If you are looking for a standard biographical fare about Dr. Seuss, then Theodor Geisel may not live up to your expectations. However, if you enjoy a mixture of biography with some literary criticism and social history, then this book may be right up your alley.
The author, Donald E. Pease, is Professor of English and the Ted and Helen Geisel Third Century Professor in the Humanities at Dartmouth College, as well as the Chair of the Dartmouth Liberal Studies Program. As you might expect from a scholar with those qualifications, Pease brings a wide range of analytical tools to the table, and he wields them to the service of his character study.
Of course, the focus of the book is Dr. Seuss. But who was the man behind the pseudonym? How did he become this iconic figure in children's literature? The answers that Pease gives to these questions are fascinating. Similar to what Freud did with the Cartesian cogito, Pease splits the portrait of his subject into three distinct yet interrelated identities: there's "Ted", the child; "Geisel", the adult; and "Dr. Seuss", the artist and story-teller. The trajectory of the book roughly follows these three personas, which collectively form a comprehensive image of Geisel as a human being, an artist, and a fractured modern subject.
Much of the book is geared toward the exploration of the liberal-democratic values at the core of Geisel's surrealist brand of children's literature. Pease convincingly shows us how Geisel, as Dr. Seuss, used cartooning as a way to instil the post-war virtues of tolerance and anti-racism in young children. Yet Geisel was a complicated subject, and Pease recognizes this complexity, never shying away from the darker and more controversial elements of the Dr. Seuss legacy. Interestingly, Pease suggests that Geisel's post-war emphasis on anti-racism - particularly the evils of anti-Semitism - was both an attempt to teach children love and compassion for others, but also to confront his own past, which contained a number of harmful representations of racial minorities. Indeed, in his earlier work, Geisel had a penchant for Blackface and anti-Semitic humour. His earlier representations of Japanese-Americans are especially shocking from today's perspective.
And yet, as Pease shows, when the rubber hit the road, Geisel was not afraid to admit wrongdoing and challenge himself. He noticed that there was a need for dramatic change in American culture and its representations of others, and he was the first to admit that he needed to change as well. Geisel's career, though blemished in the earlier years, is therefore an example of humility and personal reckoning.
The work of Dr. Seuss stands as a testament to the ability of children's literature to be political without being propagandist. His philosophical approach to language as a child's "play-thing" reminds me of the idea of language-games that we find in the late Wittgenstein. By opening children's imagination and encouraging them to take part in these language-games, Dr. Seuss showed us the social utility of nonsense.