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Children's book by Dr. Seuss

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

Volume cover
Author Dr. Seuss
Country United States
Language English language
Genre Children's literature
Publisher Random House, Houghton Mifflin

Publication date

 March 12, 1957
Pages 61
ISBN 978-0-7172-6059-i
OCLC 304833
Preceded by If I Ran the Circus
Followed by How the Grinch Stole Christmas!
The True cat in the Chapeau Comes Back (plot wise)

The Cat in the Chapeau is a 1957 children's volume written and illustrated by the American author Theodor Geisel, using the pen proper noun Dr. Seuss. The story centers on a tall anthropomorphic true cat who wears a blood-red and white-striped peak hat and a blood-red bow tie. The Cat shows up at the house of Sally and her brother one rainy 24-hour interval when their mother is abroad. Despite the repeated objections of the children's fish, the True cat shows the children a few of his tricks in an attempt to entertain them. In the process, he and his companions, Thing One and Thing Two, 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 merely earlier the children'due south female parent comes home.

Geisel created the book in response to a debate in the United States nearly literacy in early babyhood and the ineffectiveness of traditional primers such every bit those featuring Dick and Jane. Geisel was asked to write a more than entertaining primer by William Spaulding, whom he had met during World State of war 2 and who was then director of the didactics division at Houghton Mifflin. Nevertheless, because Geisel was already nether contract with Random House, the two publishers agreed to a deal: Houghton Mifflin published the education 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 Cat in the Hat, but in the version he told about frequently, he was so frustrated with the word list from which he could cull words to write his story that he decided to scan the list and create a story based on the start two rhyming words he found. The words he found were true cat and lid. The book was met with immediate critical and commercial success. Reviewers praised information technology every bit an exciting alternative to traditional primers. 3 years subsequently its debut, the book had already sold over a meg copies, and in 2001, Publishers Weekly listed the volume at number nine on its list of all-time-selling children'southward books of all time. The book'south 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 book I'm proudest of because it had something to do with the decease of the Dick and Jane primers." Since its publication, The Cat in the Hat has become i of Dr Seuss's most famous books, with the True cat himself becoming his signature creation. The book was adjusted into a 1971 blithe tv special and a 2003 live-action film, 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 volume sits alone with his sister Sally in their house on a cold and rainy 24-hour interval, staring wistfully out the window. Then they hear a loud bump which is chop-chop followed past the inflow of the Cat in the Hat, a tall anthropomorphic cat in a blood-red and white-striped top chapeau 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 exit. The Cat then responds by balancing the fish on the tip of his umbrella. The game rapidly becomes increasingly trickier, equally the Cat balances himself on a ball and tries to balance many household items on his limbs until he falls on his head, dropping everything he was belongings. The fish admonishes him again, simply the Cat in the Hat simply proposes some other game.

The Cat brings in a big red box from outside, from which he releases 2 identical characters, or "Things" as he refers them to, with bluish hair and red suits chosen Thing One and Thing Two. The Things cause more trouble, such as flight kites in the house, knocking pictures off the wall and picking upwards the children'due south female parent'southward new polka-dotted apparel. All this comes to an terminate when the fish spots the children'southward female parent out the window. In response, the male child catches the Things in a net and the Cat, patently ashamed, stores them back in the big red box. He takes it out the front end door as the fish and the children survey the mess he has made. But the Cat presently returns, riding a motorcar that picks everything upwards 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 dorsum where they started at the beginning of the story. As she steps in, the mother asks the children what they did while she was out, but the children are hesitant and do not answer. The story ends with the question, "What would you exercise if your female parent asked you?"

Background

An article past John Hersey well-nigh literacy in early childhood provided inspiration for The Cat in the Chapeau.

Theodor Geisel, writing as Dr. Seuss, created The True cat in the Lid partly in response to the May 24, 1954, Life magazine article by John Hersey titled "Why Do Students Bog Down on First R? A Local Committee Sheds Light on a National Problem: Reading".[1] [2] In the article, Hersey was critical of school primers like 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 feature abnormally courteous, unnaturally clean boys and girls.... In bookstores anyone can buy brighter, livelier books featuring strange and wonderful animals and children who behave naturally, i.e., sometimes misbehave... Given incentive from schoolhouse boards, publishers could practice besides with primers.[three]

After detailing many issues contributing to the dilemma connected with pupil reading levels, Hersey asked toward the end of the article:

Why should [school primers] not have 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 caught the attention of William Spaulding, who had met Geisel during the state of war and who was then the director of Houghton Mifflin's education division.[5] Spaulding had also read the acknowledged 1955 book Why Johnny Can't Read by Rudolf Flesch.[6] Flesch, like Hersey, criticized primers every bit tiresome only also criticized them for educational activity reading through word recognition rather than phonics.[seven] 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".[v] He reportedly challenged, "Write me a story that outset-graders tin't put downwards!"[five]

At the back of Why Johnny Can't Read, Flesch had included 72 lists of words that immature children should be able to read, and Spaulding provided Geisel with a similar list.[7] Geisel later told biographers Judith and Neil Morgan that Spaulding had supplied him with a list of 348 words that every six-year-old should know and insisted that the book's vocabulary be limited to 225 words.[5] Nonetheless, co-ordinate to Philip Nel, Geisel gave varying numbers in interviews from 1964 to 1969.[8] He variously claimed that he could employ betwixt 200 and 250 words from a list of between 300 and 400; the finished book contains 236 different words.[eight]

Creation

Geisel gave varying accounts of how he conceived of The Cat in the Hat. According to the story Geisel told nearly often, he was so frustrated with the discussion list that William Spaulding had given him that he finally decided to scan the list and create a story out of the commencement two words he institute that rhymed. The words he found were cat and hat.[8] Near the terminate of his life, Geisel told his biographers, Judith and Neil Morgan, that he conceived the ancestry of the story while he was with Spaulding, in an lift in the Houghton Mifflin offices in Boston.[nine] It was an old, shuddering elevator and was operated by a "small, stooped woman wearing 'a leather one-half-glove and a secret smile'".[nine] Anita Silvey, recounting a similar story, described the woman equally "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 character Williams' white gloves and "sly, even foxy smile".[10]

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

Geisel gave two alien, partly fictionalized accounts of the book's creation in two articles, "How Orlo Got His Book" in The New York Times Volume Review and "My Hassle with the Offset Grade Linguistic communication" in the Chicago Tribune, both published on November 17, 1957.[8] In "My Hassle with the First Grade Linguistic communication", he wrote well-nigh his proposal to a "distinguished schoolbook publisher" to write a book for young children almost "scaling the peaks of Everest at 60 degrees beneath".[xi] The publisher was intrigued but informed him that, because of the word list, "yous tin't use the discussion scaling. Yous can't apply the word peaks. You lot can't utilize Everest. You can't use sixty. Y'all can't use degrees. You can't..."[eleven] Geisel gave a like account to Robert Cahn for an article in the July vi, 1957, edition of The Saturday Evening Mail.[8] In "My Hassle With the First Grade Language", he also told a story of the "3 excruciatingly painful weeks" in which he worked on a story about a King Cat and a Queen Cat.[12] However, "queen" was not on the discussion listing, nor did his outset class nephew, Norval, recognize it. So Geisel returned to the work but could and so call back only of words that started with the letter "q", which did not appear in any word on the listing. He then had a similar fascination with the letter "z", which too did not appear in any give-and-take on the list. When he did finally finish the book and showed information technology to his nephew, Norval had already graduated from the commencement grade and was learning calculus. Philip Nel notes, in his dissection of the commodity, that Norval was Geisel'south invention. Geisel'southward niece, Peggy Owens, did take a son, but he was only a i-year-sometime when the article was published.[xiii]

In "How Orlo Got His Book", he described Orlo, a fictional, archetypal immature child who was turned off of reading by the poor selection of simple reading material.[14] To salve Orlo the frustration, Geisel decided to write a book for children like Orlo but found the task "not dissimilar to... existence lost with a witch in a tunnel of love".[14] He tried to write a story called "The Queen Zebra" but establish that both words did not announced on the listing. In fact, similar Geisel wrote in "My Hassle with the Starting time Grade Language", the letters "q" and "z" did not appear on the listing at all. He then tried to write a story about a bird, without using the word bird as information technology did not appear on the list. He decided to call it a "fly thing" instead only struggled every bit he discovered that it "couldn't have legs or a beak or a tail. Neither a left foot or a correct foot."[15] On his approach to writing The Cat in the Chapeau he wrote, "The method I used is the same method you apply when you sit down to make apple tree stroodle [sic] without stroodles."[15]

Geisel variously stated that the book took between nine and eighteen months to create.[16] Donald Pease notes that he worked on it primarily alone, unlike with previous books, which had been more than collaborative efforts betwixt Geisel and his wife, Helen.[17] This marked a general trend in his work and life. As Robert L. Bernstein later said of that period, "The more 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, as the marking for this alter.[eighteen]

Publication history

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

Geisel agreed to write The True cat in the Hat at the request of William Spaulding of Houghton Mifflin; however, considering Geisel was under contract with Random Firm, the head of Random House, Bennett Cerf, fabricated a bargain with Houghton Mifflin. Random House retained the rights to merchandise sales, which encompassed copies of the book sold at book stores, while Houghton Mifflin retained the education rights, which encompassed copies sold to schools.[v]

The Houghton Mifflin edition was released in January or February 1957, and the Random House edition was released on March ane.[nineteen] The 2 editions featured different covers only were otherwise identical.[nineteen] The get-go edition tin can be identified by the "200/200" mark in the elevation correct corner of the front end dust jacket flap, signifying the $2.00 selling price. The price was reduced to $i.95 on subsequently editions.[20]

Co-ordinate to Judith and Neil Morgan, the book sold well immediately. The trade edition initially sold an average of 12,000 copies a month, a effigy which rose quickly.[21] Bullock's department shop in Los Angeles, California, sold out of its commencement, 100-re-create order of the book in a day and quickly reordered 250 more.[21] The Morgans attribute these sales numbers to "playground word-of-oral cavity", asserting that children heard most the book from their friends and nagged their parents to buy information technology for them.[21] However, Houghton Mifflin'southward school edition did not sell as well. As Geisel noted in Jonathan Cott's 1983 profile of him, "Houghton Mifflin... had trouble selling it to the schools; in that location were a lot of Dick and Jane devotees, and my volume was considered as well fresh and irreverent. But Bennett Cerf at Random House had asked for trade rights, and information technology merely took off in the bookstores."[22] Geisel told the Morgans, "Parents understood amend than schoolhouse people the necessity for this kind of reader."[21]

After iii years in print, The Cat in the Hat had sold nearly one meg copies. Past 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 best-selling children's books of all time.[23] As of 2007, more than 10 one thousand thousand copies of The Cat in the Hat have been printed, and it has been translated into more than 12 unlike languages, including Latin, under the title Cattus Petasatus.[24] [25] In 2007, on the occasion of the book'due south fiftieth ceremony, Random Firm released The Annotated True cat: Under the Hats of Seuss and His Cats, which includes both The True cat in the Chapeau and its sequel, with annotations and an introduction past Philip Nel.[xix]

Reception

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

The volume was published to immediate disquisitional acclaim. Some reviewers praised the book as an exciting 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 book's heavy apply of i-syllable words and lively illustrations.[26] She wrote, "Beginning readers and parents who have 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 volume Geisel's tour de force and wrote, "Parents and teachers will anoint Mr. Geisel for this agreeable reader with its ridiculous and lively drawings, for their children are going to have the heady experience of learning that they can read after all."[28] Polly Goodwin of the Chicago Lord's day Tribune predicted that The Cat in the Hat would crusade seven- and eight-year-olds to "wait 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 entreatment to older children likewise as to its target audience of first- and 2d-graders.[30] The reviewer for The Bookmark concurred, writing, "Recommended enthusiastically every bit a motion-picture show book equally well as a reader".[31] In contrast, Heloise P. Mailloux wrote in The Horn Volume Magazine, "This is a fine book for remedial purposes, but self-witting children oftentimes decline fabric if its seems meant for younger children."[32] She felt that the book'southward limited vocabulary kept it from reaching "the cool excellence of early Seuss books".[32]

Based on a 2007 online poll, the National Didactics Association listed The Cat in the Hat equally one of its "Teachers' Top 100 Books for Children".[33] In 2012, it was ranked number 36 among the "Summit 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 on Readers BILBY Award in 2004 and 2012.[35]

The book's fiftieth anniversary in 2007 prompted a reevaluation of the book from some critics. Yvonne Coppard, reviewing the fiftieth anniversary edition in Carousel mag, wondered if the popularity of the True cat and his "delicious naughty beliefs" will endure some other fifty years. Coppard wrote, "The innocent ignorance of bygone days has given way to an all-embracing, almost paranoid awareness of child protection bug. And here we have the mysterious stranger who comes in, uninvited, while your mother is out."[36]

Analysis

Philip Nel places the book's championship grapheme in the tradition of con artists in American art, including the title characters from Meredith Willson'south The Music Man and L. Frank Baum's 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 profile about him in The Saturday Evening Mail on July half dozen, 1957.[37] Michael Thou. Frith, who worked equally Geisel's editor, concurs, arguing that "The Cat in the Hat and Ted Geisel were inseparable and the aforementioned. I remember at that place'southward no question about information technology. This is someone who delighted in the anarchy of life, who delighted in the seeming insanity of the globe around him."[37] Ruth MacDonald asserts that the Cat'south primary goal in the volume is to create fun for the children. The True cat calls information technology "fun that is funny", which MacDonald distinguishes from the ordinary, serious fun that parents subject their children to.[38] In an commodity titled "Was the Cat in the Hat Black?", Philip Nel draws connections between the Cat and stereotyped depictions of African-Americans, including minstrel shows, Geisel'southward own minstrel-inspired cartoons from early in his career, and the utilize of the term "cat" to refer to jazz musicians.[39] [forty] 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 reject."[39]

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

Geisel once chosen 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 support this view, writing, "Drawing on old Christian symbolism (the fish was an aboriginal 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 accept also compared the fish to the superego. Anna Quindlen called the True cat "pure id" and marked the children, as mediators betwixt the Cat and the fish, as the ego.[41] Mensch and Freeman, notwithstanding, argue that the 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'south absent-minded mother.[42] Its conflict with the Cat, non only over the Cat's uninvited presence merely also their inherent predator-prey relationship, provides the tension of the story. She points out that on the last page, while the children are hesitant to tell their female parent about what happened in her absenteeism, the fish gives a knowing expect to the readers to assure them "that something did proceed merely that silence is the meliorate function of valor in this instance".[42] Alison Lurie agrees, writing, "in that location is a strong suggestion that they might not tell her."[43] She argues that, in the True cat's devastation of the firm, "the kids—and not simply 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 True cat in the Hat is a revolt against authority, but it's ameliorated by the fact that the Cat cleans upward everything at the end. It'south revolutionary in that it goes as far as Kerensky and then stops. It doesn't go quite as far equally Lenin."[44]

Donald Pease notes that The True cat in the Hat shares some structural similarities with other Dr. Seuss books. Like earlier books, The Cat in the Hat starts with "a kid's feeling of discontent with his mundane circumstances" which is before long enhanced past make believe.[45] The book starts in a factual, realistic world, which crosses over into the world of brand believe with the loud bump that heralds the arrival of the True cat.[45] Nevertheless, this is the starting time Dr. Seuss book in which the fantasy characters, i.e. the Cat and his companions, are not products of the children's imagination.[45] It also differs from previous books in that Emerge and her blood brother actively participate in the fantasy earth; they as well have a changed opinion of the Cat and his world by the story's end.[45]

Legacy

Ruth MacDonald asserts, "The Cat in the Chapeau is the book that made Dr. Seuss famous. Without The Cat, Seuss would take remained a minor light in the history of children's literature."[46] Donald Pease concurs, writing, "The Cat in the Hat is the archetype in the archive of Dr. Seuss stories for which it serves every bit a cornerstone and a linchpin. Before writing information technology Geisel was better known for the 'Quick, Henry, the Flit!' advertisement campaign than for his ix children's books."[47] The publication and popularity of the book thrust Geisel into the center of the United States literacy debate, what Pease chosen "the most of import academic controversy" of the Cold War era.[47] Academic Louis Menand contends that "The Cat in the Hat transformed the nature of primary education and the nature of children's books. It non simply stood for the idea that reading ought to exist taught by phonics; information technology 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'one thousand proudest of considering information technology had something to do with the death 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 cosmos of Beginner Books, a publishing house centered on producing books like The True cat in the Chapeau for beginning readers.[21] According to Judith and Neil Morgan, when the book caught the attention of Phyllis Cerf, the wife of Geisel'southward publisher, Bennett Cerf, she arranged for a coming together 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 as their mascot. Geisel's wife, Helen, was fabricated tertiary partner. Random House served as distributor[21] until 1960, when Random Business firm 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 Fox in Socks (1965).[50] He initially used give-and-take lists of limited vocabularies to create these books, equally he had with The Cat in the Hat, but moved away from the lists equally he came to believe "that a child could acquire whatsoever amount of words if fed them slowly and if the books were amply illustrated".[51] Other authors also contributed notable books to the series, including A Fly Went By (1958), Sam and the Firefly (1958), Go, Dog. Go! (1961), and The Big Dear Chase (1962).[50]

The volume, or elements of it, has been mentioned multiple times in U.s.a. politics. The paradigm of the Cat balancing many objects on his body while in turn balancing himself on a ball has been included in political cartoons and articles. Political caricaturists have portrayed both Beak Clinton and George Westward. Bush in this way.[52] In 2004, MAD magazine published "The Strange Similarities Between the Bush Administration and the World of Dr. Seuss", an commodity which matched quotes from White Business firm officials to excerpts taken from Dr. Seuss books, and in which George W. Bush's Land of the Matrimony promises were contrasted with the Cat vowing (in part), "I tin 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 pecker to reform immigration with the mess created by the True cat. He read lines of the book from the Senate flooring.[54] He and then carried forward his analogy hoping the impasse would be straightened out for "If you get back and read Dr. Seuss, the cat manages to clean up the mess."[55] In 1999, the United States Postal Service issued a stamp featuring the True cat in the Lid.[56]

The Cat in the Hat 's popularity also led to increased popularity and exposure for Geisel'southward previous children'southward books. For case, 1940's Horton Hatches the Egg had sold 5,801 copies in its opening twelvemonth and 1,645 the following year. In 1958, the yr after the publication of The Cat in the Lid, 27,643 copies of Horton were sold, and past 1960 the book had sold a total of over 200,000 copies.[47]

In 2020, The True cat in the Hat placed 2nd on the New York Public Library's list of "Peak x Checkouts of All Time".[57] [58]

Adaptations

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

Animated TV special

The Cat in the Chapeau is an animated musical TV special which premiered in 1971 and starred Allan Sherman equally the Cat. In 1973 Sherman reprised the function for Dr. Seuss on the Loose, where the Cat host three stories, and it was his concluding project before his death that aforementioned twelvemonth.

Television

The Cat is the host of The Wubbulous World of Dr. Seuss, an American puppet series that premiered on Oct 13, 1996 and concluded on December 28, 1998. His cluttered and messy personae from the original True cat in the Chapeau book has been noticeably toned down, portraying him as more than of an all-seeing trickster narrating, and helping other characters in, stories from effectually Seussville. The character was performed by Bruce Lanoil in the show'due south first season, with Martin P. Robinson taking over in season two. Instead of Affair Ane and Affair Two from the original story, the Cat is usually seen in the company of Picayune 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 serial that premiered on August seven, 2010, and concluded on Oct 14, 2018. It starred Martin Short as the vox of the Cat. The Cat in this series is portrayed equally a genuinely wise, but still adventurous, guide to Sally and Nick (who replaced her brother Conrad).

Live-action flick

In 2003, The Cat in the Chapeau, a alive-action film adaptation, was released, starring Mike Myers as the Cat. The film grossed $133,960,541 worldwide on an estimated $109 million budget.[59] It was poorly received by critics and a planned sequel was subsequently cancelled. Due to the movie's failure, Audrey Geisel, Seuss' widow, decided not to allow any further live-activeness adaptations of her husband'southward piece of work.

Proposed animated picture

In 2012, post-obit the financial success of The Lorax, an animated movie adaptation of The Lorax, Universal Pictures and Illumination Entertainment announced plans to produce a CGI adaptation of The True cat in the Chapeau.[60] Rob Lieber was prepare to write the script, with Chris Meledandri equally producer, and Audrey Geisel as the executive producer. However, the project never came to fruition.[61] On January 24, 2018, it was announced that Warner Animation Grouping was in development of a different musical animated Cat in the Lid film as part of a creative partnership with Seuss Enterprises.[62]

Soviet cartoon

In 1984, the book was adapted in Russian as a nine-minute cartoon called Кот в колпаке (The True cat in the Cap). The brusque omits Thing Ane and Thing Two, 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 additional transformations throughout the story. Sally's name is non mentioned, neither is her 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, adapted and directed past Katie Mitchell.[64] It has since toured the UK and been revived.

Character and themes

Seussical, a musical adaptation that incorporates aspects of many Dr. Seuss works, features the Cat in the Chapeau equally narrator.[65] The musical received weak reviews when information technology opened in Nov 2001 but eventually became a staple in regional and schoolhouse theaters.[65]

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

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

Run into also

  • Dr. Seuss Memorial
  • Grinch
  • Horton the Elephant

References

  1. ^ O'Brien, Anne. "An Educational Innovation: The Cat in the Hat". Learning First Alliance. Archived from the original on 2 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 e Morgan 1995, pp. 153-154
  6. ^ Menander 2002, p. ane
  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 True 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 Start Grade Linguistic communication" 1957, p. 173
  13. ^ "My Hassle With the First Form Language" 1957, p. 170
  14. ^ a b "How Orlo Got His Book" 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. "Fifty Years of 'The True cat in the Hat'". NPR. Retrieved 13 November 2013.
  20. ^ Nel 2007, p. twenty
  21. ^ a b c d e f m 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 Dec 25, 2005.
  24. ^ Horrigan, Kevin. "The Cat at 50: Still lots of expert fun that is funny". Milwaukee Journal Sentinel. Archived from the original on 24 February 2009. Retrieved 22 Nov 2013.
  25. ^ Dr. Seuss; Jennifer Morrish Tunberg; Terence Tunberg (2000). Cattus petasatus: The cat in the lid 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 Book Review, every bit quoted in Fensch 2001, pp. 124–125. {{cite news}}: CS1 maint: postscript (link)
  27. ^ Buell, Ellen Lewis (17 March 1957). "High Jinks at Home". The New York Times Volume Review, as quoted in Nel 2007, pp. ix–10. {{cite news}}: CS1 maint: postscript (link)
  28. ^ Masten, Helen Adams (11 May 1957). "The Cat in the Hat". Sat Review, as quoted in Nel 2007, pp. ix–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. 9–10. {{cite news}}: CS1 maint: postscript (link)
  30. ^ Nel 2007, pp. 9–10
  31. ^ "Some Early Leap Books for Children and Young People". The Bookmark. April 1957, equally quoted in Fensch 2001, pp. 124–125 {{cite news}}: CS1 maint: postscript (link)
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Bibliography

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Source: https://en.wikipedia.org/wiki/The_Cat_in_the_Hat

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