy's conceited kitten (but then, aren't they all?), and the Wizard's nine tiny piglets. Because of this, Shanower and Young even manage to rescue the book's extended coda about Eureka being on trial for murder. It drags in prose, but put Young's amazing rendering of Eureka at the center, and every moment of her attitude is a joy. Plus, Shanower even uses the opportunity to smooth over some hiccups in Baum's improvised history of Oz. Another Shanower and Young triumph. show less
Access a version of the below that includes illustrations on my blog.
Ozma of Oz is a bit of an oddity in the first six Oz novels: moreso than Marvelous Land, even, it's driven by plot, eschewing Baum's usual rambling journey narrative. After some independent misadventures in Ev (where she meets Billina and Tik-Tok), Dorothy links up with Ozma and sets off with her Royal Army on a mission to rescue the Royal Family of Ev from the Nome King. The book is one of Baum's better ones, and it's even show more better, I would argue, in the hands of Eric Shanower and Skottie Young, as like Marvelous Land, it introduces a whole new set of strange-looking characters for Skottie Young to draw the hell out of: his Tik-Tok is stalwart, his Wheelers are terrifying, his Nomes are wispy.
My favorite, though, was Billina-- Young always does a good job with the characters who are conventional animals (like the Cowardly Lion in Wonderful Wizard or Eureka in Dorothy and the Wizard), I think partially because we all know what, say, a chicken looks like, so he can get more expressive in the design in a way that he can't with a woggle-bug. His Billina is wonderfully sardonic, annoyed and unimpressed by the world she travels through and the company she is forced to keep.
I also like how Young handles Ozma: it's easy to forget in the novels that Ozma is a kid, and one only recently come into her true identity as royalty at that. Young makes sure you remember this: when she shouts, it looks like a kid trying to get her way. She's no less a princess, but it injects a certain amount of realism, even if via Young's cartoony style. show less
Ozma of Oz is a bit of an oddity in the first six Oz novels: moreso than Marvelous Land, even, it's driven by plot, eschewing Baum's usual rambling journey narrative. After some independent misadventures in Ev (where she meets Billina and Tik-Tok), Dorothy links up with Ozma and sets off with her Royal Army on a mission to rescue the Royal Family of Ev from the Nome King. The book is one of Baum's better ones, and it's even show more better, I would argue, in the hands of Eric Shanower and Skottie Young, as like Marvelous Land, it introduces a whole new set of strange-looking characters for Skottie Young to draw the hell out of: his Tik-Tok is stalwart, his Wheelers are terrifying, his Nomes are wispy.
My favorite, though, was Billina-- Young always does a good job with the characters who are conventional animals (like the Cowardly Lion in Wonderful Wizard or Eureka in Dorothy and the Wizard), I think partially because we all know what, say, a chicken looks like, so he can get more expressive in the design in a way that he can't with a woggle-bug. His Billina is wonderfully sardonic, annoyed and unimpressed by the world she travels through and the company she is forced to keep.
I also like how Young handles Ozma: it's easy to forget in the novels that Ozma is a kid, and one only recently come into her true identity as royalty at that. Young makes sure you remember this: when she shouts, it looks like a kid trying to get her way. She's no less a princess, but it injects a certain amount of realism, even if via Young's cartoony style. show less
"Ozma Sees Herself" is set shortly after Marvelous Land, and concerns something L. Frank Baum himself was resolutely uninterested in: the psychological ramifications of Tip's transformation back into Ozma. It's pretty short, but like all of Einhorn's Oz work, well done. It also introduces Ozma to the Hungry Tiger; I was a bit surprised that Einhorn had the Tiger and the Cowardly Lion know each other from before Dorothy met the Lion, because I personally am a fan of the interpretation that show more the Tiger we see in Wonderful Wizard when the animals beg the Lion to kill the giant spider is the Hungry Tiger. But that's a quibble: the idea that Ozma sees a beautiful nymph and comes to recognize it as herself is a clever one.
The book also contains three installments from W. W. Denslow's newspaper strip that featured the Scarecrow and the Tin Woodman. (Denslow and Baum shared copyright on the first book, and each made their own attempts to capitalize on the success of the stageplay adaptation of it; for Baum, that was Marvelous Land and its own stageplay adaptation, while for Denslow, it was a series of short stories he wrote and illustrated himself.) Denslow is an amazing illustrator, of course, but his writing does not really hit the tone of an Oz story. His work actually reminds me a lot of the next Oz-illustrator-turned-writer, John R. Neill—basically anything can happen if it gives Denslow an excuse to draw something interesting. For example, in these stories, the Scarecrow and the Tin Woodman can casually travel to America! Overall, they're pretty harmless and forgettable. If you care about timelines, they probably take place between Wonderful Wizard and Marvelous Land, except for the first one, which includes Dorothy. This is about her being sad because it's Christmas and she's away from her family; my understanding is that Oz timeline aficionados place it during Wonderful Wizard, in the segment after the Wizard has left Oz in his balloon, before the characters get the idea to go see Glinda for help. (Hungry Tiger Press later collected all of Denslow's stories in a book called The Scarecrow and the Tin-Man of Oz, which I own but have not read. Maybe someday I'll read it to the kids.)
This volume didn't contain as much kid-friendly material as some other installments of Oz-story; the only other thing I read aloud to the kids was "Spots in Oz" by Rachel Cosgrove Payes, which features the leopard with changing spots named Spots from The Hidden Valley of Oz. It was two years ago that we read this book, and it is honestly pretty forgettable, so Kid One has only a vague memory of Spots, and Kid Two doesn't know it at all. This story isn't much cop either, but it's fine. It also features the Hungry Tiger, so that lined up nicely with "Ozma Sees Herself" and our imminent rereading of Ozma of Oz.
There's some original comics material here, all written by Eric Shanower, with various illustrators (including himself); I particularly enjoyed "Poppies," a one-page conversation between Ozma and Dorothy about the poppies Ozma wears in her hair, with beautiful artwork by Ramona Fradon.
In terms of prose, ones I read to myself included "Buffalo Dream" by Jane Mailander, which was a reprint from an anthology of original sf&f. This is about a strange thing that happened to Oscar Diggs—the man later known as the Wizard—during his time as an itinerant circus performer in Nebraska. It's very different from an Oz story, but I really enjoyed it: a melancholy story about the last of the buffalo, told in the first person. "It was very long ago... and far stranger things have since happened to me." Reading it in this context, it's immediately obvious who the main character is, but it would have been fun to encounter it in the wild.
There are a couple Baum reprints; the one of "The Glass Dog" from Animal Fairy Tales is fine. This issue's full-length novel is his The Flying Girl, originally published under the pseudonym Edith Van Dyne in 1911. The novel is about a brother and sister; she's seventeen and working as a secretary to help the family make ends meet, he's a recent engineering grad from Cornell who can only find employment in an automobile repair shop, but soon gets swept up in the mania for flying. He develops his own airplane, and the two must navigate the skullduggery of potential investors to support their invention... as you might guess from the title, she ends up being the one to fly it!
I found it a quick and charming read. I was surprised by some of the turns some of the characters take; Baum actually does a decent job avoiding what initially seem like some obvious directions. While Baum's main talent was surely in his fantasies, he was able to turn his hand to other genres quite successfully. In fact, though, I would say the book is clearly science fiction! It is about a new technology, one that's not real at the time the story was written, and the ramifications of it. If this isn't sf, then I don't know what it
I should also point out that while there is some surprise at the idea of a "flying girl," there no resistance. I bet if someone remade this book now, there'd be a bunch of misogynists going, "NO FE-MALE IS SUITABLE FOR FLYING!" In fact, we get the exact opposite from one of the characters: "The most successful aviators of the future... are bound to be women. As a rule they are lighter than men, more supple and active, quick of perception and less liable to lose their heads in emergencies. The operation of an aeroplane is, it seems to me, especially fitted to women."
Though, the same character goes on to make this prediction: "The airship of the future will not be a passenger affair... but an individual machine for personal use. They’ll be cheaper than automobiles, and more useful, for they can go direct to their destination in a straight 'airline.' Men will use them to go to business, women to visit town on shopping expeditions or to take an airing for pleasure; but I’m sure they will
be built for but one person." Whoops!
Two other things of note. First, there's some discussion of mental illness and domestic abuse that really does not past muster in 2026, and made me very glad I did not elect to read the book aloud to my kids:
On the other hand, the "daughter" referred to in that passage, Sybil, very much reads as autistic to my 2026 eyes. Here's her first appearance:
The book also contains three installments from W. W. Denslow's newspaper strip that featured the Scarecrow and the Tin Woodman. (Denslow and Baum shared copyright on the first book, and each made their own attempts to capitalize on the success of the stageplay adaptation of it; for Baum, that was Marvelous Land and its own stageplay adaptation, while for Denslow, it was a series of short stories he wrote and illustrated himself.) Denslow is an amazing illustrator, of course, but his writing does not really hit the tone of an Oz story. His work actually reminds me a lot of the next Oz-illustrator-turned-writer, John R. Neill—basically anything can happen if it gives Denslow an excuse to draw something interesting. For example, in these stories, the Scarecrow and the Tin Woodman can casually travel to America! Overall, they're pretty harmless and forgettable. If you care about timelines, they probably take place between Wonderful Wizard and Marvelous Land, except for the first one, which includes Dorothy. This is about her being sad because it's Christmas and she's away from her family; my understanding is that Oz timeline aficionados place it during Wonderful Wizard, in the segment after the Wizard has left Oz in his balloon, before the characters get the idea to go see Glinda for help. (Hungry Tiger Press later collected all of Denslow's stories in a book called The Scarecrow and the Tin-Man of Oz, which I own but have not read. Maybe someday I'll read it to the kids.)
This volume didn't contain as much kid-friendly material as some other installments of Oz-story; the only other thing I read aloud to the kids was "Spots in Oz" by Rachel Cosgrove Payes, which features the leopard with changing spots named Spots from The Hidden Valley of Oz. It was two years ago that we read this book, and it is honestly pretty forgettable, so Kid One has only a vague memory of Spots, and Kid Two doesn't know it at all. This story isn't much cop either, but it's fine. It also features the Hungry Tiger, so that lined up nicely with "Ozma Sees Herself" and our imminent rereading of Ozma of Oz.
There's some original comics material here, all written by Eric Shanower, with various illustrators (including himself); I particularly enjoyed "Poppies," a one-page conversation between Ozma and Dorothy about the poppies Ozma wears in her hair, with beautiful artwork by Ramona Fradon.
In terms of prose, ones I read to myself included "Buffalo Dream" by Jane Mailander, which was a reprint from an anthology of original sf&f. This is about a strange thing that happened to Oscar Diggs—the man later known as the Wizard—during his time as an itinerant circus performer in Nebraska. It's very different from an Oz story, but I really enjoyed it: a melancholy story about the last of the buffalo, told in the first person. "It was very long ago... and far stranger things have since happened to me." Reading it in this context, it's immediately obvious who the main character is, but it would have been fun to encounter it in the wild.
There are a couple Baum reprints; the one of "The Glass Dog" from Animal Fairy Tales is fine. This issue's full-length novel is his The Flying Girl, originally published under the pseudonym Edith Van Dyne in 1911. The novel is about a brother and sister; she's seventeen and working as a secretary to help the family make ends meet, he's a recent engineering grad from Cornell who can only find employment in an automobile repair shop, but soon gets swept up in the mania for flying. He develops his own airplane, and the two must navigate the skullduggery of potential investors to support their invention... as you might guess from the title, she ends up being the one to fly it!
I found it a quick and charming read. I was surprised by some of the turns some of the characters take; Baum actually does a decent job avoiding what initially seem like some obvious directions. While Baum's main talent was surely in his fantasies, he was able to turn his hand to other genres quite successfully. In fact, though, I would say the book is clearly science fiction! It is about a new technology, one that's not real at the time the story was written, and the ramifications of it. If this isn't sf, then I don't know what it
I should also point out that while there is some surprise at the idea of a "flying girl," there no resistance. I bet if someone remade this book now, there'd be a bunch of misogynists going, "NO FE-MALE IS SUITABLE FOR FLYING!" In fact, we get the exact opposite from one of the characters: "The most successful aviators of the future... are bound to be women. As a rule they are lighter than men, more supple and active, quick of perception and less liable to lose their heads in emergencies. The operation of an aeroplane is, it seems to me, especially fitted to women."
Though, the same character goes on to make this prediction: "The airship of the future will not be a passenger affair... but an individual machine for personal use. They’ll be cheaper than automobiles, and more useful, for they can go direct to their destination in a straight 'airline.' Men will use them to go to business, women to visit town on shopping expeditions or to take an airing for pleasure; but I’m sure they will
be built for but one person." Whoops!
Two other things of note. First, there's some discussion of mental illness and domestic abuse that really does not past muster in 2026, and made me very glad I did not elect to read the book aloud to my kids:
"He says that—that you abused his sister," doubtfully remarked the girl.Egads, I don't even know what to say about all that.
"Well, I did," said Cumberford, calmly. "I pounded her two or three times. Once I choked her until it’s a wonder she ever revived."
"Oh, how dreadful!" exclaimed Orissa, shrinking back.
"Isn’t it?" he agreed, lighting a cigarette. "Only a brute would lift his hand against a woman. But Burthon's sister—my wife—had a fiendish temper, and her tantrums aroused all the evil in my nature—there's plenty there, I assure you. It was the time I choked her that Burthon had me arrested for cruelty. She had put poison in my coffee and I took the fluid into court with me. Burthon said I was lying and I asked him to drink the coffee to establish his sister’s innocence. But he wouldn’t. Pity, wasn’t it? The judge begged my pardon and said I ought to have choked her a moment longer. But no; I’m glad I didn’t, for she died naturally in the end. My dear daughter, whom I sincerely love, is like her lamented mother, except that I can trust her not to poison me."
On the other hand, the "daughter" referred to in that passage, Sybil, very much reads as autistic to my 2026 eyes. Here's her first appearance:
As they went up the path Orissa, anxious to be sociable and to put the stranger at her ease, said brightly: "Don't you think the ride out here is beautiful?"As the father of an autistic kid, this could be describing their approach to social interaction to a T! show less
"Yes," responded Sybil.
"The orange groves are so attractive, just now," continued Orissa.
There was no response.
"I hope you enjoyed it, so you will be tempted to come again," resumed the little hostess.
Miss Cumberford said nothing. Her father, a step in advance, remarked over his shoulder: "My daughter seldom wastes words. If you wish her to speak you must address to her a direct question; then she will answer it or not, as she pleases. It's her way, and you'll have to overlook it."
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