Definitely interesting to see these cartoons and get some understanding of Dr. Seuss’ perspective on the current events of the time. I thought the explanations could have delved a bit deeper, though.

In the midst of World War II, an American reading through the editorial section of the PM paper might have seen the following:

"I believe in love, brotherhood and a cooing white pigeon on every man's roof. I even think it's nice to have pacifists and strawberry festivals... in between wars. [...:] If we want to win, we've got to kill Japs, whether it depresses [prominent Protestant pacifist minister:] John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left."

That was one of the most verbalized sentiments of the day, especially shortly after the attack on Pearl Harbor. The note would hardly even raise an eyebrow today, in retrospect, if it wasn't for one detail:

The letter was penned, and signed, by one "Dr. Seuss."

In Dr. Seuss Goes to War, two hundred or so editorial cartoons inked by Dr. Seuss are reprinted between one set of covers. Drawn between the years 1941 and (in two cases) 1943, they represent an era when America was split by war, and when Dr. Seuss was just an editorial cartoonist for a left-leaning tabloid-esque newspaper, PM. The Cat in the Hat didn't exist back then - at least not outside Seuss' own imagination. Theodore "Seuss" Geisel used the pen-name "Dr. Seuss" in an attempt to keep his own name from being recognized by authorities (for a minor run-in regarding alcohol and a college campus). Though he did retain the moniker for his subsequent children's book releases, only a vague shadow of the divisive elements remained.

Yertle the Turtle, for example, appears to have been based directly on the Hitler of his editorial cartoons. Horton and the folks from Who-Ville look to be, perhaps, America and the Japanese. And The Sneetches and The Lorax also seem to have their roots stemming back from his days with the paper.

...And yet, the editorial cartoons were much sharper, much more vitriolic, than one might imagine, seeing them only after recognition of Seuss' children's fare. Though Seuss' favourite target - Adolf Hitler - is portrayed as a Chaplin "Adenoid Hinkle"-type buffoon, there are images in which even this element of humour is overshadowed by the depiction of bodies hanging from trees (individually labeled "JEW"), or of Hitler traipsing over the corpses of his own troops on his way to southwest Russia. Other minor players include Josef Stalin (here drawn as an enemy of Hitler, and therefore in a less harsh light), Benito Mussolini (a clumsy, impotent ruler who cowers from Hitler), and an indistinguishable Japanese figure who looks nothing at all like then-ruling Emporer Hirohito.

And it is in his depiction of the Japanese that Dr. Seuss' Sneetch-like brotherhood remains unseen. The Japanese people are shown in the stereotypical (read: racist) manner of the time: buck-teeth protruding from behind sneering lips, slanting eyes, a sparse moustache, and the exact same pair of eyeglasses as the rest of the Japanese population. "You can't kill Japs by shooting off your mouth!" proclaims one of Seuss' cartoons. In another, even Japanese-Americans (precluding the Japanese interment camps in America and Canada) are attacked, portrayed as a conniving bunch picking up their rations of explosives, "Waiting for the signal from home." For Dr. Seuss, war was no time for the niceties or sensitivities of an advanced society.

Archaic racial attitudes aside, perhaps the biggest detriment to Dr. Seuss Goes to War is compiler Richard H. Minear's frequent, loquacious interjections. Prior to each batch of cartoons, Minear expounds upon the political climate of the day and details any minor event all-but lost to history in an attempt to set up the scene for a Seuss editorial cartoon (for as permanent as World War II was, there were some smaller nuances - the public outcry by some against First Lady Eleanor Roosevelt, for instance, for her outspoken nature in support of American efforts in the War - which have been hitherto unknown by the new generation of Americans). These insights themselves prove helpful... but what mires the text down is Minear's insistence that each and every cartoon needs a detailed description and interpretation. In the course of a dozen or so pages of prose, perhaps only a third of that information is truly relevant to the reader. The details of Seuss' drawings are self-evident and need no further pontification. Minear editorializes himself, using Seuss' cartoons as a launching pad.

Editorial cartoons of the 1940s were vastly different from those often seen today. In the 1940s, an editorial cartoon represented caricature, analogy, and opinion. These days, an editorial cartoon appears to be just a topical version of Ziggy or a single-paneled Doonesbury cartoon. Dr. Seuss was a product of his time, the likes of which will truly never be seen again.

Too bad Minear had to spoil this entertaining, historical book through his own unnecessary intervention.

I never knew Dr. Seuss did editorial cartoons. His depictions are spot on.

"... Without whimsy, none of us can live." (Dr. Seuss.) This work was filled with wonder, in so many ways. In brief, illuminating prose, the book investigates most of the beloved author's editorial cartoons for PM magazine during the Second World War. By turns, shocking, sobering and always urgent. These are cartoons few of us would have seen, from a younger cartoonist deeply concerned with the future of free peoples of the world. The book is filled with these unique cartoons, each with a corresponding history and commentary in the text. This work reveals a facet of the war few of us have studied, and it as much about the fear and attitudes of the Allies during that time as it is about the life of a single cartoonist. A real treasure of media history buried in the side bars and back pages of WWII. Marvelous accomplishment!! Highly recommended!

I loved the cartoons that were included! The introduction was good.

What I really didn’t like was the text in between the cartoons. It was very wordy. I liked the quick description on the first page in between each section of cartoons of what we were going to be seeing but we don’t need an in-depth this cartoon looks like this. We know what it looks like when it’s included in the book. We can see it for ourselves.
I also really hated that they kept talking about cartoons that were not depicted. What’s the point of talking about them if you’re not going to actually show them,
I was very frustrated with that.

Enjoyed reading background of Dr. Seuss in World War two.
Entertaining.
Thought provoking about Propaganda and looking at one's enemies.

Seuss’s World War II cartoons are particularly relevant now given the increasing calls for appeasement and isolationism — from many on the political right — over Russia’s war in Ukraine.

Fascinating look at where Dr. Seuss started and an interesting perspective on the politics of the 1930s and 40s.

Mostly brilliant (although occasionally racist) cartoons, with an insightful history lesson alongside them.

After seeing six of Dr. Seuss' books being pulled, I set myself out on a quest to experience his work that I had never seen - including his WWII cartoons. Filled with black and white sketches (with commentary throughout), Seuss seemed unafraid to call out what he saw to be wrong and challenge others to think about the impact that they were making.

Dr. Suess drew political cartoons in New York in the early 1940's. There are so many impressive drawings of Hitler, Uncle Sam, Lindbergh... There is also a healthy dose of anti-isolationist drawings within the collection. The drawings are impressive for many reasons: the era of pre and early WWII, the lampooning of world leaders, and the drawings themselves. One poignant drawing features Hitler's face on Mount Rushmore with the Nazi flag over the American flag in the background. There are plenty of domestic targets as well. Charles Lindberg is pillored for coddling up to the Nazi's, there are numerous unflatering depictions of Mr. Lindberg.

There are long stretches of text presenting interesting information about the author, the work, and the backstory. Biographical information about the author sets the scene for the reader and even includes the status of Geisel's collection. The descriptions of the work can deepen the level of intensity with which you inspect the drawing. There are plenty of subtle, captivating nuances woven into the works; they are easy to overlook. However, too much time is spent telling you about drawings not in the collection. Whether the reader is being set up for a series or simply teased, including vivid details for drawings that are not featured is confusing in the least.

If you loved Dr. Seuss as a kid, then you might love this book then