24. Edward Sorel, “The Shape That He’s In: You’re Only Old Once!” New York Times, March 23, 1986.
25. Mathews, “Dr. Seuss.”
26. Ibid.
27. Jonathan Cott, “The Good Dr. Seuss,” in Pipers at the Gates of Dawn: The Wisdom of Children’s Literature (New York: Random House, 1983).
28. Mathews, “Dr. Seuss.”
29. Alan L. Adler, “Green Eggs and Ham Were Just Starters for Author Theodor Geisel,” Santa Cruz Sentinel, May 21, 1986.
30. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 267.
31. Warren T. Greenleaf, “How the Grinch Stole Reading: The Serious Nonsense of Dr. Seuss,” Principal, May 1982.
32. Leonard Felson, “Colleges Across State Honor New Graduate,” Hartford Courant, May 19, 1986.
33. Elsie Osterman, “Dr. Seuss: The Man Who Brought to Life Horton the Elephant, Yertle the Turtle and the Cat in the Hat Is Working on ‘a Picture Book for Adults,’” Morning Call (Allentown, PA), February 6, 1986.
34. Ibid.
35. The Springfield Museum—which now owns the house—is working carefully in the bedroom, peeling back old wallpaper and peering at exposed plaster, to determine if this claim is true. So far they’ve come up empty.
36. Jan Tarr, “They Saw Seuss on Mulberry,” Hartford Courant, May 21, 1986.
37. Larry Rohter, “After 60 Years, Dr. Seuss Goes Back to His Roots,” New York Times, May 21, 1986.
38. Hilliard Harper, “The Private World of Dr. Seuss: A Visit to Theodor Geisel’s La Jolla Mountaintop,” Los Angeles Times Magazine, May 25, 1986.
39. Dan Carlinsky, “Dr. Seuss From A to Z: His Prose and His Art Still Warm a Kid’s Heart,” Cincinnati Enquirer, February 17, 1986.
40. Harper, “The Private World of Dr. Seuss.”
41. Ibid.
42. Ibid.
43. Judith Morgan, interview with the author.
44. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 274.
45. Gina Cioffi, “It’s a Happy Holiday Bowl for Dr. Seuss,” San Diego Union, December 18, 1986.
46. Carole Nelson, “Kids All Know Who Dr. Seuss Is, His Books Rhyme, and No Excuses,” untitled and undated clip, Mandeville Special Collections Library, UCSD, Box 9, Folder 16.
47. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 276.
48. Digby Diehl, “Q&A: Dr. Seuss,” Los Angeles Times West, September 17, 1972.
49. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 286.
50. Robert Bernstein, interview with the author.
51. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 279.
52. Ibid., 265.
53. Ibid., 279.
54. Ibid.
55. TSG, Oh, the Places You’ll Go! (New York: Random House, 1990).
56. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 281.
57. “Dr. Seuss: Rhymes and Reasons” documentary.
58. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 282.
59. Ibid., 283.
60. Ibid., 258.
61. Ibid., 283.
62. Michael Frith, interview with the author.
63. Fredric Koeppel, “New Dr. Seuss Effort Lacks Usual Luster,” Poughkeepsie Journal, January 28, 1990.
64. Alison Lurie, “The Cabinet of Dr. Seuss,” New York Review of Books, December 20, 1990.
65. Susan Stark, “New Book on the Loose from Inimitable Dr. Seuss,” Florida Today (Cocoa, FL), February 11, 1990.
66. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 283.
67. See TSG’s handwritten notes “We’ve Got to Do Better!,” Mandeville Special Collections Library, UCSD.
68. “Dr. Seuss: Rhymes and Reasons” documentary.
69. Judith Morgan, interview with the author.
70. Morgan and Morgan, Dr. Seuss & Mr. Geisel, 286.
71. Ibid., 287.
72. Ibid.
73. James R. Hagerty, “Audrey Geisel Defended and Extended the World of Dr. Seuss,” The Wall Street Journal, December 28, 2018.
74. Cott, “The Good Dr. Seuss.”
75. Shirley Jackson, “His Personal Prescription,” San Francisco Examiner, November 10, 1963.
76. Robert Cahn, “The Creator of Horton, Thneeds, and Truffula Trees,” Christian Science Monitor, October 17, 1991.
77. Digby Diehl, “Q&A: Dr. Seuss,” Los Angeles Times West, September 17, 1972.
78. Craig Piechura, “Just Call Dr. Seuss the New Mother Goose,” Southfield Eccentric (Southfield, MI), November 26, 1979.
79. Carla Waldemar, “Yes, There Really Is a Dr. Seuss,” Twin Cities Readers (Minneapolis, MN), April 24, 1980.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
INDEX
The page numbers in this index refer to the printed version of this book. The link provided will take you to the beginning of that print page. You may need to scroll forward from that location to find the corresponding reference on your e-reader.
Academy Awards: for Design for Death film, 198–99, 220; for Gerald McBoing-Boing animated short, 219, 220; for Hitler Lives? film, 191–92, 220
advertising work of Geisel: and fame of Seuss, 101–2; first work in, 88–90 (see also Flit advertising campaign); Geisel’s occasional gigs in, 241, 246; Geisel’s reliance on, 134; Geisel’s shift toward, 101; for Hankey Bannister whisky, 118; for Holly Sugar, 241, 246, 255; and La Jolla’s anti-billboards campaign, 255; for Narragansett Brewing Company, 134; for Schaefer Beer, 117–18. See also Standard Oil Company
alcohol and drinking: and arrest for driving while intoxicated, 339; cartoons relating to, 83, 95–96; drinking incident at Dartmouth, 50–51; and early years in New York City, 77, 83, 84–85; and Geisel family business, 23, 30–31; Geisel’s lifelong consumption of, 84, 270, 416; and Prohibition/prohibitionists, 23, 30–31, 36, 50–51, 59, 83, 102
American Booksellers Association (ABA), 382
American Library Association (ALA), 390–91
And to Think That I Saw It on Mulberry Street (Seuss), 21, 108–9, 110–17, 145, 315, 418, 419
animal heads, sculptured, 96–97, 107, 378
anti-German sentiment, 20–21, 22, 23–25, 29
anti-Semitism, 143, 150, 151, 154, 307–8, 324
Are You My Mother? (Eastman), 300
art of Geisel: animal drawings, 17, 49, 73, 82–83, 98, 129, 214–15, 240, 253, 317–18; and art correspondence course, 17; for boating safety manual, 104–5; Capra’s influence on, 396–97; and childhood trips to Forest Park zoo, 16–17; in college years, 41–42, 49, 59–60, 62; and desire for critical acclaim, 413; Helen on, 62, 73, 317; in high school, 28–29; at Judge magazine, 82–83; oil paintings, 325, 330; and search for work as illustrator, 74–75; stylized work of, 82–83. See also cartoons
Australia, 376–78
Bartholomew and the Oobleck (Seuss), 211–12
Bartlett, Donald, 58, 62, 230, 282–83, 372
Because a Little Bug Went Ka-Choo! (Stone), 364
Beginner Books imprint: Beginning Beginner Books, 293, 294; and Berenstains, 305–7, 313–14, 321; editorial feuding in, 278–79, 288, 294–95, 311, 313, 318–20, 323; editorial team of, 276; Frith as editor in chief of, 323, 349, 363; Geisel’s conditions for, 272, 275; Geisel’s focus on, 316, 370; Geisel’s titles published by, 278, 279–80, 293–94, 295, 310, 326–27, 354, 381, 386; and Grolier’s book club, 310; Helen’s books published by, 302, 308, 318; and Helen’s death, 349; initial titles published by, 279–80; mission of, 275–76; offices of, 287–88; Phyllis dismissed from, 319, 321; proposal of, 271–72; purchased by Random House, 301–2; Random House’s relationship with, 276; recruitment of authors, 278–79, 288–89, 323; rules for authors of, 277, 289; sales of, 287, 290, 299–300, 301, 309–10; staff members added to, 322–23; word lists of, 277–79, 294, 295, 311, 312, 316–17, 352, 363
Berenstain, Jan, 3
04–7, 313–14, 321, 350, 402
Berenstain, Stan, 304–7, 313–14, 350, 402
Bernstein, Robert: and The Butter Battle Book, 400, 401, 404; and The Cat in the Hat Songbook, 340; and The Dick Cavett Show appearance of Geisel, 350–51; and feuding of Phyllis and Geisel, 319; and The Foot Book, 341; and Geisel’s biography, 425; and Geisel’s marriage, 341; and Geisel’s memoirs, 384–85; and Geisel’s prank book proposal, 353; Geisel’s relationship with, 285; and Grinch animated cartoon, 332, 337; and merchandising characters, 285–86; and promotional tours of Geisel, 284; and RCA’s acquisition Random House, 329; and The Sneetches and Other Stories, 308; and speaking opportunities for Geisel, 382; trips to La Jolla, 408–9; and Vanguard acquisition, 419
A Big Ball of String (Elkin), 280
The Big Honey Hunt (Berenstain and Berenstain), 313–14
The Big Jump and Other Stories (Evans), 280
The Bike Lesson (Berenstain and Berenstain), 314
biography of Geisel, authorized, 425–26
Boners, 97
book signings and promotional tours, 117, 127, 135, 284–85, 373–74, 414
Bright and Early Books imprint, 321–22, 341, 347, 349–50, 363, 367–69
Buchwald, Art, 368–69
“. . . But for Grown-Ups Laughing Isn’t Any Fun” (Geisel), 226–28
The Butter Battle Book (Seuss), 399–401, 402, 403–4
Caldecott Honors, 197, 212, 390
Capote, Truman, 288–89
Capra, Frank, 161–65, 167–70, 176, 183, 185–86, 192, 204, 396–97, 429
cartoons: addressing injustice in, 22; in Boners, 97; at Dartmouth College, 37, 40, 41–42, 49, 52–53; early career as cartoonist, 74–79; editorial/political cartoons, 101, 133, 136–37, 138, 140–44, 145–57, 162; and Flit campaign, 88–90, 91, 92, 97–98, 101, 107; Hejji newspaper comic strip, 104–5; and henpecked-husbands theme, 47, 79, 92; in high school, 28–29; for Judge magazine, 79–80, 82–83, 85, 87–88; for Life magazine, 76, 95–96; misogynistic jokes in, 46–47; product placements in, 83, 88–89; racial stereotypes in, 92–93; and taboo topics, 83. See also pseudonyms/signatures used by Geisel
The Cat in the Hat (Seuss): animated adaptation of, 358–59; animated movies inspired by, 428; and Beginner Books imprint, 271–72; British reactions to, 311; long-term impact of, 429; reprint of jacket for, 298; success of, 265–67, 269, 275, 374; textbook rights to, 251, 266, 300; thirtieth anniversary of, 418; words in, 263, 459n60; writing of, 258–63
The Cat in the Hat Comes Back (Seuss), 278, 279–80
The Cat in the Hat Songbook (Seuss), 339–40
Cat Notes of Geisel, 366, 411, 426, 472n3
The Cat’s Quizzer (Seuss), 375–76
Cerf, Bennett: and authors recruited by Beginner Books, 288; Beginner Books imprint purchased by Random House, 301; and Bernstein, 284; and The Cat in the Hat, 263; courting Geisel, 123–26, 402; death of, 362; and feuding of Phyllis and Geisel, 295, 309, 313, 319; and fifty-word book challenge, 295–96, 298; and Geisel’s book promotion tours, 135; on Geisel’s genius, 263, 298, 374; Geisel’s humorous tests of, 316, 317; and Helen’s death, 344; and Horton Hatches the Egg, 131–32, 135; and Horton Hears a Who! 238; and Houghton Mufflin agreement, 251; and How the Grinch Stole Christmas, 265; and If I Ran the Circus, 256; marketing initiatives of, 287; and proposal for guide to children’s writing, 210; and RCA’s acquisition of Random House, 329–30; at San Diego Children’s Hospital charity ball, 330; and The Seven Lady Godivas, 124–26; and word lists, 312
Cerf, Phyllis: authors recruited by, 278; and Berenstains, 305, 306, 307, 313, 321; dismissed from Beginner Books imprint, 319, 321; and editorial feuds with Geisel, 278–79, 288, 294–95, 311, 313, 318–20, 323; and Grolier’s book club, 310; and offices, 287–88; proposal of Beginner Books imprint, 271–72, 275; on relocation of offices, 362; at San Diego Children’s Hospital charity ball, 330; Step-Up Books imprint of, 319–20, 323, 349; and word lists, 277, 294, 312, 317
children’s books: changes in field of, 115–16; Geisel on critical importance of, 300–301, 315; Geisel’s criticisms of Mrs. Mulvaney model, 208, 250; Geisel’s Times column on writing, 226–28; Geisel’s workshop on writing, 203–9, 217, 237; and postwar baby boom, 233; reading primers, 247–50, 266–67, 377; and respect for intelligence of children, 277, 317, 364, 374, 394, 403
Children’s Theater Company of Minneapolis, 388–89
Christmas and Geisel’s Grinch, 257–58, 263–64, 268–69
Commins, Saxe, 131, 209–10, 212, 238, 260, 459n54
Dartmouth Alumni Magazine: on choice of Dartmouth for college, 34; Geisel’s self-penned biography in, 118; profile on Geisel in, 372; reviews of Dr. Seuss books, 114–15, 120, 132, 201, 298, 299
Dartmouth College, 34, 35; cartoons drawn for publications at, 37, 40, 41–42, 49, 52–53; and fiftieth anniversary of Geisel’s graduation, 371–72; Geisel’s academic performance at, 37–39, 44, 48–49; Geisel’s admission to, 36; Geisel’s alumni contributions to, 96; Geisel’s graduation from, 53; Geisel’s honorary doctorate, 241, 244, 251; and Geisel’s original manuscripts, 283; and Geisel’s writing skills, 41, 42–44; Geisel voted Least Likely to Succeed, 49–50; Green Book annual of, 37, 38; “Hanover Hears a Who” theme of, 391; and interview with Geisel, 103–4; Jack-O-Lantern humor magazine, 37, 38, 39, 40–41, 44–45, 46–47, 48, 49, 51, 52–53, 104; and misogynistic college humor, 46–47; and probation for drinking incident, 50–51; social life at, 36–37, 39–40, 48; student newspaper, 39, 40, 44–45, 47–48, 51–52, 103–4
DePatie–Freleng Enterprises, 358–59, 372, 383, 387, 393–94
Design for Death (film), 194–96, 198–99, 220
The Dick Cavett Show, 350–51
Did I Ever Tell You How Lucky You Are? (Seuss), 369
Dimond, Grey, 326, 345–46
Do You Know What I’m Going to Do Next Saturday? (Palmer), 318
Dr. Seuss children’s books and stories: ABC book, 98, 101, 107; and adult illiteracy, 311; animated adaptations of, 330–38, 339, 340–41, 358–59; and book promotions, 117, 127, 135, 284–85, 373–74; and book with 350 words, 251, 253–54, 258–59; Broadway musicals based on, 428; contracts for, 312; criticisms of, 116–17, 418–19; and “Dr. Seuss” brand, 314; ethical/moral messages in, 237, 246, 282, 307, 309, 355–58, 360–61; fans (see fans of Geisel); and female protagonists, 418–19; and fifty-word book challenge, 295–96; first book of, 91; Geisel’s hopes for, 193; Grinch character of, 257–58; honors and awards, 197, 212, 390–91, 404, 405–6; merchandising of characters, 285–86, 395, 409, 428; and names of characters, 197, 215, 368; original manuscripts for, 283; origins of, 98, 101, 107–9, 110–17; and proximity theory of Geisel, 292–93, 317; published after Geisel’s death, 428; racial stereotypes in, 215–16, 418; Redbook’s publication of stories, 216–17, 220, 257, 267–68, 307; sales of, 290, 298–99, 374, 384, 389; search for publisher, 98, 101, 107, 112; stage adaptations of, 388–89; twenty-five year anniversary of, 315; use of repetition in, 261, 298; use of rhyming in, 112, 131, 197, 207, 216, 258–59, 261, 294, 296, 298, 334, 335–36; use of rhythms in, 13, 108–9, 197, 207, 261, 298; and Vanguard Press, 113–15, 117, 120, 122; voice in, 132. See also Random House; specific titles, including The Cat in the Hat
Dr. Seuss’s ABC (Seuss), 316, 317–18, 322
The Ear Book (Perkins), 350
Eastman, P. D., 175, 217, 278–79, 300, 308, 408
education of Geisel: college (see Dartmouth College); elementary school, 15; graduate education, 54, 56–64, 66, 72–73; high school, 24, 26–29, 32–34; middle school, 19
Emmy Awards, 383, 393–94
Excursion telecast, 239–40
The Eye Book (Seuss), 350
fans of Geisel: in Australia and New Zealand, 376–77; autographs signed for, 135, 255, 270, 283, 285, 373–74, 376, 385, 389, 408; and book signings, 373–74; fan mail from, 270, 322, 380, 385, 414; at home
of Geisel, 290–91, 345, 385; reverence for Geisel, 380; in Spring field, 415
A Fish out of Water (Palmer), 308
The 500 Hats of Bartholomew Cubbins (Seuss), 4, 118–20, 315, 388–89, 418, 419
The 5,000 Fingers of Dr. T. (film), 220–26, 228–29, 231–32, 241, 339, 421
Flit advertising campaign, 88–90, 91, 92, 95, 97–98, 101, 107, 128, 134, 144
A Fly Went By (McClintock), 280
The Foot Book (Seuss), 341, 350
Fox in Socks (Seuss), 326–27, 328
Frith, Michael: and Bright and Early Books imprint, 349–50; departure from Random House, 370; as editor in chief at Beginner Books, 323, 349; and feuding of Phyllis and Geisel, 319, 323; on Geisel’s
book readings, 328; on Geisel’s management style, 349–50; Geisel’s relationship with, 363; and LeSieg books, 364; on merchandising Seuss characters, 352; and Oh, The Places You’ll Go, 423, 424; and Pulitzer Prize, 405–6; trips to La Jolla, 363; and word lists, 363
Gayda, Virginio, 135–37, 143
Geisel, Audrey Dimond (wife): background of, 326; books dedicated to, 328, 353; daughters of, 347, 348, 427; and death of Phyllis Jackson, 378; divorce of, 346–47; and Dr. Seuss brand, 428; editorial input of, 356; friendship with Geisels, 326; and Geisel’s beard, 371; and Geisel’s death, 427–28; Geisel’s extramarital relationship with, 326, 327, 338–39, 340, 345–46; Geisel’s introduction to, 303; and Geisel’s smoking, 391–92; on Geisel’s writing process, 416; and Helen’s death, 345–46; home renovations/remodeling led by, 346, 347, 388; and La Jolla social circles, 346, 348, 366–67; marriage to Geisel, 346–47; and Random House staff, 348–49; social events hosted by, 367; social nature of, 406; surgery to remove tumor, 422–23; travels with Geisel, 354, 355–56, 377, 415; and T.R. Geisel, 351
Geisel, Christine (grandmother), 6, 7, 439n7
Geisel, Helen Marion Palmer (wife): on animal characters of Geisel, 262; and Beginner Books imprint, 272, 275, 279, 288, 294–95, 301–2, 311; and Berenstains, 307; book dedicated to, 252; books published by Beginner Books, 302, 308, 318; in California (see La Jolla homes); childlessness of, 120–21; and Chrysanthemum-Pearl, 120–22; courtship at Oxford, 60–62, 64; death of, 342, 343–45; and Design for Death screenplay, 195, 196; devotion to Geisel, 67; editorial input of, 111, 126–27, 131, 236, 264; engagement to Geisel, 64–65, 74; in Europe, 71–72, 310–11; and fan mail for Geisel, 270; and 5,000 Fingers film, 222, 223, 226, 228–29, 421; and Geisel family, 67, 69; and Geisel’s employment with Judge, 79; and Geisel’s extramarital affair, 345; and Geisel’s frustrations when writing, 327–28; and Geisel’s military service, 163–64, 174; on Geisel’s perfectionism, 315–16; and Geisel’s work schedule, 292; graduate education of, 60, 61, 66–67; health issues of, 60–61, 219, 242, 243–47, 265, 292; Hollywood home of, 163, 199; and Horton Hears a Who! 238–39; in Japan, 229–31; lifestyle of, 292; and marital difficulties, 302, 329, 341–42; marriage of, 80–81; modern sensibilities of, 78; New York City homes of, 81–82, 90, 99, 102; and social/civic life in La Jolla, 324–26; social life in New York City, 84, 100; teaching career of, 74, 78; and writers’ workship in Utah, 206; writing career of, 164
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