Analysis: The Lorax and Subversive Children's Literature
As established on the research page, “a radical literature, especially a radical children’s literature, wants to explore the essence of phenomena, experiences, actions, and social relations and seeks to enable young people to grasp the basic conditions in which they live” (Zipes vii). These works advocate reform and “question the economic and social basis of our society” (Herbert Kohl as qtd. in “What’s Left?”). Children’s authors often use subtle political content, ambiguous messages, and/or radical perspectives in their works to subvert the status quo and encourage children to think for themselves. Dr. Seuss’ The Lorax is an example of subversive children’s literature because the book criticizes the environmental effects massive industrialization has had on our society and places economic incentives in conversation with environmental concerns to question the sustainability of our lifestyles. The Lorax includes many common elements of radical literature for young readers, such as subtle political content, the advocation of systematic change, and its progressive impact.
Subtle political content in The Lorax is evident in the characterization of the Once-lers and their treatment of the Lorax. The Once-ler and his family are symbols of consumerism. They put their profit ahead of ethical concerns, claiming: “I am doing no harm. I’m being quite useful” (Seuss 308). Meanwhile, their Thnead business wreaks havoc on the ecosystem. The Once-lers ignore the Lorax’s pleas for environmental responsibility and demand they have rights, too. These actions reveal a political subtext that echoes environmentalist concerns. Seuss never outrightly aligns himself with a political party, but the story mimics the environmental political exchange between progressives and conservatives.
In Tales for Little Rebels, Julia Mickenberg and Philip Nel talk about the distinction between legitimately radical works and works that only seem to be subversive. Works that seem to be progressive but aren’t advocate a change of power within a given system. Conversely, legitimately radical works advocate a systematic change. The Lorax advocates legitimately progressive change because he questions the motives and defenses of consumerism instead of only challenging the modes of production. The Once-ler also suggests a way to begin systematic change when he instructs the boy on how to care for the last Truffula Seed. In focusing on the system rather than on the power within a system, The Lorax promotes real change.
The Lorax’s intended impact is another example of the work’s subversiveness. It teaches children about environmental concerns and the value of a healthy world. It also incites readers to change their lifestyles and cause change in their communities. Seuss wants children to question the consequences of their actions on the world around them, so he illustrates the longterm effects of pollution, overconsumption, and greed. The Lorax illustrates a plausible future in the real world and suggests a way of life that celebrates and protects the environment.
The book uses these main elements of subversive literature to develop critical thinking and teach children to question the status quo, making it an excellent example of subversive children’s literature. This and other “great subversive works of children’s literature….appeal to the imaginative, questioning, rebellious child within all of us, renew our instinctive energy and act as a force for change” (Lurie). Such works encourage children to become active participants in society and prepare them for the future.
Subtle political content in The Lorax is evident in the characterization of the Once-lers and their treatment of the Lorax. The Once-ler and his family are symbols of consumerism. They put their profit ahead of ethical concerns, claiming: “I am doing no harm. I’m being quite useful” (Seuss 308). Meanwhile, their Thnead business wreaks havoc on the ecosystem. The Once-lers ignore the Lorax’s pleas for environmental responsibility and demand they have rights, too. These actions reveal a political subtext that echoes environmentalist concerns. Seuss never outrightly aligns himself with a political party, but the story mimics the environmental political exchange between progressives and conservatives.
In Tales for Little Rebels, Julia Mickenberg and Philip Nel talk about the distinction between legitimately radical works and works that only seem to be subversive. Works that seem to be progressive but aren’t advocate a change of power within a given system. Conversely, legitimately radical works advocate a systematic change. The Lorax advocates legitimately progressive change because he questions the motives and defenses of consumerism instead of only challenging the modes of production. The Once-ler also suggests a way to begin systematic change when he instructs the boy on how to care for the last Truffula Seed. In focusing on the system rather than on the power within a system, The Lorax promotes real change.
The Lorax’s intended impact is another example of the work’s subversiveness. It teaches children about environmental concerns and the value of a healthy world. It also incites readers to change their lifestyles and cause change in their communities. Seuss wants children to question the consequences of their actions on the world around them, so he illustrates the longterm effects of pollution, overconsumption, and greed. The Lorax illustrates a plausible future in the real world and suggests a way of life that celebrates and protects the environment.
The book uses these main elements of subversive literature to develop critical thinking and teach children to question the status quo, making it an excellent example of subversive children’s literature. This and other “great subversive works of children’s literature….appeal to the imaginative, questioning, rebellious child within all of us, renew our instinctive energy and act as a force for change” (Lurie). Such works encourage children to become active participants in society and prepare them for the future.
Works Cited
Geisel, Theodor Seuss. “The Lorax.” Six by Seuss: A Treasury of Dr. Seuss Classics. New York: Random House, 1991. 282-345. Print.
Lurie, Alison. “A Child’s Garden of Subversion.” The New York Times. The New York Times Company. 25 Feb. 1990. Web. 15 Oct. 2012.
Mickenberg, Julia L., and Philip Nel. “What’s Left?” Children’s Literature Association Quarterly 30.4 (2005): 349-353. Literature Online. Web. 15 Oct. 2012.
Mickenberg, Julia L., and Philip Nel, eds. Tales for Little Rebels: A Collection of Radical Children’s Literature. New York: New York UP, 2008. Print.
Zipes, Jack. Foreward. Tales for Little Rebels: A Collection of Radical Children’s Literature. Eds. Julia L. Mickenberg and Philip Nel. New York: New York UP, 2008. vii-ix. Print.
Video: http://www.youtube.com/watch?v=soRbNlPbHEo&feature=related
Lurie, Alison. “A Child’s Garden of Subversion.” The New York Times. The New York Times Company. 25 Feb. 1990. Web. 15 Oct. 2012.
Mickenberg, Julia L., and Philip Nel. “What’s Left?” Children’s Literature Association Quarterly 30.4 (2005): 349-353. Literature Online. Web. 15 Oct. 2012.
Mickenberg, Julia L., and Philip Nel, eds. Tales for Little Rebels: A Collection of Radical Children’s Literature. New York: New York UP, 2008. Print.
Zipes, Jack. Foreward. Tales for Little Rebels: A Collection of Radical Children’s Literature. Eds. Julia L. Mickenberg and Philip Nel. New York: New York UP, 2008. vii-ix. Print.
Video: http://www.youtube.com/watch?v=soRbNlPbHEo&feature=related