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Children's volume by Dr. Seuss

The Cat in the Hat
The Cat in the Hat.png

Book cover
Author Dr. Seuss
State Us
Language English
Genre Children'south literature
Publisher Random House, Houghton Mifflin

Publication date

 March 12, 1957
Pages 61
ISBN 978-0-7172-6059-ane
OCLC 304833
Preceded by If I Ran the Circus
Followed by How the Grinch Stole Christmas!
The Cat in the Hat Comes Dorsum (plot wise)

The Cat in the Hat is a 1957 children'southward book written and illustrated past the American author Theodor Geisel, using the pen name Dr. Seuss. The story centers on a tall anthropomorphic cat who wears a red and white-striped top hat and a red bow tie. The Cat shows upwardly at the business firm of Sally and her brother 1 rainy day when their mother is away. Despite the repeated objections of the children'south fish, the True cat shows the children a few of his tricks in an endeavor to entertain them. In the procedure, he and his companions, Thing One and Thing 2, wreck the house. As the children and the fish go more alarmed, the Cat produces a car that he uses to clean everything up and disappears just before the children's mother comes home.

Geisel created the book in response to a contend in the United States about literacy in early childhood and the ineffectiveness of traditional primers such as those featuring Dick and Jane. Geisel was asked to write a more entertaining primer by William Spaulding, whom he had met during World War II and who was then managing director of the education segmentation at Houghton Mifflin. Notwithstanding, because Geisel was already nether contract with Random Firm, the two publishers agreed to a deal: Houghton Mifflin published the didactics edition, which was sold to schools, and Random House published the merchandise edition, which was sold in bookstores.

Geisel gave varying accounts of how he created The Cat in the Hat, but in the version he told most oft, he was then frustrated with the word list from which he could choose words to write his story that he decided to browse the list and create a story based on the showtime two rhyming words he found. The words he found were cat and hat. The book was met with immediate disquisitional and commercial success. Reviewers praised it as an exciting culling to traditional primers. Three years after its debut, the book had already sold over a million copies, and in 2001, Publishers Weekly listed the book at number nine on its listing of best-selling children'due south books of all time. The volume's success led to the creation of Beginner Books, a publishing house centered on producing similar books for young children learning to read. In 1983, Geisel said, "It is the volume I'one thousand proudest of considering information technology had something to do with the expiry of the Dick and Jane primers." Since its publication, The Cat in the Lid has become 1 of Dr Seuss'due south most famous books, with the Cat himself condign his signature creation. The volume was adjusted into a 1971 animated idiot box special and a 2003 alive-action moving-picture show, and the Cat has been included in many Dr. Seuss media.

Plot [edit]

The story begins as an unnamed male child who is the narrator of the volume sits alone with his sister Sally in their firm on a cold and rainy day, staring wistfully out the window. Then they hear a loud crash-land which is quickly followed by the arrival of the Cat in the Chapeau, a alpine anthropomorphic cat in a red and white-striped top hat and a red bow tie, who proposes to entertain the children with some tricks that he knows. The children's pet fish refuses, insisting that the Cat should leave. The Cat then responds past balancing the fish on the tip of his umbrella. The game apace becomes increasingly trickier, equally the Cat balances himself on a brawl and tries to residual many household items on his limbs until he falls on his head, dropping everything he was holding. The fish admonishes him again, only the Cat in the Hat just proposes some other game.

The True cat brings in a big red box from outside, from which he releases two identical characters, or "Things" as he refers them to, with blue hair and cherry-red suits called Thing One and Affair Ii. The Things crusade more trouble, such as flight kites in the house, knocking pictures off the wall and picking upwardly the children's mother'due south new polka-dotted clothes. All this comes to an stop when the fish spots the children's mother out the window. In response, the boy catches the Things in a net and the True cat, apparently aback, stores them dorsum in the large cherry-red box. He takes it out the forepart door equally the fish and the children survey the mess he has made. But the Cat shortly returns, riding a machine that picks everything up and cleans the house, delighting the fish and the children. The Cat then leaves just before their mother arrives, and the fish and the children are back where they started at the start of the story. Equally she steps in, the female parent asks the children what they did while she was out, but the children are hesitant and do non answer. The story ends with the question, "What would you practise if your female parent asked yous?"

Background [edit]

An commodity past John Hersey nigh literacy in early childhood provided inspiration for The True cat in the Lid.

Theodor Geisel, writing every bit Dr. Seuss, created The Cat in the Hat partly in response to the May 24, 1954, Life magazine article by John Hersey titled "Why Practice Students Bog Downwards on Kickoff R? A Local Committee Sheds Low-cal on a National Problem: Reading".[ane] [2] In the article, Hersey was critical of schoolhouse primers like those featuring Dick and Jane:

In the classroom boys and girls are confronted with books that have insipid illustrations depicting the slicked-upward lives of other children... All characteristic abnormally courteous, unnaturally clean boys and girls.... In bookstores anyone can purchase brighter, livelier books featuring strange and wonderful animals and children who deport naturally, i.eastward., sometimes misbehave... Given incentive from schoolhouse boards, publishers could practise as well with primers.[iii]

Later detailing many issues contributing to the dilemma continued with educatee reading levels, Hersey asked toward the end of the commodity:

Why should [schoolhouse primers] non take pictures that widen rather than narrow the associative richness the children requite to the words they illustrate—drawings like those of the wonderfully imaginative geniuses amongst children's illustrators, Tenniel, Howard Pyle, "Dr. Seuss", Walt Disney?[4]

This article defenseless the attending of William Spaulding, who had met Geisel during the state of war and who was then the director of Houghton Mifflin's education partitioning.[5] Spaulding had besides read the best-selling 1955 book Why Johnny Can't Read past Rudolf Flesch.[6] Flesch, like Hersey, criticized primers as boring only besides criticized them for teaching reading through give-and-take recognition rather than phonics.[7] In 1955, Spaulding invited Geisel to dinner in Boston where he proposed that Geisel create a book "for six- and seven-year-olds who had already mastered the basic mechanics of reading".[5] He reportedly challenged, "Write me a story that start-graders can't put downwardly!"[5]

At the back of Why Johnny Tin't Read, Flesch had included 72 lists of words that young children should be able to read, and Spaulding provided Geisel with a like list.[7] Geisel later on told biographers Judith and Neil Morgan that Spaulding had supplied him with a list of 348 words that every half-dozen-year-sometime should know and insisted that the book's vocabulary be limited to 225 words.[5] However, according to Philip Nel, Geisel gave varying numbers in interviews from 1964 to 1969.[8] He variously claimed that he could apply between 200 and 250 words from a listing of between 300 and 400; the finished book contains 236 different words.[8]

Creation [edit]

Geisel gave varying accounts of how he conceived of The Cat in the Lid. According to the story Geisel told most often, he was so frustrated with the word list that William Spaulding had given him that he finally decided to scan the list and create a story out of the first ii words he constitute that rhymed. The words he found were true cat and hat.[8] Near the stop of his life, Geisel told his biographers, Judith and Neil Morgan, that he conceived the beginnings of the story while he was with Spaulding, in an lift in the Houghton Mifflin offices in Boston.[9] It was an old, shuddering elevator and was operated by a "small-scale, stooped woman wearing 'a leather one-half-glove and a secret smile'".[ix] Anita Silvey, recounting a similar story, described the woman as "a very elegant, very petite African-American adult female named Annie Williams".[x] Geisel told Silvey that, when he sketched the Cat in the Hat, he thought of Williams and gave the character Williams' white gloves and "sly, even foxy grinning".[10]

According to Geisel, i of the stories he pitched earlier The Cat in the Lid involved scaling Mount Everest.

Geisel gave two conflicting, partly fictionalized accounts of the book's cosmos in two articles, "How Orlo Got His Book" in The New York Times Book Review and "My Hassle with the First Grade Linguistic communication" in the Chicago Tribune, both published on November 17, 1957.[8] In "My Hassle with the Start Class Language", he wrote nearly his proposal to a "distinguished schoolbook publisher" to write a book for immature children about "scaling the peaks of Everest at 60 degrees beneath".[eleven] The publisher was intrigued merely informed him that, because of the discussion list, "you lot can't use the word scaling. You lot can't employ the word peaks. You can't use Everest. You can't utilise 60. You tin can't utilize degrees. You can't..."[11] Geisel gave a similar account to Robert Cahn for an article in the July half dozen, 1957, edition of The Sat Evening Mail service.[viii] In "My Hassle With the First Form Linguistic communication", he also told a story of the "three excruciatingly painful weeks" in which he worked on a story well-nigh a Male monarch Cat and a Queen Cat.[12] Notwithstanding, "queen" was not on the word list, nor did his first form nephew, Norval, recognize information technology. So Geisel returned to the work just could so think just of words that started with the letter "q", which did non appear in any word on the list. He and so had a like fascination with the letter "z", which also did not appear in any word on the list. When he did finally finish the book and showed it to his nephew, Norval had already graduated from the first grade and was learning calculus. Philip Nel notes, in his autopsy of the commodity, that Norval was Geisel's invention. Geisel's niece, Peggy Owens, did accept a son, but he was just a one-year-former when the article was published.[xiii]

In "How Orlo Got His Book", he described Orlo, a fictional, archetypal young kid who was turned off of reading past the poor choice of unproblematic reading material.[14] To save Orlo the frustration, Geisel decided to write a book for children like Orlo but constitute the task "not different to... being lost with a witch in a tunnel of beloved".[14] He tried to write a story called "The Queen Zebra" simply constitute that both words did non announced on the list. In fact, like Geisel wrote in "My Hassle with the Showtime Grade Linguistic communication", the letters "q" and "z" did not appear on the list at all. He then tried to write a story almost a bird, without using the word bird equally it did not appear on the list. He decided to phone call it a "wing thing" instead but struggled as he discovered that it "couldn't have legs or a beak or a tail. Neither a left pes or a right foot."[15] On his approach to writing The True cat in the Hat he wrote, "The method I used is the same method you employ when you sit downward to make apple tree stroodle [sic] without stroodles."[15]

Geisel variously stated that the book took betwixt 9 and 18 months to create.[sixteen] Donald Pease notes that he worked on it primarily alone, unlike with previous books, which had been more collaborative efforts between Geisel and his wife, Helen.[17] This marked a full general tendency in his work and life. As Robert L. Bernstein later said of that period, "The more than I saw of him, the more he liked being in that room and creating all past himself."[18] Pease points to Helen's recovery from Guillain–Barré syndrome, which she was diagnosed with in 1954, every bit the marker for this alter.[18]

Publication history [edit]

Bennett Cerf (pictured in 1932), the head of Random House, negotiated a deal that allowed both Random House and Houghton Mifflin to publish versions of The Cat in the Hat.

Geisel agreed to write The Cat in the Hat at the asking of William Spaulding of Houghton Mifflin; nonetheless, because Geisel was under contract with Random House, the head of Random Business firm, Bennett Cerf, made a deal with Houghton Mifflin. Random House retained the rights to merchandise sales, which encompassed copies of the volume sold at book stores, while Houghton Mifflin retained the instruction rights, which encompassed copies sold to schools.[5]

The Houghton Mifflin edition was released in January or Feb 1957, and the Random House edition was released on March 1.[nineteen] The two editions featured different covers merely were otherwise identical.[19] The offset edition can exist identified by the "200/200" mark in the top right corner of the forepart dust jacket flap, signifying the $2.00 selling toll. The price was reduced to $1.95 on subsequently editions.[20]

According to Judith and Neil Morgan, the volume sold well immediately. The merchandise edition initially sold an average of 12,000 copies a calendar month, a figure which rose rapidly.[21] Bullock'south department store in Los Angeles, California, sold out of its first, 100-copy order of the volume in a day and rapidly reordered 250 more.[21] The Morgans attribute these sales numbers to "playground word-of-mouth", asserting that children heard about the book from their friends and nagged their parents to buy information technology for them.[21] However, Houghton Mifflin's schoolhouse edition did not sell as well. As Geisel noted in Jonathan Cott's 1983 profile of him, "Houghton Mifflin... had problem selling it to the schools; there were a lot of Dick and Jane devotees, and my book was considered too fresh and irreverent. But Bennett Cerf at Random Firm had asked for trade rights, and it merely took off in the bookstores."[22] Geisel told the Morgans, "Parents understood better than school people the necessity for this kind of reader."[21]

Afterwards three years in print, The True cat in the Hat had sold about one million copies. Past then, the volume had been translated into French, Chinese, Swedish, and Braille.[21] In 2001, Publishers Weekly placed it at number nine on its list of the all-time-selling children's books of all time.[23] Equally of 2007, more than 10 million copies of The True cat in the Lid have been printed, and it has been translated into more than than 12 different languages, including Latin, under the title Cattus Petasatus.[24] [25] In 2007, on the occasion of the book'due south fiftieth anniversary, Random House released The Annotated True cat: Under the Hats of Seuss and His Cats, which includes both The Cat in the Hat and its sequel, with annotations and an introduction by Philip Nel.[19]

Reception [edit]

Geisel in 1957, belongings a copy of The True cat in the Hat

The book was published to immediate disquisitional acclaim. Some reviewers praised the volume equally an heady way to learn to read, particularly compared to the primers that it supplanted. Ellen Lewis Buell, in her review for The New York Times Book Review, noted the volume's heavy employ of 1-syllable words and lively illustrations.[26] She wrote, "Beginning readers and parents who take been helping them through the dreary activities of Dick and Jane and other primer characters are due for a happy surprise."[27] Helen Adams Masten of the Saturday Review called the book Geisel'due south tour de forcefulness and wrote, "Parents and teachers will bless Mr. Geisel for this amusing reader with its ridiculous and lively drawings, for their children are going to have the exciting experience of learning that they can read after all."[28] Polly Goodwin of the Chicago Sunday Tribune predicted that The Cat in the Hat would crusade seven- and eight-twelvemonth-olds to "look with distinct distaste on the drab adventures of standard primer characters".[29]

Both Helen East. Walker of Library Periodical and Emily Maxwell of The New Yorker felt that the book would appeal to older children as well every bit to its target audition of first- and second-graders.[30] The reviewer for The Bookmark concurred, writing, "Recommended enthusiastically as a motion-picture show volume every bit well as a reader".[31] In contrast, Heloise P. Mailloux wrote in The Horn Volume Mag, "This is a fine book for remedial purposes, but self-conscious children often refuse cloth if its seems meant for younger children."[32] She felt that the book's limited vocabulary kept information technology from reaching "the cool excellence of early on Seuss books".[32]

Based on a 2007 online poll, the National Education Association listed The Cat in the Chapeau every bit one of its "Teachers' Top 100 Books for Children".[33] In 2012, it was ranked number 36 amongst the "Peak 100 Picture Books" in a survey published by School Library Journal – the tertiary of five Dr. Seuss books on the list.[34] It was awarded the Early Readers BILBY Award in 2004 and 2012.[35]

The book's fiftieth ceremony in 2007 prompted a reevaluation of the book from some critics. Yvonne Coppard, reviewing the fiftieth ceremony edition in Carousel magazine, wondered if the popularity of the Cat and his "delicious naughty beliefs" will suffer another 50 years. Coppard wrote, "The innocent ignorance of bygone days has given way to an all-embracing, almost paranoid awareness of child protection problems. And here we take the mysterious stranger who comes in, uninvited, while your female parent is out."[36]

Analysis [edit]

Philip Nel places the book's title character in the tradition of con artists in American art, including the title characters from Meredith Willson's The Music Man and L. Frank Baum's The Wonderful Magician of Oz.[37] Nel also contends that Geisel identified with the Cat, pointing to a self portrait of Geisel in which he appears as the True cat, which was published aslope a profile near him in The Saturday Evening Post on July 6, 1957.[37] Michael K. Frith, who worked every bit Geisel's editor, concurs, arguing that "The Cat in the Chapeau and Ted Geisel were inseparable and the same. I think in that location's no question nigh it. This is someone who delighted in the chaos of life, who delighted in the seeming insanity of the earth effectually him."[37] Ruth MacDonald asserts that the True cat'southward master goal in the book is to create fun for the children. The Cat calls it "fun that is funny", which MacDonald distinguishes from the ordinary, serious fun that parents subject their children to.[38] In an article titled "Was the Cat in the Lid Blackness?", Philip Nel draws connections between the True cat and stereotyped depictions of African-Americans, including minstrel shows, Geisel's own minstrel-inspired cartoons from early on in his career, and the use of the term "true cat" to refer to jazz musicians.[39] [40] Co-ordinate to Nel, "Even every bit [Geisel] wrote books designed to claiming prejudice, he never fully shed the cultural assumptions he grew upwards with, and was probable unaware of the means in which his visual imagination replicated the racial ideologies he consciously sought to reject."[39]

Geisel in one case called the fish in The Cat in the Hat "my version of Cotton Mather".

Geisel once called the fish "my version of Cotton Mather", the Puritan moralist who advised the prosecutors during the Salem witch trials.[41] Betty Mensch and Alan Freeman back up this view, writing, "Drawing on old Christian symbolism (the fish was an ancient sign of Christianity) Dr. Seuss portrays the fish as a kind of ever-nagging superego, the apotheosis of utterly conventionalized morality."[41] Philip Nel notes that other critics have also compared the fish to the superego. Anna Quindlen called the Cat "pure id" and marked the children, as mediators betwixt the Cat and the fish, equally the ego.[41] Mensch and Freeman, nonetheless, argue that the True cat shows elements of both id and ego.[41]

In her analysis of the fish, MacDonald asserts that it represents the voice of the children'southward absent mother.[42] Its conflict with the True cat, non only over the Cat's uninvited presence but too their inherent predator-prey relationship, provides the tension of the story. She points out that on the final page, while the children are hesitant to tell their female parent about what happened in her absence, the fish gives a knowing look to the readers to assure them "that something did get on but that silence is the meliorate function of valor in this case".[42] Alison Lurie agrees, writing, "there is a strong suggestion that they might not tell her."[43] She argues that, in the True cat's destruction of the firm, "the kids—and not only those in the story, simply those who read information technology—take vicariously given full rein to their subversive impulses without guilt or consequences."[43] For a 1983 article, Geisel told Jonathan Cott, "The Cat in the Hat is a revolt against potency, but it's ameliorated by the fact that the True cat cleans upwards everything at the end. Information technology's revolutionary in that information technology goes as far as Kerensky and then stops. It doesn't go quite equally far as Lenin."[44]

Donald Pease notes that The Cat in the Hat shares some structural similarities with other Dr. Seuss books. Like earlier books, The Cat in the Hat starts with "a child'due south feeling of discontent with his mundane circumstances" which is presently enhanced by make believe.[45] The volume starts in a factual, realistic world, which crosses over into the world of brand believe with the loud crash-land that heralds the arrival of the Cat.[45] However, this is the commencement Dr. Seuss book in which the fantasy characters, i.due east. the Cat and his companions, are not products of the children's imagination.[45] It besides differs from previous books in that Emerge and her blood brother actively participate in the fantasy world; they also have a inverse stance of the Cat and his world past the story'south end.[45]

Legacy [edit]

Ruth MacDonald asserts, "The Cat in the Hat is the book that made Dr. Seuss famous. Without The Cat, Seuss would have remained a minor light in the history of children's literature."[46] Donald Pease concurs, writing, "The Cat in the Hat is the classic in the archive of Dr. Seuss stories for which it serves as a cornerstone and a linchpin. Earlier writing information technology Geisel was amend known for the 'Quick, Henry, the Flit!' ad campaign than for his nine children's books."[47] The publication and popularity of the book thrust Geisel into the center of the United States literacy debate, what Pease called "the most important academic controversy" of the Common cold War era.[47] Bookish Louis Menand contends that "The True cat in the Hat transformed the nature of principal education and the nature of children's books. It not only stood for the idea that reading ought to be taught by phonics; it also stood for the idea that language skills—and many other subjects—ought to be taught through illustrated storybooks, rather than primers and textbooks."[48] In 1983, Geisel told Jonathan Cott, "It is the book I'k proudest of considering it had something to practice with the expiry of the Dick and Jane primers."[22]

A Cat in the Hat Christmas decoration in the White House, 2003

The book led directly to the creation of Beginner Books, a publishing house centered on producing books like The Cat in the Hat for kickoff readers.[21] According to Judith and Neil Morgan, when the volume caught the attending of Phyllis Cerf, the wife of Geisel's publisher, Bennett Cerf, she arranged for a meeting with Geisel, where the two agreed to create Beginner Books.[21] Geisel became the president and editor, and the Cat in the Hat served every bit their mascot. Geisel'due south wife, Helen, was made third partner. Random House served as distributor[21] until 1960, when Random House purchased Beginner Books.[49] Geisel wrote multiple books for the series, including The Cat in the Lid Comes Back (1958), Green Eggs and Ham (1960), Hop on Pop (1963), and Trick in Socks (1965).[fifty] He initially used word lists of express vocabularies to create these books, as he had with The True cat in the Lid, but moved away from the lists as he came to believe "that a child could learn any amount of words if fed them slowly and if the books were amply illustrated".[51] Other authors too contributed notable books to the serial, including A Wing Went By (1958), Sam and the Firefly (1958), Become, Canis familiaris. Go! (1961), and The Big Honey Hunt (1962).[50]

The book, or elements of it, has been mentioned multiple times in United States politics. The prototype of the Cat balancing many objects on his trunk while in plow balancing himself on a brawl has been included in political cartoons and articles. Political caricaturists accept portrayed both Beak Clinton and George W. Bush in this style.[52] In 2004, MAD magazine published "The Strange Similarities Betwixt the Bush Administration and the World of Dr. Seuss", an article which matched quotes from White House officials to excerpts taken from Dr. Seuss books, and in which George W. Bush-league'due south State of the Union promises were assorted with the Cat vowing (in part), "I can hold up the loving cup and the milk and the cake! I can hold up these books! And the fish on a rake!"[53] In 2007, during the 110th Congress, Senate Majority Leader Harry Reid compared the impasse over a nib to reform immigration with the mess created by the Cat. He read lines of the book from the Senate floor.[54] He then carried forward his illustration hoping the impasse would be straightened out for "If you go dorsum and read Dr. Seuss, the cat manages to make clean upward the mess."[55] In 1999, the United states Mail service issued a postage stamp featuring the Cat in the Hat.[56]

The Cat in the Hat 's popularity besides led to increased popularity and exposure for Geisel's previous children's books. For example, 1940's Horton Hatches the Egg had sold 5,801 copies in its opening yr and one,645 the following year. In 1958, the year after the publication of The Cat in the Hat, 27,643 copies of Horton were sold, and by 1960 the book had sold a full of over 200,000 copies.[47]

In 2020, The Cat in the Hat placed 2d on the New York Public Library's list of "Pinnacle x Checkouts of All Fourth dimension".[57] [58]

Adaptations [edit]

The Cat in the Chapeau has been adapted for various media, including theater, television, and film.

Animated Boob tube special [edit]

The Cat in the Hat is an blithe musical Boob tube special which premiered in 1971 and starred Allan Sherman equally the True cat. In 1973 Sherman reprised the office for Dr. Seuss on the Loose, where the Cat host three stories, and it was his terminal project before his death that same year.

Goggle box [edit]

The Cat is the host of The Wubbulous World of Dr. Seuss, an American puppet series that premiered on October xiii, 1996 and ended on December 28, 1998. His chaotic and messy personae from the original Cat in the Lid volume has been noticeably toned down, portraying him every bit more of an all-seeing trickster narrating, and helping other characters in, stories from around Seussville. The character was performed by Bruce Lanoil in the show'south first season, with Martin P. Robinson taking over in flavor 2. Instead of Matter I and Thing Ii from the original story, the True cat is normally seen in the company of Little Cats A, B and C from Comes Dorsum.

The Cat in the Chapeau Knows a Lot Virtually That! is a British-Canadian-American blithe boob tube series that premiered on August 7, 2010, and ended on Oct 14, 2018. It starred Martin Short every bit the vocalism of the True cat. The Cat in this series is portrayed as a genuinely wise, but still adventurous, guide to Sally and Nick (who replaced her brother Conrad).

Live-action motion-picture show [edit]

In 2003, The Cat in the Hat, a live-action flick adaptation, was released, starring Mike Myers as the Cat. The motion picture grossed $133,960,541 worldwide on an estimated $109 million budget.[59] Information technology was poorly received by critics and a planned sequel was afterwards cancelled. Due to the film's failure, Audrey Geisel, Seuss' widow, decided not to allow any further live-action adaptations of her married man's work.

Proposed animated film [edit]

In 2012, following the fiscal success of The Lorax, an animated film adaptation of The Lorax, Universal Pictures and Illumination Entertainment appear plans to produce a CGI adaptation of The True cat in the Hat.[60] Rob Lieber was set to write the script, with Chris Meledandri as producer, and Audrey Geisel as the executive producer. Yet, the project never came to fruition.[61] On January 24, 2018, it was announced that Warner Animation Group was in development of a dissimilar musical blithe Cat in the Hat motion-picture show as part of a creative partnership with Seuss Enterprises.[62]

Soviet drawing [edit]

In 1984, the book was adapted in Russian as a nine-minute cartoon called Кот в колпаке (The Cat in the Cap). The brusque omits Thing One and Thing 2, along with changing the True cat's hat into a cap; initially an umbrella when it comes in from the rainy street, and making a number of boosted transformations throughout the story. Sally'due south proper name is not mentioned, neither is her brother Conrad.

PC [edit]

In 1997, the book was made into a Living Books adaption for the PC.[63]

Stage play [edit]

In 2009, the Regal National Theatre created a stage version of the book, adapted and directed by Katie Mitchell.[64] It has since toured the UK and been revived.

Character and themes [edit]

Seussical, a musical adaptation that incorporates aspects of many Dr. Seuss works, features the Cat in the Hat as narrator.[65] The musical received weak reviews when it opened in Nov 2001 simply eventually became a staple in regional and school theaters.[65]

A ride at Universal Studios' Islands of Gamble park in Orlando, Florida, has a Cat in the Hat theme.[66]

On July 26, 2016, Random House and Dr. Seuss Enterprises announced that the Cat in the Lid was running for The states president.[67] [68] [69] [70]

See also [edit]

  • Dr. Seuss Memorial
  • Grinch
  • Horton the Elephant

References [edit]

  1. ^ O'Brien, Anne. "An Educational Innovation: The True cat in the Hat". Learning First Brotherhood. Archived from the original on two November 2013. Retrieved eight Nov 2013.
  2. ^ Nel 2004, p. 29
  3. ^ Hersey 1954, pp. 136-137
  4. ^ Hersey 1954, p. 148
  5. ^ a b c d eastward Morgan 1995, pp. 153-154
  6. ^ Menander 2002, p. one
  7. ^ a b Menand 2002, p. two
  8. ^ a b c d e Nel 2007, pp. 24-26
  9. ^ a b Morgan 1995, p. 153
  10. ^ a b Silvey, Anita (March 1, 2007). "How the Cat Got His Smile". Listen Morning time Edition. NPR.
  11. ^ a b "My Hassle With the First Class Language" 1957, p. 171
  12. ^ "My Hassle With the First Form Linguistic communication" 1957, p. 173
  13. ^ "My Hassle With the First Grade Language" 1957, p. 170
  14. ^ a b "How Orlo Got His Volume" 1957, p. 167
  15. ^ a b "How Orlo Got His Book" 1957, p. 169
  16. ^ Nel 2004, p. 30
  17. ^ Pease 2010, pp. 112–115
  18. ^ a b Pease 2010, p. 114
  19. ^ a b c Neary, Lynn. "50 Years of 'The Cat in the Chapeau'". NPR. Retrieved 13 November 2013.
  20. ^ Nel 2007, p. 20
  21. ^ a b c d e f yard h Morgan 1995, pp. 156–157
  22. ^ a b Cott 1983, p. 115
  23. ^ "All-Time Bestselling Children'due south Books". Publishers Weekly. 17 Dec 2001. Archived from the original on December 25, 2005.
  24. ^ Horrigan, Kevin. "The Cat at 50: Still lots of good fun that is funny". Milwaukee Journal Sentinel. Archived from the original on 24 February 2009. Retrieved 22 November 2013.
  25. ^ Dr. Seuss; Jennifer Morrish Tunberg; Terence Tunberg (2000). Cattus petasatus: The true cat in the hat in Latin (in Latin). Bolchazy-Carducci. p. 75. ISBN9780865164710 . Retrieved 29 Nov 2013.
  26. ^ Buell, Ellen Lewis (17 March 1957). "High Jinks at Home". The New York Times Volume Review, as quoted in Fensch 2001, pp. 124–125. {{cite news}}: CS1 maint: postscript (link)
  27. ^ Buell, Ellen Lewis (17 March 1957). "Loftier Jinks at Habitation". The New York Times Book Review, every bit quoted in Nel 2007, pp. 9–10. {{cite news}}: CS1 maint: postscript (link)
  28. ^ Masten, Helen Adams (eleven May 1957). "The True cat in the Lid". Saturday Review, as quoted in Nel 2007, pp. 9–10. {{cite news}}: CS1 maint: postscript (link)
  29. ^ Goodwin, Polly (12 May 1957). "Hurray for Dr. Seuss!". Chicago Sunday Tribune. Chicago IL, equally quoted in Nel 2007, pp. nine–x. {{cite news}}: CS1 maint: postscript (link)
  30. ^ Nel 2007, pp. 9–10
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Bibliography [edit]

  • Cott, Jonathan (1983). "The Good Dr. Seuss". In Fensch, Thomas (ed.). Of Sneetches and Whos and the Good Dr. Seuss: Essays on the Writings and Life of Theodor Geisel. McFarland & Company. pp. 99–123. ISBN0-7864-0388-8.
  • Fensch, Thomas (2001). The Man Who Was Dr. Seuss . Woodlands: New Century Books. ISBN0-930751-xi-6.
  • Fensch, Thomas, ed. (April xiv, 1986). "'Somebody's Got to Win' in Kids' Books: An Interview with Dr. Seuss on His Books for Children, Young and Old". Of Sneetches and Whos and the Practiced Dr. Seuss: Essays on the Writings and Life of Theodor Geisel. McFarland & Company. pp. 125–127. ISBN0-7864-0388-8.
  • Hersey, John (24 May 1954). "Why Practise Students Bog Down on First R?". Life . Retrieved 8 November 2013.
  • Lurie, Alison (1992). "The Cabinet of Dr. Seuss". Popular Civilization: An Introductory Text. ISBN978-0-87972-572-iii.
  • MacDonald, Ruth (1988). Dr. Seuss . Twayne Publishers. ISBN0-8057-7524-2.
  • Menand, Louis. "True cat People: What Dr. Seuss Really Taught Usa". The New Yorker . Retrieved 9 November 2013.
  • Morgan, Judith; Neil Morgan (1995). Dr. Seuss & Mr. Geisel . Random Business firm. ISBN0-679-41686-2.
  • Nel, Philip (2007). The Annotated Cat: Under the Hats of Seuss And His Cats. New York: Random Firm. ISBN978-0-375-83369-4.
  • Nel, Philip (2004). Dr. Seuss: American Icon . Continuum Publishing. ISBN0-8264-1434-half-dozen.
  • Pease, Donald E. (2010). Theodor Seuss Geisel . Oxford University Press. ISBN978-0-19-532302-three.
  • Seuss, Dr. (17 November 1957). "How Orlo Got His Book". In Nel, Philip (ed.). The Annotated Cat: Under the Hats of Seuss And His Cats. Random House. pp. 167–169. ISBN978-0-375-83369-4.
  • Seuss, Dr. (17 November 1957). "My Hassle With the First Grade Language". In Nel, Philip (ed.). The Annotated True cat: Under the Hats of Seuss And His Cats. Random House. pp. 170–173. ISBN978-0-375-83369-four.

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