Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel Hardcover Author: Richard H. Minear | Language: English | ISBN:
156584565X | Format: PDF, EPUB
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Amazon.com Review
Before Yertle, before the Cat in the Hat, before Little Cindy-Lou Who (but after
Mulberry Street), Dr. Seuss (Theodor Geisel) made his living as a political cartoonist for New York newspaper
PM. Seuss drew over 400 cartoons in just under two years for the paper, reflecting the daily's New Deal liberal slant. Starting in early 1941, when
PM advocated American involvement in World War II, Seuss savaged the fascists with cunning caricatures. He also turned his pen against America's internal enemies--isolationists, hoarders, complainers, anti-Semites, and anti-black racists--and urged Americans to work together to win the war. The cartoons are often funny, peopled with bowler-hatted "everymen" and what author Art Spiegelman calls "Seussian fauna" in his preface. They are also often very disturbing--Seuss draws brutally racist images of the Japanese and even attacks Japanese Americans on numerous occasions. Perhaps most disturbing is the realization that Seuss was just reflecting the wartime zeitgeist.
Dr. Seuss Goes to War marks the first time most of these illustrations have appeared in print since they were first published. Richard H. Minear's introduction and explanatory chapters contextualize the 200 editorial cartoons (some of whose nuances might otherwise be lost on the modern reader). Those who grew up on Seuss will enjoy early glimpses of his later work; history buffs will enjoy this new--if playful and contorted--angle on World War II. --Sunny Delaney
From Library Journal
Few fans of Dr. Seuss's whimsy are likely to be aware that before authoring The Cat in the Hat Theodor Seuss Geisel penned editorial cartoons for the New York daily PM. This new collection presents approximately half the newspaper cartoons that Geisel drafted for the pro-New Deal paper from the start of 1941 (when his main targets were the isolationists who opposed U.S. intervention in European and Asian affairs) until 1943 (when he accepted a commission in the U.S. Army). Minear (history, Univ. of Massachusetts) has done a fine job of selecting, arranging in thematic order, and providing historical commentary for these cartoons, which are full of Geisel's expected visual wit; seeing the early development of his eccentric animal menagerie is a special treat. As Art Spiegelman notes in his introduction, Geisel's Uncle Sam seems to have been practice for what would become the Cat in the Hat. "The prototype for the cat's famous headgear is actually...Uncle Sam's red-and-white-striped top hat! The Cat in the Hat is America!" writes Spiegelman. Recommended for larger libraries.AKent Worcester, Marymount Manhattan Coll., New York
Copyright 1999 Reed Business Information, Inc.
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- Hardcover: 272 pages
- Publisher: New Press, The; First Edition edition (October 1, 1999)
- Language: English
- ISBN-10: 156584565X
- ISBN-13: 978-1565845657
- Product Dimensions: 9.4 x 9.4 x 1 inches
- Shipping Weight: 2 pounds
I was quite surprised when I discovered this book of over 200 (out of 400 he drew) political cartoons by Dr. Seuss (who became a Doctor only by honorary degree years later, even though he called himself Dr. Seuss at this time). I did not realize that he had been a major producer of propaganda in favor of intervention in World War II and later in favor of winning the war. What is even more surprising is to look at the cartoons and see familiar-looking fish, cats and turtles who show up in all of the most beloved children's stories by Dr. Seuss. Clearly, World War II was essential training for the pro-community, pro-progressiveness stories that three generations have now grown up with.
Dr. Seuss was so enraged by Italian pro-fascist propaganda that he sought a role in political cartooning with P.M., a New Deal liberal daily newspaper in New York. The newspaper did not carry advertising, and cost much more than other papers. As a result, it had a daily circulation of only 150,000. After two years, he volunteered for the service at age 38 and took a job in the Army signal corps creating propaganda movies (some of which won him Oscars).
Most of these cartoons would be ones that anyone would be proud to have drawn, for both their humor and the targeting of those who favored dictatorships and complacency about fascism. On the other hand, Dr. Seuss did a few that are certainly racist (although generally he was antiracist, opposing the ill treatment of blacks and Jews). The focus of his racism were Japanese (lots of slanted-eyes drawings of evil plotting) and Japanese-Americans (one cartoon shows Japanese-Americans picking up explosives after Pearl Harbor).
The book is also interesting for capturing the debates of those years in a fresh and visual way.
Dr. Seuss Goes to War is a fascinating look at the political cartoons of Theodor Geisel, (Dr. Seuss). Seuss was hired to draw political cartoons for the New York newspaper PM in 1941 and remained through 1943. Seuss had already published his first children's book, To Think That I Saw It on Mulberry Street in 1937 but his other children's works were not created until after WWII.
Two hundred of those roughly four hundred cartoons have found their way into Dr. Seuss Goes to War. Because these cartoons were drawn on a daily basis and reflected contemporary events they provide the reader with a fascinating window through which one can view life in America and the World during the war years.
The book begins with a brief introduction by Art Spiegelman, the Pulitzer Prize winning author/illustrator of Maus. Spiegelman notes the eerie resemblance between the figures and animals drawn by Seuss and his later creations such as the Cat in the Hat, Myrtle the Turtle, and Horton.
The cartoons themselves are divided into sections by topic, (the Home Front, Hitler & Nazi Germany, the Rest of the Word, etc.). Each section contains a very well written and thoughtful preface by historian Richard Minear. These explanatory sections are quite helpful in putting the cartoons into the context of the day and providing critical information about some of the then well known figures of the day (Father Coughlin, Pierre Laval and others) that may be unfamiliar to contemporary readers. Minear's commentary is particularly useful because it contains links between the information he provides by reference to the specific page number of a cartoon. The reader's enjoyment and understanding of the cartoon is enhancement by this treatment.
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