The Scarecrow and Patchwork Girl of Oz

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The Scarecrow and Patchwork Girl of Oz

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...[T]he hero usually begins a quest, often unbeknownst to her/himself, for a better life, a new social order, or fulfillment
"Western Meets Eastwood" by Shari Roberts in The Road Movie Book ed. by Steven Cohan and Ina Rae Hark (1997), p. 53
It’s really hard to start a quest or a journey without knowing that you’ve started the journey. It takes some self will. If the hero doesn’t have that level of agency, they’re probably kidnapped.
In The Road to Oz Dorothy and Toto are amused by Denslow’s rendition of them (from The Wonderful Wizard of Oz). Illustration by John R. Neil
L. Frank Baum, the creator of Oz by Katharine M. Rogers (2002), p. 341
The automobile isn't the ontological crutch of the genre. It's the road. And when the road isn't there, it's the absence of the road.
Midway through the orphan as traveler section of the road narrative spectrum is the home destination. When combined with the most dangerous or fantastical route, namely, the cornfield, weird things can happen.
Beware of orphans living alone in cornfields.

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The series opens with the Penderwicks heading to a summer home they've rented called Arundel.
This essay will compare and contrast three road narrative travelers all named Eleanor. Two of them happen to be the same character, rendered differently through adaptation (Eleanor Vance of The Haunting of Hill House). The final one will be Eleanor West of the Wayward Children series by Seanan McGuire.
In which I compare Eleanor Vance of Shirley Jackson’s novel, her Netflix character, and Eleanor West of the Wayward Children series by Seanan McGuire.
As the title implies, the narrative takes place in 24 chapters, each chapter representing one hour of a day from the time Bo Taylor, the bully of Nowhere Arizona confiscates Rossi Scott's prized dirt bike the night before the race.