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Children's book by Dr. Seuss

The Cat in the Hat

Volume cover
Author	Dr. Seuss
Country	United States
Language	English
Genre	Children's literature
Publisher	Random Business firm, Houghton Mifflin
Publication date	March 12, 1957
Pages	61
ISBN	978-0-7172-6059-one
OCLC	304833
Preceded by	If I Ran the Circus
Followed by	How the Grinch Stole Christmas! The True cat in the Hat Comes Back (plot wise)

The Cat in the Hat is a 1957 children's book written and illustrated by the American author Theodor Geisel, using the pen name Dr. Seuss. The story centers on a tall anthropomorphic true cat who wears a crimson and white-striped peak hat and a red bow tie. The Cat shows up at the firm of Sally and her brother one rainy mean solar day when their mother is away. Despite the repeated objections of the children's fish, the Cat shows the children a few of his tricks in an attempt to entertain them. In the process, he and his companions, Thing Ane and Thing Ii, wreck the house. As the children and the fish become more alarmed, the True cat produces a machine that he uses to make clean everything up and disappears just before the children'southward mother comes home.

Geisel created the book in response to a debate in the United States about literacy in early babyhood 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 Earth War II and who was and so director of the teaching division at Houghton Mifflin. Withal, considering Geisel was already nether contract with Random House, the two publishers agreed to a deal: Houghton Mifflin published the pedagogy edition, which was sold to schools, and Random House published the trade edition, which was sold in bookstores.

Geisel gave varying accounts of how he created The True cat in the Hat, but in the version he told near often, he was and so frustrated with the discussion 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 get-go two rhyming words he found. The words he plant were cat and hat. The book was met with immediate disquisitional and commercial success. Reviewers praised information technology equally an exciting alternative to traditional primers. 3 years after its debut, the book had already sold over a million copies, and in 2001, Publishers Weekly listed the book at number ix on its list of acknowledged children's books of all time. The book's success led to the cosmos of Beginner Books, a publishing house centered on producing similar books for young children learning to read. In 1983, Geisel said, "It is the book I'm proudest of because information technology had something to do with the death of the Dick and Jane primers." Since its publication, The Cat in the Hat has become one of Dr Seuss's nigh famous books, with the Cat himself becoming his signature cosmos. The book was adapted into a 1971 animated television special and a 2003 alive-action picture, and the Cat has been included in many Dr. Seuss media.

Plot

The story begins as an unnamed boy who is the narrator of the book sits alone with his sister Sally in their house on a cold and rainy 24-hour interval, staring wistfully out the window. And then they hear a loud bump which is quickly followed by the arrival of the Cat in the Chapeau, a tall anthropomorphic cat in a cherry-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 go out. The True cat and then responds by balancing the fish on the tip of his umbrella. The game quickly becomes increasingly trickier, every bit the Cat balances himself on a ball and tries to residual many household items on his limbs until he falls on his head, dropping everything he was belongings. The fish admonishes him over again, but the True cat in the Hat simply proposes another game.

The Cat brings in a large ruby box from outside, from which he releases two identical characters, or "Things" as he refers them to, with blue hair and red suits chosen Thing One and Matter Two. The Things crusade more problem, such as flying kites in the house, knocking pictures off the wall and picking up the children'southward mother's new polka-dotted dress. All this comes to an cease when the fish spots the children'south mother out the window. In response, the boy catches the Things in a net and the Cat, manifestly aback, stores them dorsum in the big red box. He takes it out the front end door as the fish and the children survey the mess he has fabricated. Only the Cat soon returns, riding a machine that picks everything upward and cleans the business firm, delighting the fish and the children. The Cat then leaves just before their mother arrives, and the fish and the children are dorsum where they started at the commencement of the story. Equally she steps in, the mother asks the children what they did while she was out, just the children are hesitant and exercise not answer. The story ends with the question, "What would you lot do if your female parent asked you lot?"

Background

An article by John Hersey nearly literacy in early on childhood provided inspiration for The Cat in the Chapeau.

Theodor Geisel, writing equally Dr. Seuss, created The True cat in the Chapeau partly in response to the May 24, 1954, Life mag article past John Hersey titled "Why Do Students Bog Down on First R? A Local Committee Sheds Light on a National Trouble: Reading".^{[1] [2]} In the article, Hersey was critical of school primers similar those featuring Dick and Jane:

In the classroom boys and girls are confronted with books that have insipid illustrations depicting the slicked-up lives of other children... All characteristic abnormally courteous, unnaturally clean boys and girls.... In bookstores anyone tin buy brighter, livelier books featuring strange and wonderful animals and children who conduct naturally, i.e., sometimes misbehave... Given incentive from school boards, publishers could do every bit well with primers.^[iii]

Later on detailing many issues contributing to the dilemma connected with student reading levels, Hersey asked toward the finish of the article:

Why should [schoolhouse primers] not take pictures that widen rather than narrow the associative richness the children give to the words they illustrate—drawings like those of the wonderfully imaginative geniuses among children's illustrators, Tenniel, Howard Pyle, "Dr. Seuss", Walt Disney?^[4]

This article defenseless the attention of William Spaulding, who had met Geisel during the war and who was and so the managing director of Houghton Mifflin's pedagogy division.^[5] Spaulding had also read the acknowledged 1955 book Why Johnny Tin't Read by Rudolf Flesch.^[vi] Flesch, like Hersey, criticized primers equally boring but also 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 volume "for six- and seven-year-olds who had already mastered the basic mechanics of reading".^[5] He reportedly challenged, "Write me a story that first-graders tin can't put downwards!"^[five]

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

Creation

Geisel gave varying accounts of how he conceived of The Cat in the Hat. According to the story Geisel told nigh often, he was so frustrated with the give-and-take list that William Spaulding had given him that he finally decided to scan the list and create a story out of the first 2 words he found that rhymed. The words he found were cat and hat.^[8] Nigh the end 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 elevator in the Houghton Mifflin offices in Boston.^[nine] Information technology was an old, shuddering lift and was operated past a "small, stooped woman wearing 'a leather one-half-glove and a secret smile'".^[9] Anita Silvey, recounting a similar story, described the adult female as "a very elegant, very petite African-American woman named Annie Williams".^[10] Geisel told Silvey that, when he sketched the Cat in the Hat, he thought of Williams and gave the grapheme Williams' white gloves and "sly, even foxy smile".^[10]

According to Geisel, i of the stories he pitched before The True cat in the Hat involved scaling Mount Everest.

Geisel gave two conflicting, partly fictionalized accounts of the volume'southward cosmos in two manufactures, "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 Offset Grade Language", he wrote about his proposal to a "distinguished schoolbook publisher" to write a book for immature children nigh "scaling the peaks of Everest at threescore degrees below".^[11] The publisher was intrigued but informed him that, considering of the word list, "you can't employ the discussion scaling. Y'all can't use the discussion peaks. You lot can't use Everest. Yous can't utilise lx. You tin't use degrees. Yous can't..."^[11] Geisel gave a similar business relationship to Robert Cahn for an article in the July 6, 1957, edition of The Saturday Evening Post.^[8] In "My Hassle With the First Grade Language", he besides told a story of the "iii excruciatingly painful weeks" in which he worked on a story most a King Cat and a Queen True cat.^[12] Nevertheless, "queen" was not on the word list, nor did his first grade nephew, Norval, recognize it. So Geisel returned to the piece of work but could then call up only of words that started with the letter of the alphabet "q", which did not announced in any word on the listing. He then had a like fascination with the letter "z", which also did not appear in any word on the listing. When he did finally cease the book and showed it to his nephew, Norval had already graduated from the beginning grade and was learning calculus. Philip Nel notes, in his dissection of the article, that Norval was Geisel's invention. Geisel's niece, Peggy Owens, did have a son, but he was only a one-year-former when the commodity was published.^[thirteen]

In "How Orlo Got His Volume", he described Orlo, a fictional, archetypal immature kid who was turned off of reading past the poor option of unproblematic reading cloth.^[14] To salve Orlo the frustration, Geisel decided to write a book for children like Orlo but plant the chore "not different to... beingness lost with a witch in a tunnel of love".^[14] He tried to write a story called "The Queen Zebra" but found that both words did not appear on the list. In fact, like Geisel wrote in "My Hassle with the First Class Language", the letters "q" and "z" did not appear on the list at all. He then tried to write a story most a bird, without using the give-and-take bird as it did non announced on the list. He decided to call it a "wing affair" instead only struggled every bit he discovered that it "couldn't accept legs or a nib or a tail. Neither a left foot or a right foot."^[15] On his approach to writing The Cat in the Chapeau he wrote, "The method I used is the same method you use when yous sit downward to make apple stroodle [sic] without stroodles."^[15]

Geisel variously stated that the volume took between nine and 18 months to create.^[16] Donald Pease notes that he worked on information technology primarily lone, unlike with previous books, which had been more collaborative efforts between Geisel and his wife, Helen.^[17] This marked a general trend in his work and life. As Robert Fifty. Bernstein later said of that menses, "The more I saw of him, the more he liked being in that room and creating all by himself."^[18] Pease points to Helen's recovery from Guillain–Barré syndrome, which she was diagnosed with in 1954, every bit the mark for this alter.^[18]

Publication history

Bennett Cerf, the head of Random House, negotiated a deal that immune both Random Business firm and Houghton Mifflin to publish versions of The True cat in the Chapeau.

Geisel agreed to write The Cat in the Hat at the request of William Spaulding of Houghton Mifflin; all the same, because Geisel was under contract with Random Firm, the head of Random House, Bennett Cerf, made a deal with Houghton Mifflin. Random Firm retained the rights to merchandise sales, which encompassed copies of the book 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 February 1957, and the Random House edition was released on March 1.^[19] The two editions featured different covers but were otherwise identical.^[nineteen] The first edition can be identified by the "200/200" mark in the top right corner of the forepart dust jacket flap, signifying the $two.00 selling price. The toll was reduced to $ane.95 on later editions.^[twenty]

According to Judith and Neil Morgan, the book sold well immediately. The trade edition initially sold an average of 12,000 copies a calendar month, a figure which rose apace.^[21] Bullock's section store in Los Angeles, California, sold out of its get-go, 100-copy social club of the book in a day and quickly reordered 250 more.^[21] The Morgans attribute these sales numbers to "playground discussion-of-oral fissure", asserting that children heard most the book from their friends and nagged their parents to buy information technology for them.^[21] Yet, Houghton Mifflin'south school edition did non sell besides. As Geisel noted in Jonathan Cott's 1983 contour of him, "Houghton Mifflin... had trouble selling it to the schools; in that location were a lot of Dick and Jane devotees, and my book was considered too fresh and irreverent. Merely Bennett Cerf at Random House had asked for trade rights, and it only took off in the bookstores."^[22] Geisel told the Morgans, "Parents understood meliorate than school people the necessity for this kind of reader."^[21]

Later on 3 years in print, The Cat in the Lid had sold nearly one one thousand thousand copies. By then, the book had been translated into French, Chinese, Swedish, and Braille.^[21] In 2001, Publishers Weekly placed it at number nine on its listing of the acknowledged 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, nether 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: Nether the Hats of Seuss and His Cats, which includes both The Cat in the Chapeau and its sequel, with annotations and an introduction by Philip Nel.^[19]

Reception

Geisel in 1957, holding a copy of The Cat in the Hat

The volume was published to immediate critical acclaim. Some reviewers praised the book as an exciting way to learn to read, peculiarly compared to the primers that it supplanted. Ellen Lewis Buell, in her review for The New York Times Book Review, noted the book'due south heavy utilize of one-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 Sat Review chosen the book Geisel'due south tour de force and wrote, "Parents and teachers volition bless Mr. Geisel for this agreeable reader with its ridiculous and lively drawings, for their children are going to have the exciting feel of learning that they can read afterward all."^[28] Polly Goodwin of the Chicago Sunday Tribune predicted that The True cat in the Chapeau would cause seven- and eight-twelvemonth-olds to "look with distinct distaste on the drab adventures of standard primer characters".^[29]

Both Helen E. 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 audience of first- and second-graders.^[30] The reviewer for The Bookmark concurred, writing, "Recommended enthusiastically as a moving-picture show book as well every bit a reader".^[31] In contrast, Heloise P. Mailloux wrote in The Horn Book Magazine, "This is a fine book for remedial purposes, but self-conscious children often refuse material if its seems meant for younger children."^[32] She felt that the book'due south limited vocabulary kept it from reaching "the absurd excellence of early Seuss books".^[32]

Based on a 2007 online poll, the National Education Association listed The Cat in the Hat as one of its "Teachers' Top 100 Books for Children".^[33] In 2012, information technology was ranked number 36 among the "Top 100 Picture Books" in a survey published by School Library Journal – the third of five Dr. Seuss books on the list.^[34] Information technology was awarded the Early Readers BILBY Honor in 2004 and 2012.^[35]

The volume'due south fiftieth anniversary in 2007 prompted a reevaluation of the book from some critics. Yvonne Coppard, reviewing the fiftieth anniversary edition in Carousel magazine, wondered if the popularity of the Cat and his "delicious naughty behavior" will endure another 50 years. Coppard wrote, "The innocent ignorance of foretime days has given way to an all-embracing, almost paranoid awareness of child protection issues. And here we have the mysterious stranger who comes in, uninvited, while your mother is out."^[36]

Analysis

Philip Nel places the book's title character in the tradition of con artists in American art, including the title characters from Meredith Willson'south The Music Human and Fifty. Frank Baum'southward The Wonderful Wizard 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 Cat, which was published alongside a contour about him in The Saturday Evening Post on July 6, 1957.^[37] Michael Chiliad. 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 there's no question near information technology. This is someone who delighted in the anarchy of life, who delighted in the seeming insanity of the world around him."^[37] Ruth MacDonald asserts that the Cat'south primary 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 True cat in the Hat Blackness?", Philip Nel draws connections between the Cat and stereotyped depictions of African-Americans, including minstrel shows, Geisel'south own minstrel-inspired cartoons from early in his career, and the use of the term "cat" to refer to jazz musicians.^{[39] [40]} According to Nel, "Even as [Geisel] wrote books designed to challenge prejudice, he never fully shed the cultural assumptions he grew up with, and was likely unaware of the ways in which his visual imagination replicated the racial ideologies he consciously sought to decline."^[39]

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

Geisel once chosen the fish "my version of Cotton fiber Mather", the Puritan moralist who advised the prosecutors during the Salem witch trials.^[41] Betty Mensch and Alan Freeman support 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 embodiment of utterly conventionalized morality."^[41] Philip Nel notes that other critics take too compared the fish to the superego. Anna Quindlen called the Cat "pure id" and marked the children, every bit mediators between the True cat and the fish, as the ego.^[41] Mensch and Freeman, even so, argue that the Cat shows elements of both id and ego.^[41]

In her assay of the fish, MacDonald asserts that information technology represents the vocalism of the children's absent mother.^[42] Its conflict with the Cat, not simply over the Cat'south uninvited presence but also their inherent predator-prey relationship, provides the tension of the story. She points out that on the terminal page, while the children are hesitant to tell their mother about what happened in her absence, the fish gives a knowing look to the readers to assure them "that something did get on only that silence is the improve office of valor in this example".^[42] Alison Lurie agrees, writing, "at that place is a strong proposition that they might not tell her."^[43] She argues that, in the True cat's destruction of the house, "the kids—and non but those in the story, but those who read it—accept vicariously given full rein to their destructive impulses without guilt or consequences."^[43] For a 1983 article, Geisel told Jonathan Cott, "The Cat in the Lid is a revolt confronting authority, simply information technology'south ameliorated by the fact that the Cat cleans upwards everything at the end. Information technology's revolutionary in that it goes equally far as Kerensky and so stops. Information technology 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's feeling of discontent with his mundane circumstances" which is soon enhanced past make believe.^[45] The volume starts in a factual, realistic world, which crosses over into the earth of make believe with the loud bump that heralds the arrival of the Cat.^[45] Notwithstanding, this is the offset Dr. Seuss book in which the fantasy characters, i.e. the True cat and his companions, are not products of the children'southward imagination.^[45] Information technology as well differs from previous books in that Sally and her brother actively participate in the fantasy world; they also have a changed opinion of the Cat and his globe by the story'south end.^[45]

Legacy

Ruth MacDonald asserts, "The Cat in the Hat is the book that made Dr. Seuss famous. Without The True cat, Seuss would take remained a small calorie-free in the history of children's literature."^[46] Donald Pease concurs, writing, "The Cat in the Chapeau is the archetype in the archive of Dr. Seuss stories for which information technology serves equally a cornerstone and a linchpin. Earlier writing information technology Geisel was meliorate known for the 'Quick, Henry, the Flit!' ad entrada than for his nine children's books."^[47] The publication and popularity of the book thrust Geisel into the heart of the United States literacy debate, what Pease called "the almost of import bookish controversy" of the Common cold State of war era.^[47] Bookish Louis Menand contends that "The True cat in the Hat transformed the nature of primary education and the nature of children'south books. It not only stood for the idea that reading ought to be taught by phonics; it too stood for the idea that language skills—and many other subjects—ought to exist taught through illustrated storybooks, rather than primers and textbooks."^[48] In 1983, Geisel told Jonathan Cott, "It is the book I'm proudest of because it had something to do with the decease of the Dick and Jane primers."^[22]

A Cat in the Lid Christmas ornamentation in the White House, 2003

The book led directly to the creation of Beginner Books, a publishing business firm centered on producing books like The Cat in the Hat for beginning readers.^[21] Co-ordinate to Judith and Neil Morgan, when the book caught the attention of Phyllis Cerf, the married woman of Geisel'due south publisher, Bennett Cerf, she arranged for a meeting with Geisel, where the 2 agreed to create Beginner Books.^[21] Geisel became the president and editor, and the True cat in the Hat served equally their mascot. Geisel's wife, Helen, was made 3rd partner. Random Firm 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 Hat Comes Back (1958), Green Eggs and Ham (1960), Hop on Popular (1963), and Fob in Socks (1965).^[50] He initially used give-and-take lists of limited vocabularies to create these books, as he had with The Cat in the Hat, simply moved away from the lists as he came to believe "that a child could larn whatsoever amount of words if fed them slowly and if the books were amply illustrated".^[51] Other authors likewise contributed notable books to the series, including A Fly Went Past (1958), Sam and the Firefly (1958), Go, Dog. Get! (1961), and The Big Honey Hunt (1962).^[fifty]

The book, or elements of it, has been mentioned multiple times in United States politics. The image of the True cat balancing many objects on his body while in turn balancing himself on a brawl has been included in political cartoons and articles. Political caricaturists have portrayed both Pecker Clinton and George W. Bush-league in this way.^[52] In 2004, MAD magazine published "The Foreign Similarities Betwixt the Bush-league 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'due south Country of the Marriage promises were contrasted with the Cat vowing (in role), "I can agree upward the cup and the milk and the cake! I tin 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 bill to reform immigration with the mess created by the Cat. He read lines of the book from the Senate floor.^[54] He and so carried frontwards his analogy hoping the impasse would be straightened out for "If you go back and read Dr. Seuss, the cat manages to clean upwards the mess."^[55] In 1999, the United States Mail issued a stamp featuring the Cat in the Hat.^[56]

The Cat in the Hat 's popularity also led to increased popularity and exposure for Geisel'south previous children's books. For example, 1940'southward Horton Hatches the Egg had sold 5,801 copies in its opening year and 1,645 the post-obit year. In 1958, the year subsequently the publication of The Cat in the Hat, 27,643 copies of Horton were sold, and by 1960 the volume had sold a total of over 200,000 copies.^[47]

In 2020, The Cat in the Hat placed 2d on the New York Public Library'southward list of "Tiptop 10 Checkouts of All Time".^{[57] [58]}

Adaptations

The Cat in the Hat has been adjusted for diverse media, including theater, television, and movie.

Animated Telly special

The True cat in the Hat is an animated musical TV special which premiered in 1971 and starred Allan Sherman as the Cat. In 1973 Sherman reprised the office for Dr. Seuss on the Loose, where the True cat host three stories, and it was his concluding projection before his death that same year.

Television

The Cat is the host of The Wubbulous Earth of Dr. Seuss, an American boob series that premiered on October 13, 1996 and ended on December 28, 1998. His chaotic and messy personae from the original Cat in the Hat book has been noticeably toned down, portraying him equally more of an all-seeing trickster narrating, and helping other characters in, stories from around Seussville. The graphic symbol was performed past Bruce Lanoil in the show's first season, with Martin P. Robinson taking over in flavor ii. Instead of Thing One and Affair Two from the original story, the True cat is usually seen in the company of Little Cats A, B and C from Comes Dorsum.

The Cat in the Hat Knows a Lot About That! is a British-Canadian-American animated television series that premiered on August 7, 2010, and ended on Oct 14, 2018. Information technology starred Martin Short as the vox of the True cat. The Cat in this serial is portrayed equally a genuinely wise, simply still audacious, guide to Sally and Nick (who replaced her blood brother Conrad).

Live-action film

In 2003, The Cat in the Lid, a live-activeness film adaptation, was released, starring Mike Myers as the Cat. The movie grossed $133,960,541 worldwide on an estimated $109 one thousand thousand upkeep.^[59] It was poorly received by critics and a planned sequel was afterwards cancelled. Due to the film'south failure, Audrey Geisel, Seuss' widow, decided not to allow whatever further live-activity adaptations of her husband'southward work.

Proposed blithe picture

In 2012, following the financial success of The Lorax, an animated picture show adaptation of The Lorax, Universal Pictures and Illumination Entertainment appear plans to produce a CGI adaptation of The Cat in the Hat.^[lx] Rob Lieber was set to write the script, with Chris Meledandri every bit producer, and Audrey Geisel as the executive producer. However, the projection never came to fruition.^[61] On January 24, 2018, it was announced that Warner Animation Group was in development of a different musical animated True cat in the Hat film as part of a artistic partnership with Seuss Enterprises.^[62]

Soviet cartoon

In 1984, the book was adapted in Russian every bit a nine-infinitesimal cartoon called Кот в колпаке (The Cat in the Cap). The short omits Thing One and Thing Two, forth with changing the Cat'south hat into a cap; initially an umbrella when information technology comes in from the rainy street, and making a number of boosted transformations throughout the story. Sally'due south name is not mentioned, neither is her blood brother Conrad.

PC

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

Stage play

In 2009, the Royal National Theatre created a stage version of the book, adjusted and directed by Katie Mitchell.^[64] It has since toured the U.k. and been revived.

Character and themes

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 but eventually became a staple in regional and school theaters.^[65]

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

On July 26, 2016, Random House and Dr. Seuss Enterprises appear that the Cat in the Lid was running for United states of america president.^{[67] [68] [69] [70]}

See also

• Dr. Seuss Memorial
• Grinch
• Horton the Elephant

References

1. ^ O'Brien, Anne. "An Educational Innovation: The True cat in the Lid". Learning First Alliance. Archived from the original on 2 November 2013. Retrieved viii November 2013.
2. ^ Nel 2004, p. 29
3. ^ Hersey 1954, pp. 136-137
4. ^ Hersey 1954, p. 148
5. ^ ^{a b c d e} Morgan 1995, pp. 153-154
6. ^ Menander 2002, p. i
7. ^ ^{a b} Menand 2002, p. 2
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 Edition. NPR.
11. ^ ^{a b} "My Hassle With the Outset Grade Language" 1957, p. 171
12. ^ "My Hassle With the Showtime Grade Language" 1957, p. 173
13. ^ "My Hassle With the First Form Language" 1957, p. 170
14. ^ ^{a b} "How Orlo Got His Volume" 1957, p. 167
15. ^ ^{a b} "How Orlo Got His Volume" 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. "L Years of 'The Cat in the Hat'". NPR. Retrieved thirteen November 2013.
20. ^ Nel 2007, p. 20
21. ^ ^{a b c d e f g h} Morgan 1995, pp. 156–157
22. ^ ^{a b} Cott 1983, p. 115
23. ^ "All-time Bestselling Children's Books". Publishers Weekly. 17 December 2001. Archived from the original on December 25, 2005.
24. ^ Horrigan, Kevin. "The True cat at 50: Still lots of expert fun that is funny". Milwaukee Journal Spotter. Archived from the original on 24 February 2009. Retrieved 22 November 2013.
25. ^ Dr. Seuss; Jennifer Morrish Tunberg; Terence Tunberg (2000). Cattus petasatus: The cat in the hat in Latin (in Latin). Bolchazy-Carducci. p. 75. ISBN9780865164710 . Retrieved 29 November 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). "High Jinks at Domicile". The New York Times Book Review, as quoted in Nel 2007, pp. 9–10. {{cite news}}: CS1 maint: postscript (link)
28. ^ Masten, Helen Adams (11 May 1957). "The Cat in the Hat". 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, as quoted in Nel 2007, pp. 9–ten. {{cite news}}: CS1 maint: postscript (link)
30. ^ Nel 2007, pp. ix–10
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Bibliography

• Cott, Jonathan (1983). "The Good Dr. Seuss". In Fensch, Thomas (ed.). Of Sneetches and Whos and the Adept Dr. Seuss: Essays on the Writings and Life of Theodor Geisel. McFarland & Visitor. pp. 99–123. ISBN0-7864-0388-8.
• Fensch, Thomas (2001). The Human being Who Was Dr. Seuss . Woodlands: New Century Books. ISBN0-930751-eleven-6.
• Fensch, Thomas, ed. (April 14, 1986). "'Somebody's Got to Win' in Kids' Books: An Interview with Dr. Seuss on His Books for Children, Young and Onetime". Of Sneetches and Whos and the Adept Dr. Seuss: Essays on the Writings and Life of Theodor Geisel. McFarland & Company. pp. 125–127. ISBN0-7864-0388-8.
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• Lurie, Alison (1992). "The Cabinet of Dr. Seuss". Popular Civilization: An Introductory Text. ISBN978-0-87972-572-3.
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• Morgan, Judith; Neil Morgan (1995). Dr. Seuss & Mr. Geisel . Random House. ISBN0-679-41686-2.
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• 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 Nov 1957). "My Hassle With the First Form Language". In Nel, Philip (ed.). The Annotated Cat: Under the Hats of Seuss And His Cats. Random House. pp. 170–173. ISBN978-0-375-83369-iv.

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