Sometimes the villain is just the woman who refused to stay silent. Wicked Witch of the West: The Enduring Legacy of a Feminist Icon by Dr. Lona Bailey Book Tour with Guest Post and Author Q&A
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Some characters are timeless not because they remain the same, but because they evolve with us. In The Wicked Witch of the West: The Enduring Legacy of a Feminist Icon, Dr. Lona Bailey revisits one of storytelling’s most iconic women and unearths the radical heart beating beneath her legend.
Bailey’s study unfolds like a spell—equal parts literary history, cultural reflection, and feminist revelation. She follows the Witch from Baum’s turn-of-the-century imagination through the Technicolor spectacle of The Wizard of Oz and the emotionally charged reinvention of Wicked, revealing how this character has survived by refusing to conform. The Witch, once a warning, becomes an archetype of reclamation: a woman owning her identity in a world that fears her power. Bailey deftly ties the Witch’s transformation to real-world milestones in feminism, showing how fiction continues to illuminate the struggles and triumphs of modern womanhood. The result is a portrait of a character who, in defying destruction, became immortal.
Dr. Lona Bailey is an award-winning author and historian known for her deeply human portrayals of women who shaped Hollywood’s Golden Age. Her acclaimed works—Uncredited, Voice of Villainy, Mrs. Radio, and The Wasp Woman—blend scholarly depth with storytelling artistry. A PhD and former therapist, Bailey brings a rare emotional intelligence to her research, examining not only what women achieved, but how they endured. Her biographies have received multiple national honors and media features for their contributions to women’s history and cultural studies. Visit her website or follow her on Facebook to learn more.
Amazon: https://amzn.to/4nHUMH4
Goodreads: https://www.goodreads.com/book/show/233812615-wicked-witch-of-the-west
Excerpt:
It’s quite impossible to explore the icon of the Wicked Witch without acknowledging Margaret
Hamilton’s unforgettable portrayal of the character, as she is widely credited with introducing
her to the world in a way that has captivated audiences ever since. Was it the green skin, broom,
cackling laughter, exaggerated hook to her nose, or sharp-tongued quips that embedded her into
cultural consciousness? Perhaps all of those things and more initially made the world fall fast
and hard for the fiendish character, but only in the context of Margaret Hamilton’s simply
splendid portrayal.
“I was walking down Fifth Avenue in New York not long ago when a nice-looking young man
called to me. ‘Miss Hamilton,’ he said, ‘you don’t know me, but I know you. You scared the
pants off me when I was a little boy,’” Margaret Hamilton recalled.1 The barely five-foot-tall
Margaret “Maggie” Hamilton has managed to terrify millions for more than eighty-five years
in her characterization of L. Frank Baum’s Wicked Witch of the West. What began as a fairly
one-dimensional antagonist with few descriptives beyond her general reputation for wickedness,
was suddenly and frighteningly brought to life thirty-nine years after she was penned in Baum’s
book and the legend of The Wizard of Oz truly began. In following suit with what “that little
animation company” Walt Disney did in the successful film adaptation of the children’s fantasy
story Snow White and the Seven Dwarfs, MGM bought the rights to adapt Baum’s novel
The Wonderful Wizard of Oz to brilliant Technicolor in 1938. The demigod of MGM,
Louis B. Mayer, purchased the book’s rights in the fall of 1937 upon the suggestion of Mervyn
LeRoy. Mayer saw grand potential in a musical version of the children’s novel and with LeRoy
and Arthur Freed on board, revisions toward final production were initially promising. The script
went through a merry-go-round of revisions from its initial draft to its on-screen presentation
with cuts, edits, rewrites, and additions from legions of hired, fired, and rehired writers.
The only mainstays were the leading cast—well, sort of. Judy Garland was cast as Dorothy,
Frank Morgan as the Wizard (and several other supporting roles), Ray Bolger as the
Scarecrow/Hunk, Bert Lahr as the Lion/Zeke, Jack Haley as the Tin Man/Hickory, Billie Burke
as Glinda, and Hamilton as the Wicked Witch of the West/Miss Gulch.
Originally, actress Gale Sondergaard was cast as the Wicked Witch, but being a bit too glamorous
for such a haggy and undesirable part, Sondergaard withdrew from the production and Hamilton
was offered the role just three days before filming began. Hamilton had appeared in several films
for MGM by 1938, and with her distinct features and knack for spinster supports, Director Victor
Fleming thought she was a natural choice for the queen of mean.
Whether or not Hamilton knew of Matilda Joslyn Gage as “the woman behind the curtain” of
Baum’s novel, in her portrayal, she creatively matched the feministic intentions of the original
story’s creator. While the Technicolor Wizard of Oz fostered the stereotypical image of what
“witches” were believed to look like in the 1930s.
Witches were generally considered sallow, sexless figures whose rebellious and/or peculiar
behavior had caused them to be ostracized by the general public. One early exception to this is
Edmund Spenser’s The Faerie Queene (1590) with the character of Acrasia, the enchantress
who uses her beauty to seduce and corrupt knights. Unlike the longstanding, older, and malevolent
image of witches, Acrasia is described as physically alluring and beguiling, using her
appearance and charm as weapons to achieve her goals. Though still a nonconformist in Spenser’s
story, Acrasia’s beauty masks her dangerous nature, a theme that has been echoed in later
depictions of witches in literature and folklore, though most classic literature purports “witch”
to be synonymous with “ugly.”
Nonconformist characteristics (described in horrid terms) usually included degrees of unsightly
yellow or red complexions, unkempt, stringy hair, exaggerated facial features, and of course,
warts. For example, William Shakespeare’s witches, the “Weird Sisters” in Macbeth, are described
as dirty, haggish rebels who live separately from society and possess not only mystical
powers but also distinctively masculine features such as beards. Any beauty that was ascribed
to a witch before the postmodern reinvention of her image was usually only a magical cover for
her “true” haggish nature, which she ruthlessly used to further her evil agenda. For better or for
worse, MGM began the reinvention process of the witch, and Margaret Hamilton’s face was the
canvas on which they painted—literally. With a hooked nose, green skin, pointy chin, crystal ball
to spy on her enemies, and dressed all in black with a flying broom, Hamilton herself subtly
fostered a more progressive approach to villainy in that inch of redemption she gifted the character
through her own touch of feministic essence despite her convincing malevolence on screen.
Contrary to most villainesses in early literature, film, and television, the Wicked Witch was not
a masculine character. Perhaps we wouldn’t call her “pretty” in the green paint and prosthetics,
but still Hamilton brought a subtle, yet undeniable femininity to the role that changed the “look”
of a “witch” in the general sense. The paradox of Hamilton’s portrayal in such a traditional era
was that she brought both femininity and feminism to the characterization. Billie Burke, on the
other hand, certainly brought femininity to “Good Witch Glinda,” and her delicate, docile
characterization stuck closely by Baum’s original non-feministic “Good Witch.” Burke seemed
to naturally exude a dainty energy and sense of glamour as Glinda, which is also what the role
required, but as far as MGM was concerned, Margaret Hamilton’s subtle artistic strokes of
feminism weren’t of importance just so long as she, as the “bad one” was scary and not too
“pretty.”
While researching this book, I discovered just how much world history has culminated to give
us what we now recognize as the icon of the Wicked Witch. Her evolution was absolutely
fascinating to trace. We tend to think of witches in fiction as timeless villainesses who have
“always” existed in a fixed way, but that couldn’t be further from the truth. The figure of the
witch reaches back to ancient civilizations—where she could be feared, revered, or
misunderstood—and over the centuries she has been shaped by religion, politics, gender norms,
and folklore. What struck me most was how, in the last hundred years especially,
the witch has transformed from a symbol of evil into one of independence and feminine strength.
That journey mirrors so much of women’s history itself: the push from suppression to
empowerment, from being silenced to reclaiming voice and agency.
Even on the set of The Wizard of Oz, you can see this cultural tension at play in the contrast
between Margaret Hamilton’s “wicked” witch and Billie Burke’s “good” one—both the
characters and the actresses were shaped by typecasting, the misogynistic “old studio system,”
unrealistic beauty standards of the Golden Era of Hollywood, and class perceptions of their time.
This was heartbreaking, yet important for me to better understand, because we—so many decades
removed from their era—tend to see everyone in films like The Wizard of Oz as glamorous stars,
but in real time, there were studio system biases that caused great woundedness for many like
Hamilton who dared to be different. The harmful stereotyping in bygone eras not only shaped
the icon of the Wicked Witch, but actresses like Hamilton who portrayed her.
Digging into these layers made me realize that the Wicked Witch isn’t just a fictional figure,
she’s a cultural mirror. Every generation redefines her based on what it fears—or celebrates—
about powerful women. That discovery gave the project a deeper meaning and made me fall even
more in love with her story.
Author Q&A
Writing Process & Creativity
How did you research your book?
I dove deep into everything from MGM archives to feminist theory journals, historical folklore books,
and even old fan magazines. I wanted to understand not just the Wicked Witch herself but how audiences across
decades have reacted to her and why. It was part film history, part cultural detective work and I loved every minute
of it!
What’s the hardest scene or character you wrote—and why?
Honestly, there really weren’t many, if any, “hard” parts to write for this book—
it was fun and engaging from start to finish. Every chapter felt like uncovering a new layer of the Witch’s legacy,
and the deeper I went, the more fascinating she became. It was one of those rare projects that energized me instead
of exhausting me.
Where do you get your ideas?
Usually from questions or topics of intrigue that just won’t leave me alone.
With this book, it started with, “Why do we still fear the Witch, but secretly root for her too?”
That curiosity turned into a full-blown exploration of power, femininity, and legacy and what perfect timing
with the film adaptations of Wicked!
What sets your book apart from others in your genre?
I think this is one of the first books about the Wicked Witch herself not just in the context of film history,
but in a broader cultural conversation. I have tried to blend Hollywood storytelling with feminist analysis,
so readers get equal parts behind-the-scenes entertainment lore and what-does-this-say-about-me insight.
What helps you overcome writer’s block?
When writer’s block hits, I get up and move—I take a walk or slip into a good young adult fiction
I enjoyed when I was younger (I’m a huge Nancy Drew fan!). Something about the rhythm of walking or the
familiar creative tangles of a Nancy Drew or Goosebumps story helps the next line find me instead of the
other way around.
What’s your favorite compliment you’ve received as a writer?
Several people over the years have told me after reading a biography I wrote of their loved one—
someone I never had the chance to meet in life – that it felt as though I had known them personally.
That’s one of the greatest compliments I could ever receive as a researcher and writer. It tells me my research
was thorough, my interpretation true to the person, and that I succeeded in bringing their spirit to life on the page.
Your Writing Life
Do you write every day? What’s your schedule?
Like many writers, I usually write something every day, even if it’s just a few paragraphs or some notes.
I’m most creative in the mornings, so I like to get my coffee, open my laptop, and dive right in when I can.
Some days it’s research, other days it’s full-on storytelling, but luckily I enjoy both.
Where do you write—home, coffee shop, train?
Mostly in my home office—it’s my creative haven. I’ve built a cozy writing space that feels both peaceful
and inspiring, filled with books and old Hollywood memorabilia that keep me grounded in the era I often
write about.
Any quirky writing rituals or must-have snacks?
I always have my furry sidekick, Penny the morkiepoo, curled up on my desk as my “lucky Penny.”
She’s my little muse. I also choose a new candle for each book I write—a scent and name that somehow
connect to the story at hand—and I burn it every time I work on that project. It’s my way of setting the mood
and signaling to my brain, it’s time to write.
Behind the Book
Why did you choose this setting/topic?
I’ve always been fascinated by Margaret Hamilton’s portrayal of the Wicked Witch, and it occurred to me
a couple of years ago that she did not have a full-length biography. After some preliminary research,
I realized the potential for combining a bit of Hamilton’s story into the larger story of the Wicked Witch.
The Wicked Witch of the West is so much more than a villainess—she’s a mirror of how women’s power
and independence have been viewed through time, which are always topics of importance.
Writing this book gave me the chance to explore her evolution from fearsome figure to feminist icon
and the timing of the Wicked films was “spookily” perfect.
If your book became a movie, who would star in it?
Though nonfiction academically postured books are sometimes harder to adapt to film, if it were to
happen I would love to see someone like Sigourney Weaver or Anjelica Huston bring the Witch’s complexity
to life—they both have that rare ability to blend elegance, strength, and mystery. Of course, a musical cameo
by Kristin Chenoweth or Cynthia Erivo would be the perfect nod to the Witch’s modern legacy!
Which author(s) most inspired you?
I’ve always loved classic literature—there’s something timeless about the way those writers captured human
complexity. Faulkner and Tennessee Williams are two of my favorites for their depth and southern sensibility,
but I also adore Kate Chopin and Shirley Jackson for the way they explored women’s inner lives with such
courage and nuance. Their influence definitely weaves its way into how I approach character and theme in my
own writing.
Fun & Lighthearted Qs
What’s your go-to comfort food?
Coffee. Does a drink count?
What are you binge-watching right now?
Judge Judy. It’s been my go-to comfort show for decades!
If you could time-travel, where would you go?
I’d go straight to 1940s Hollywood to see the Golden Age in full swing with the studio sets, radio broadcasts,
and all that behind-the-scenes glamour I’m always writing about. I would also sit outside Clark Gable’s dressing
room for as long as it took to meet him!
What 3 books would you bring to a desert island?
The Bible, The Great Gatsby, and A Light in August.
What’s something that made you laugh this week?
I’m a big vaudeville fan, so I always laugh when I catch glimpses of that kind of comedy in everyday life.
The other day, I looked out my home office window and saw a rather small pickup truck slowly rolling down the
road with a huge pile of mismatched chairs rounded over to the sky in the back. Miraculously, nothing fell off,
but the whole scene looked like something out of a Three Stooges episode, and I couldn’t help but laugh while I took a picture of it.
Note Worthy Announcement!!
The iconic hat worn by Margaret Hamilton in the 1939 classic “The Wizard of Oz" is set to hit the auction block!
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