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Dr. Seuss

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Dr. Seuss

Theodor Seuss Geisel (March 2, 1904 – September 24, 1991) was a famous American writer and cartoonist best known for his classic children's books under the pen name Dr. Seuss, including The Cat in the Hat, Green Eggs and Ham, How the Grinch Stole Christmas. His books have become staples for many children and their parents. Seuss' trademark was his rhyming text and outlandish creatures. He also wrote under the pen names Theo. LeSieg and Rosetta Stone.

Life and work

Geisel was born on March 2, 1904 in Springfield, Massachusetts. He grew up at 74 Fairfield Street, an ideal location for a youngster, as it was only six blocks from the zoo where his father worked and three blocks from the library. He graduated from Dartmouth College in 1925, where he was a member of Sigma Phi Epsilon, the Casque & Gauntlet Society, and wrote for the Dartmouth Jack-O-Lantern humor magazine.

Even at this early stage, Geisel had started using the pen name "Dr. Seuss," as well as his own name. His first work signed as "Dr. Seuss" appeared six months into his work for Judge. Seuss was his mother's maiden name; as an immigrant from Germany, she would have pronounced it more or less as "zoice" (as it is pronounced in German). According to Alexander Liang, who served with Geisel on the staff of the Jack O' Lantern, and was later a professor at Dartmouth:

You're wrong as the deuce
And you shouldn't rejoice
If you're calling him Seuss.
He pronounces it Soice.

Today, however, the name is universally pronounced in English with an initial s sound and rhyming with "juice".[1] Geisel also used the pen name Theo. LeSieg (Geisel spelled backwards) for books he wrote but others illustrated.

He entered Lincoln College, Oxford, intending to earn a doctorate in literature. At Oxford he met Helen Palmer, married her in 1927, and returned to the United States without earning the degree. The "Dr." in his pen name is an acknowledgment of his father's unfulfilled hopes that Seuss would earn a doctorate at Oxford.

He began submitting humorous articles and illustrations to Judge (a humor magazine), The Saturday Evening Post, Life, Vanity Fair, and Liberty. One notable "Technocracy Number" made fun of Technocracy, Inc. and featured satirical rhymes at the expense of Frederick Soddy. He became nationally famous from his advertisements for Flit, a common insecticide at the time. His slogan, "Quick, Henry, the Flit!" became a popular catchphrase. Geisel supported himself and his wife through the Great Depression by drawing advertising for General Electric, NBC, Standard Oil, and many other companies. He also wrote and drew a short-lived comic strip called Hejji in 1935.

In 1936, while Seuss was again on an ocean voyage to Europe, the rhythm of the ship's engines inspired the poem that became his first book, And to Think That I Saw It on Mulberry Street. Seuss wrote three more children's books before World War II (see list of works below), two of which are, atypically for him, in prose.

As World War II began, Dr. Seuss turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-wing New York City daily newspaper, PM. Dr. Seuss's political cartoons opposed the viciousness of Hitler and Mussolini and were highly critical of isolationists, most notably Charles Lindbergh, who opposed American entry into the war. Some cartoons depicted all Japanese Americans as latent traitors or fifth-columnists, while at the same time other cartoons deplored the racism at home against Jews and blacks that harmed the war effort. His cartoons were strongly supportive of President Roosevelt's conduct of the war, combining the usual exhortations to ration and contribute to the war effort with frequent attacks on Congress (especially the Republican Party), parts of the press (such as the New York Daily News and Chicago Tribune), and others for criticism of Roosevelt, criticism of aid to the Soviet Union, investigation of suspected Communists, and other offenses that he depicted as leading to disunity and helping the Nazis, intentionally or inadvertently. In 1942, Dr. Seuss turned his energies to direct support of the U.S. war effort. First, he worked drawing posters for the Treasury Department and the War Production Board. Then, in 1943, he joined the Army and was commander of the Animation Dept of the First Motion Picture Unit of the United States Army Air Forces, where he wrote films that included "Your Job in Germany," a 1945 propaganda film about peace in Europe after World War II, "Design for Death," a study of Japanese culture that won the Academy Award for Best Documentary in 1947, and the Private Snafu series of adult army training films. While in the Army, he was awarded the Legion of Merit. Dr. Seuss's non-military films from around this time were also well-received; Gerald McBoing-Boing won the Academy Award for Best Short Subject (Animated) in 1950.

Despite his numerous awards, Dr. Seuss never won the Caldecott Medal nor the Newbery. Three of his titles were chosen as Caldecott runners-up (now referred to as Caldecott Honor books): McElligot's Pool (1947), Bartholomew and the Oobleck (1949), and If I Ran the Zoo (1950).

After the war, Dr. Seuss and his wife moved to La Jolla, California. Returning to children's books, he wrote what many consider to be his finest works, including such favorites as If I Ran the Zoo, (1950), Scrambled Eggs Super! (1953), On Beyond Zebra! (1955), If I Ran the Circus (1956), and How the Grinch Stole Christmas! (1957).

At the same time, an important development occurred that influenced much of Seuss's later work. In May 1954, Life magazine published a report on illiteracy among school children, which concluded that children were not learning to read because their books were boring. Accordingly, Seuss's publisher made up a list of 400 words he felt were important and asked Dr. Seuss to cut the list to 250 words and write a book using only those words. Nine months later, Seuss, using 220 of the words given to him, completed The Cat in the Hat. This book was a tour de force—it retained the drawing style, verse rhythms, and all the imaginative power of Seuss's earlier works, but because of its simplified vocabulary could be read by beginning readers. A rumor exists, that in 1960, Bennett Cerf bet Dr. Seuss $50 that he couldn't write an entire book using only fifty words. The result was supposedly Green Eggs and Ham. The additional rumor that Cerf never paid Seuss the $50 has never been proven and is most likely untrue. These books achieved significant international success and remain very popular.

Dr. Seuss went on to write many other children's books, both in his new simplified-vocabulary manner (sold as "Beginner Books") and in his older, more elaborate style. In 1982 Dr. Seuss wrote "Hunches in Bunches". The Beginner Books were not easy for Seuss, and reportedly he labored for months crafting them.

At various times Seuss also wrote books for adults that used the same style of verse and pictures: The Seven Lady Godivas; Oh, The Places You'll Go!; and You're Only Old Once.

During a very difficult illness, Dr. Seuss' wife, Helen Palmer Geisel, committed suicide on October 23, 1967. Seuss married Audrey Stone Dimond on June 21, 1968. Seuss himself died, following several years of illness, in La Jolla, California on September 24, 1991.

In 2002 the Dr. Seuss National Memorial Sculpture Garden opened in his birthplace of Springfield, Massachusetts; it features sculptures of Dr. Seuss and of many of his characters.

Poetic meters

Dr. Seuss wrote most of his books in a verse form that in the terminology of metrics would be characterized as anapestic tetrameter, a meter employed also by Lord Byron and other poets of the English literary canon.(It is also the meter of the famous Christmas poem A Visit From St. Nicholas.) Abstractly, anapestic tetrameter consists of four rhythmic units (anapests), each composed of two weak beats followed by one strong, schematized below:

x x X x x X x x X x x X

Often, the first weak syllable is omitted, or an additional weak syllable is added at the end. A typical line (the first line of If I Ran the Circus) is:

In ALL the whole TOWN the most WONderful SPOT

Seuss generally maintained this meter quite strictly, until late in his career, when he was no longer able to maintain strict rhythm in all lines. The consistency of his meter was one of his hallmarks; the many imitators and parodists of Seuss are often unable to write in strict anapestic tetrameter, or are unaware that they should, and thus sound clumsy in comparison with the original.

Seuss also wrote verse in trochaic tetrameter, an arrangement of four units each with a strong followed by a weak beat.

X x X x X x X x

An example is the title (and first line) of One Fish, Two Fish, Red Fish, Blue Fish. The formula for trochaic meter permits the final weak position in the line to be omitted, which facilitates the construction of rhymes.

Seuss generally maintained trochaic meter only for brief passages, and for longer stretches typically mixed it with iambic tetrameter:

x X x X x X x X

which is easier to write. Thus, for example, the magicians in Bartholomew and the Oobleck make their first appearance chanting in trochees (thus resembling the witches of Shakespeare's Macbeth):

Shuffle, duffle, muzzle, muff

then switch to iambs for the oobleck spell:

Go make the oobleck tumble down
On every street, in every town!

In Green Eggs and Ham, Sam-I-Am generally speaks in trochees, and the exasperated character he proselytizes replies in iambs.

While most of Seuss's books are either uniformly anapestic or iambic-trochaic, a few mix triple and double rhythms. Thus, for instance, Happy Birthday to You is generally written in anapestic tetrameter, but breaks into iambo-trochaic meter for the "Dr. Derring's singing herrings" and "Who-Bubs" episodes.

Dr. Seuss also inspired other authors to write in his story way and taught kids many things like reading.

Artwork

Seuss's earlier artwork often employed the shaded texture of pencil drawings or watercolors, but in children's books of the postwar period he generally employed the starker medium of pen and ink, normally using just black, white, and one or two colors. Later books such as The Lorax used more colors.

Seuss's figures are often rounded and somewhat droopy. This is true, for instance, of the faces of the Grinch and of the Cat in the Hat. It is also true of virtually all buildings and machinery that Seuss drew: although these objects abound in straight lines in real life, Seuss carefully avoided straight lines in drawing them (in fact, he never drew a completely straight line at any part of any of his works). For buildings, this could be accomplished in part through choice of architecture. For machines, for example, If I Ran the Circus includes a droopy hoisting crane and a droopy steam calliope.

Seuss evidently enjoyed drawing architecturally elaborate objects. His endlessly varied (but never rectilinear) palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Seuss also drew elaborate imaginary machines, of which the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, is one example. Seuss also liked drawing outlandish arrangements of feathers or fur, for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish, Two Fish, Red Fish, Blue Fish.

Seuss's images often convey motion vividly. He was fond of a sort of "voilà" gesture, in which the hand flips outward, spreading the fingers slightly backward with the thumb up; this is done by Ish, for instance, in One Fish, Two Fish when he creates fish (who perform the gesture themselves with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the Little Cats in The Cat in the Hat Comes Back. Seuss also follows the cartoon tradition of showing motion with lines, for instance in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoonist's lines are also used to illustrate the action of the senses (sight, smell, and hearing) in The Big Brag and even of thought, as in the moment when the Grinch conceives his awful idea.

Interestingly enough, there is some thought that Seuss's Imagery, especially that of The Cat in the Hat was a metaphor for "sweeping out" communism and cleaning out the "red".

Recurring images

Seuss's early work in advertising and editorial cartooning produced sketches that received more perfect realization later on in the children's books. Often, the expressive use to which Seuss put an image later on was quite different from the original. The examples below are from the website of the Mandeville Special Collections Library of the University of California, San Diego.

  • An editorial cartoon of July 16, 1941 depicts a whale resting on the top of a mountain, as a parody of American isolationists, especially Charles Lindbergh. This was later rendered (with no apparent political content) as the Wumbus of On Beyond Zebra (1955). Seussian whales (cheerful and balloon-shaped, with long eyelashes) also occur in McElligot's Pool, If I Ran the Circus, and other books.
  • Seuss's earliest elephants were for advertising and had somewhat wrinkly ears, much as real elephants do. With And to Think that I Saw it on Mulberry Street (1937) and Horton Hatches the Egg (1940), the ears became more stylized, somewhat like angel wings and thus appropriate to the saintly Horton. During World War II, the elephant image appeared as an emblem for India in four editorial cartoons. Horton and similar elephants appear frequently in the postwar children's books.
  • While drawing advertisements for Flit, Seuss became adept at drawing insects with huge stingers, shaped like a gentle S-curve and with a sharp end that included a rearward-pointing barb on its lower side. Their facial expressions depict gleeful malevolence. These insects were later rendered in an editorial cartoon as a swarm of Allied aircraft (1942), and later still as the Sneedle of On Beyond Zebra.

Politics

1941 cartoon by Dr. Seuss depicting Charles Lindbergh.

His early political cartoons show a passionate opposition to fascism, and he urged Americans to oppose it, both before and after the entry of the United States into World War II. (By contrast, his cartoons tended to regard the fear of communism as overstated, finding the greater threat in the Dies Committee and those who threatened to cut America's "life line" to Stalin and Soviet Russia, the ones carrying "our war load".) Seuss' cartoons also called attention to the early stages of the Holocaust and denounced discrimination in America against black people and Jews. Seuss himself experienced anti-semitism: in his college days, he was refused entry into certain circles because of a (mis)perception that he was Jewish. Seuss' racist treatment of the Japanese and of Japanese Americans[2], mentioned above, has struck many readers as a strange moral blind spot in a generally idealistic man.

In 1948, after living and working in Hollywood for years, Seuss moved to La Jolla, California. It is said that when he went to register to vote in La Jolla, some Republican friends called him over to where they were registering voters, but Ted said, "You my friends are over there, but I am going over here [to the Democratic registration]." Seuss had since been a lifelong Democrat.

Seuss' children's books also express his commitment to social justice as he perceived it:

  • The Lorax (1971), though told in full-tilt Seussian style, strikes many readers as fundamentally an environmentalist tract. It is the tale of a ruthless and greedy industrialist (the "Once-ler") who so thoroughly destroys the local environment that he ultimately puts his own company out of business. The book is striking for being told from the viewpoint (generally bitter, self-hating, and remorseful) of the Once-ler himself. In 1989, an effort was made by lumbering interests in Laytonville, California, to have the book banned from local school libraries, on the grounds that it was unfair to the lumber industry.
  • The Sneetches (1961) is commonly seen as a satire of racial discrimination.
  • The Butter Battle Book (1984) written in Seuss's old age, is both a parody and denunciation of the nuclear arms race. It was attacked by conservatives as endorsing moral relativism by implying that the difference between the sides in the Cold War were no more than the choice between how to butter one's bread.
  • The Zax can be seen as a parody of all political hardliners.
  • Yertle the Turtle (1958) is often interpreted as an allegory of tyranny. It also encourages political activism, suggesting that a single act of resistance by an individual can topple a corrupt system.
  • Seuss's values also are apparent in the much earlier How the Grinch Stole Christmas (1957), which can be taken (partly) as a polemic against materialism. The Grinch, thinking he can steal Christmas from the Whos by stealing all the Christmas gifts and decorations, attains a kind of enlightenment when the Whos prove him wrong.
  • Horton Hears a Who! is said to be a response to the atomic bomb. Also, one of its lines, "A person is a person, no matter how small," has been used as rhetoric against abortion rights. However, Seuss threatened to sue an anti-abortion group for their use of the phrase. His widow, also strongly pro-choice, has reiterated these criticisms. A lawsuit was filed in Canada in 2001 on this issue.

Adaptations of Seuss's work

For most of his career, Dr. Seuss was reluctant to have his characters marketed in contexts outside of his own books. However, he did allow a few animated cartoons, an art form in which he himself had gained experience during the Second World War.

In 1966, Seuss authorized the eminent cartoon artist Chuck Jones, his friend and former colleague from the war, to make a cartoon version of How the Grinch Stole Christmas!. Seuss, as "Ted Geisel", is credited as a co-producer along with Jones. This cartoon was very faithful to the original book. It is considered a classic by many to this day, and is in the large catalog of annual Christmas television specials. Several more animated specials based on Seuss' work followed, including cartoon versions of Horton Hears a Who! , The Lorax and The Cat in the Hat in 1971, but the latter was considered less successful.

Toward the end of his life, Seuss seems to have relaxed his policy, and several other cartoons and toys were made featuring his characters, usually the Cat in the Hat and the Grinch. When Seuss died of cancer at the age of 87 in 1991, his widow Audrey Geisel was placed in charge of all licensing matters. She approved a live-action film version of How the Grinch Stole Christmas starring Jim Carrey, as well as a Seuss-themed Broadway musical called Seussical (both released in 2000). A live-action film based on The Cat in the Hat was released in 2003, featuring Mike Myers as the title character."The Grinch" is now in a limited engagement run on Broadway. Audrey Geisel was said to have been very vocal in her dislike of the film, and is believed to have said there would be no further live-action adaptations of Seuss' books.{{MS-NBC "Seussentenial: 100 years of Dr. Seuss Geisel's widow continues to nutures writer's cast of characters" Updated: 11:42 a.m. PT Feb 26, 2004}}

Dr. Seuss' books and characters also now appear in an amusement park: the Seuss Landing 'island' at the Islands of Adventure theme park in Orlando, Florida. Product tie-ins (cereal boxes, and so on) have also been implemented. To stay true to the books, there is not one single straight line in all of Seuss Landing: everything curves around.

In November 2004, an edition of MAD Magazine (Mad #447) featured a cover story in which lines from Seuss' books were compared with supposedly similar lines from speeches made by George W. Bush. It was titled "The Strange Similarities Between the Bush Administration and the World of Dr. Seuss." The cover drawing was of a Cat in the Hat that resembled Bush.

An episode of My Life As a Teenage Robot, "Dreamscape," is an homage to Dr Seuss cartoons.

Trivia

  • On the season premiere of Saturday Night Live following Dr. Seuss' death, the Reverend Jesse Jackson was a special guest during the News segment. He declared that "rather than reading from First or Second Samuel, I will read from 'Sam I Am' by the Prophet Seuss," whereupon he read Green Eggs and Ham in the style of a preacher giving an impassioned sermon.
  • On December 1, 1995 The University Library Building at the University of California, San Diego was renamed Geisel Library in honor of Audrey and Theodor Geisel for the generous contributions they have made to the library and their devotion to improving literacy. The Geisels were long-time residents of La Jolla, where UC San Diego is located. A sculpture of Dr. Seuss decorates the grounds of the library. Its Mandeville Special Collections Library contains many of his papers.
  • Dr Seuss was frequently confused, by the US Postal Service among others, with Dr Suess (cf Hans Suess) his contemporary living in the same locality, La Jolla. Ironically, both names have been posthumously linked together: The personal papers of Hans Suess are housed in the Geisel Library at UCSD [1].
  • Dr. Seuss was a friend and drinking partner of crime author Raymond Chandler, who was also a resident of La Jolla.
  • The National Education Association celebrates March 2nd, Dr. Seuss' Birthday, as Read Across America Day. Also known as some version of 'Read Dr. Seuss Day', some adopt the civic as well as fun responsibility to read a Dr. Seuss book to another.
  • Was a member of the Lutheran Church-Missouri Synod
  • Theodor Geisel was right-handed [2]
  • The new High in the Sky Seuss Trolley Train Ride at Islands of Adventure in Orlando, FL lists as its last train stop on its schedule as Springfield, in honor of the birthplace of Dr. Seuss.
  • Name checked in the popular R.E.M. song 'The Sidewinder Sleeps Tonite'

List of books

Omnibus Volumes

  • A Hatful of Seuss: Five Favorite Dr. Seuss Stories
    • Bartholomew and the Oobleck (1949), If I Ran the Zoo (1950), Horton Hears a Who! (1954), The Sneetches and Other Stories (1961), and Dr. Seuss's Sleep Book (1962)
  • Your Favorite Seuss : A Baker's Dozen by the One and Only Dr. Seuss Molly Leach (Designer)
    • And To Think That I Saw It On Mulberry Street, Horton Hears a Who!, McElligot's Pool, If I Ran the Zoo, Happy Birthday to You!, Dr. Seuss's Sleep Book, Yertle the Turtle, The Cat in the Hat, How the Grinch Stole Christmas!, Green Eggs and Ham, The Lorax, The Sneetches, and Oh, the Places You'll Go!
  • Six By Seuss: A Treasury of Dr. Seuss Classics
    • And To Think That I Saw It On Mulberry Street, The 500 Hats of Bartholomew Cubbins, Horton Hatches the Egg, Yertle the Turtle and Other Stories, How the Grinch Stole Christmas, and The Lorax

Writing as Theo. LeSieg

LeSieg is Geisel spelled backwards.

Writing as Rosetta Stone

Film, television, and theater adaptations

Further reading

  • Theodor Seuss Geisel: The Early Works, Volume 1 (Checker Book Publishing, 2005; ISBN 1-933160-01-2), Early Works Volume 1 is the first of a series collecting various political cartoons, advertisements, and various images drawn by Geisel long before he had written any of his world-famous books.
  • Dr. Seuss From Then to Now (New York: Random House, 1987; ISBN 0-394-89268-2) is a biographical retrospective published for the exhibit of the same title at the San Diego Museum of Art
  • The Secret Art of Dr. Seuss by Audrey Geisel (New York: Random House, 1995; ISBN 0-679-43448-8) contains many full-color reproductions of Geisel's private, previously unpublished artwork.
  • Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel, a selection with commentary by Richard Minnear (New Press, 2001; ISBN 1-56584-704-0).
  • Oh, the Places He Went, a story about Dr. Seuss by Maryann Weidt (Carolrhoda Books, 1995; ISBN 0-87614-627-2)
  • The Seuss, the Whole Seuss and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel by Charles Cohen (Random House Books for Young Readers, 2004; ISBN 0-375-82248-8).
  • Dr. Seuss: American Icon by Philip Nel (Continuum Publishing, 2004; ISBN 0-8264-1434-6)
  • The Tough Coughs as he Ploughs the Dough: Early Writings and Cartoons by Dr. Seuss, edited and with an introduction by Richard Marschall (also includes autobiographical material); ISBN 0-688-06548-1

Beginner Books & Audio Cassettes

References

  1. ^ http://german.about.com/library/weekly/aa020401b.htm
  2. ^ The Political Dr. Seuss Springfield Library and Museums Association
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