- About the Contributors
- Chapter Abstracts
- The Fundamentals of Children’s Literature Criticism: Alice’s Adventures in Wonderland and Through the Looking-Glass
- Randall Jarrell’s The Bat-Poet: Poets, Children, and Readers in an Age of Prose
- Arnold Lobel’s <i>Frog and Toad Together</i> as a Primer for Critical Literacy
- Blending Genres and Crossing Audiences: Harry Potter and the Future of Literary Fiction
- Wanda’s Wonderland: Wanda Gág and Her Millions of Cats
- A Cross-Written Harlem Renaissance: Langston Hughes’s The Dream Keeper
- Dumbo, Disney, and Difference: Walt Disney Productions and Film as Children’s Literature
- Redrawing the Comic-Strip Child: Charles M. Schulz’s Peanuts as Cross-Writing
- The Cat in the Hippie: Dr. Seuss, Nonsense, the Carnivalesque, and the Sixties Rebel
- Wild Things and Wolf Dreams: Maurice Sendak, Picture-Book Psychologist
- Reimagining the Monkey King in Comics: Gene Luen Yang’s American Born Chinese
- Froggy’s Little Brother: Nineteenth-Century Evangelical Writing for Children and the Politics of Poverty
- History in Fiction: Contextualization as Interpretation in Robert Louis Stevenson’s Kidnapped
- <i>Tom Sawyer</i>, Audience, and American Indians
- Living with the Kings: Class, Taste, and Family Formation in Five Little Peppers and How They Grew
- A Daughter of the House: Discourses of Adoption in L. M. Montgomery’s Anne of Green Gables
- Where in America Are You, God?: Judy Blume, Margaret Simon, and American National Identity
- Let Freedom Ring: Land, Liberty, Literacy, and Lore in Mildred Taylor’s Logan Family Novels
- “What Are Young People to Think?”: The Subject of Immigration and the Immigrant Subject in Francisco Jiménez’s The Circuit
- “My Book and Heart Shall Never Part”: Reading, Printing, and Circulation in the New England Primer
- Castaways: The Swiss Family Robinson, Child Bookmakers, and the Possibilities of Literary Flotsam
- Tom Brown and the Schoolboy Crush: Boyhood Desire, Hero Worship, and the Boys’ School Story
- Peter Pan as Children’s Theatre: The Issue of Audience
- <i>Jade</i> and the Tomboy Tradition
- Happily Ever After: Free to Be … You and Me, Second-Wave Feminism, and 1970s American Children’s Culture
- Paradise Refigured: Innocence and Experience in His Dark Materials
Abstract and Keywords
This article shows that the works of Dr. Seuss, the most beloved bard of children's nonsense—and especially The Cat in the Hat (TCITH) (1957)—can be read within the context of the dramatic cultural changes which paved the way for and grew out of the rebellions of the 1960s. Seuss's anarchic nonsense fostered a sensibility conducive to the New Left ideal of participatory democracy. A carnivalesque setting is a locus of social formation that fosters an atmosphere within which controversial topics and utopian desires may be confronted. TCITH also awakens in its readers the possibility of seeing themselves in a profoundly new way, and this is achieved through exposure to existential dilemmas and enigmas typical of nonsense. Seuss's texts arguably bestowed political agency on that generation “most critical of the Vietnam War,” whose perhaps unwitting parents supplied them with Seuss texts in piles throughout their formative years.
Kevin Shortsleeve is Assistant Professor at Christopher Newport University in Virginia. He received his undergraduate degree from Emerson College in Boston, a Masters from The University of Florida, and PhD from Oxford. He has published academic work on the subjects of literary nonsense, Edward Gorey, and Walt Disney. He is also the author of several children’s books, including Thirteen Monsters Who Should Be Avoided.
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