Dr. Seuss’s political leanings are well known — he was a liberal Democrat who opposed fascism in the 1940s and President Nixon in the 1970s. The movie of his book The Lorax is a fairly unsubtle pro-environment allegory.
Less well celebrated are Theodor Seuss Geisel’s early advertising and political cartoons from the 1920s through the 1940s, which have a racist streak.
In the ads (from the collection of the library of the University of California, San Diego), black people are presented as savages, living in the tropics, dressed in grass skirts. Arabs are portrayed as camel-riding nomads or sultans.
The images are surprising because they reveal that one of America’s most original artist-authors had the same, tired views of non-whites that his contemporaries did.
More optimistically, Seuss later changed his mind and began drawing cartoons that criticised people with prejudiced ideas. Here’s a look at that journey, as seen in images that never featured in his children’s books.
Warning: Readers may find the following images offensive or upsetting.
In his political cartoons Seuss inveighed against the Japanese during World War II; he drew them buck-toothed and squint-eyed.
During the war, Seuss defended his anti-Japanese view, according to his biographer Richard H. Minear ...
'... Right now, when the Japs are planting their hatchets in our skulls, it seems like a hell of a time for us to smile and warble: 'Brothers!' It is a rather flabby battle cry. If we want to win, we've got to kill Japs, whether it depresses John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left,' his biographer quotes Seuss as saying.
Later in his career, Seuss mended his ways and drew anti-racist cartoons. (This isn't one, obviously.)
He also expressed regret for his anti-Japanese views, according to filmmaker Ron Lamothe, who made 'The Political Dr. Seuss.'
'He was regretful about some of his cartoons for PM and some of the propaganda work he did for the Army Signal Corps,' Lamothe said.
'I do think the fact he dedicated Horton Hears a Who -- a parable about the American postwar occupation of Japan -- to 'My Great Friend, Mitsugi Nakamura of Kyoto, Japan,' says something of his changing attitudes toward the Japanese,' Lamothe said.
You can see in this cartoon that Seuss changed his mind about racial hiring quotas by the end of the war.
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