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Green Eggs and Ham is a best-selling and critically acclaimed children's book by Dr. Seuss, first published on August 12, 1960.
As of 2001, according to Publishers Weekly, it was the fourth best-selling English-language children's book of all time.[1]
The story has appeared in several adaptations starting with 1973's Dr. Seuss on the Loose starring Paul Winchell as the voice of both Sam-I-Am and the first-person narrating man.[2]
A character known as "Sam-I-Am" pesters another man who also serves
as the story's narrator, to try a dish of green eggs and ham.
He
refuses, responding, " I do not like them, Sam-I-Am. I do not like green
eggs and ham."
He continues to repeat this as Sam follows him,
encouraging him to eat them in eight locations (House, box, car, tree,
train, dark, rain, boat), with three animals (Mouse, fox, goat) all to
which he still refuses, responding, "I do not like them here (Current
location) or there (Previous location).
I do not like them anywhere."
Finally, he gives in to Sam's pestering and samples the green eggs and
ham, which he does like after all and happily responds, "I do so like
green eggs and ham. Thank you. Thank you, Sam-I-Am."
Vocabulary
Green Eggs and Ham is one of Seuss's "Beginner Books", written
in a very simple vocabulary for beginning readers.
The vocabulary of
the text consists of just 50 different words[3] and was the result of a bet between Seuss and Bennett Cerf (Dr. Seuss's publisher)[3][4][5] that Seuss (after completing The Cat in the Hat using 236 words)[6]
could not complete an entire book without exceeding that limit.
The 50
words are: a, am, and, anywhere, are, be, boat, box, car, could, dark,
do, eat, eggs, fox, goat, good, green, ham, here, house, I, if, in, let,
like, may, me, mouse, not, on, or, rain, Sam, say, see, so, thank,
that, the, them, there, they, train, tree, try, will, with, would, you.[3]
Reception
Green Eggs and Ham was published on August 12, 1960,[7][8] and became the fourth-best selling English-language children's hardcover book of all time.[1][9]
In 1999 the National Education Association (NEA) conducted an online survey of children and teachers, seeking the 100 most popular children's books.
The children ranked Green Eggs and Ham third, just above another Dr. Seuss book, The Cat in the Hat;[10] the teachers ranked it fourth.[11]
Teachers ranked it fourth again in a 2007 NEA poll.[12]
That year, too, it was ranked number 12 among the "Top 100 Picture Books" in a survey published by School Library Journal – the first of five Dr. Seuss books on the list.[14]
Adaptations and tributes
Green Eggs and Ham is the third of the three Geisel stories that were adapted into the television special Dr. Seuss on the Loose, which featured a connecting narration by The Cat In The Hat, in 1973. (The Sneetches and The Zax were the other two.)
On September 29, 1991, after Dr. Seuss died at the age of 87 on the
24th, the Rev. Jesse Jackson read an excerpt of Green Eggs and Ham on
Saturday Night Live during the Weekend Update section.[15]
The song "Green Eggs and Ham" was recorded by the band Moxy Früvous on their 1992 independent debut album Moxy Früvous and is a rap treatment of the famous story.
The book was also made into a Living Books
adaptation for the PC. It was similar but unlike the book, Sam I-Am
sings his opening lines and says "Sam I-Am" twice. Also unlike the book,
when Sam asks the Grouchy Guy, "Do you like Green Eggs and Ham?", the
eggs fly into his face, and there is an epilogue (not featured in the
book) in which Sam and the Grouchy Guy say goodbye to the readers. Then
the Grouchy Guy asks, "Say, why don't we go get something to eat?" and
Sam replies, "I know just the place!". As the Living Books version ends,
they walk into the sunset and the Grouchy Guy says, "You know, Sam... This could be the beginning of a beautiful friendship.".
On September 21, 2007, U.S. District Court Judge James Muirhead referenced Green Eggs and Ham in his court ruling after receiving an egg in the mail from prisoner Charles Jay Wolff who was protesting against the prison diet. Muirhead ordered the egg destroyed as he stated in his judgment in the style of Seuss:[16][17]
The ban was lifted in 1991, following Seuss' death.[20]
Theodor Seuss Geisel (/ˈsɔɪs/i/ˈɡaɪzəl/; March 2, 1904 – September 24, 1991) was an American writer and illustrator best known for authoring popular children's books under the pen name Dr. Seuss (/suːs/).
His work includes several of the most popular children's books of all
time, selling over 600 million copies and being translated into more
than 20 languages by the time of his death.[2]
He published over 60 books during his career, which have
spawned numerous adaptations, including 11 television specials, four
feature films, a Broadway musical, and four television series.
He won the Lewis Carroll Shelf Award in 1958 for Horton Hatches the Egg and again in 1961 for And to Think That I Saw It on Mulberry Street.
All of his grandparents were German immigrants.[6]
His father managed the family brewery and was later appointed to supervise Springfield's public park system by Mayor John A. Denison[7] after the brewery closed because of Prohibition.[8]
While at Dartmouth, he was caught drinking gin with nine friends in his room.[12]
At the time, the possession and consumption of alcohol was illegal under Prohibition laws, which remained in place between 1920 and 1933.
As a result of this infraction, Dean Craven Laycock insisted that Geisel resign from all extracurricular activities, including the college humor magazine.[13]
To continue work on the Jack-O-Lantern without the administration's knowledge, Geisel began signing his work with the pen name
"Seuss".
He was encouraged in his writing by professor of rhetoric W.
Benfield Pressey, whom he described as his "big inspiration for writing"
at Dartmouth.[14]
Upon graduating from Dartmouth, he entered Lincoln College, Oxford intending to earn a PhD in English literature.[15]
At Oxford, he met Helen Palmer, who encouraged him to give up becoming an English teacher in favor of pursuing drawing as a career.[15]
Early career
Geisel left Oxford without earning a degree and returned to the United States in February 1927,[16] where he immediately began submitting writings and drawings to magazines, book publishers, and advertising agencies.[17]
Making use of his time in Europe, he pitched a series of cartoons called Eminent Europeans to Life magazine, but the magazine passed on it.
This single $25 sale encouraged Geisel to move from Springfield to New York City.
Later that year, Geisel accepted a job as writer and illustrator at the humor magazine Judge, and he felt financially stable enough to marry Helen.[19]
His first cartoon for Judge
appeared on October 22, 1927, and the Geisels were married on November
29.
Geisel's first work signed "Dr. Seuss" was published in Judge about six months after he started working there.[20]
In early 1928, one of Geisel's cartoons for Judge mentioned Flit, a common bug spray at the time manufactured by Standard Oil of New Jersey.[21]
According to Geisel, the wife of an advertising executive in charge of
advertising Flit saw Geisel's cartoon at a hairdresser's and urged her
husband to sign him.[22]
Geisel's first Flit ad appeared on May 31, 1928, and the campaign continued sporadically until 1941.[23]
The campaign's catchphrase "Quick, Henry, the Flit!" became a part of
popular culture.
It spawned a song and was used as a punch line for
comedians such as Fred Allen and Jack Benny.
As Geisel gained notoriety for the Flit campaign, his work was sought
after and began to appear regularly in magazines such as Life, Liberty, and Vanity Fair.
In 1935, he wrote and drew a short-lived comic strip called Hejji.[24]
The increased income allowed the Geisels to move to better quarters and to socialize in higher social circles.[25]
They became friends with the wealthy family of banker Frank A. Vanderlip.
They also traveled extensively: by 1936, Geisel and his wife had
visited 30 countries together.
They did not have children, neither kept
regular office hours, and they had ample money.[26]
Geisel also felt that the traveling helped his creativity.
In 1936, the couple were returning from an ocean voyage to Europe
when the rhythm of the ship's engines inspired the poem that became his
first book: And to Think That I Saw It on Mulberry Street.[27]
Based on Geisel's varied accounts, the book was rejected by between 20 and 43 publishers.[28][29]
According to Geisel, he was walking home to burn the manuscript when a
chance encounter with an old Dartmouth classmate led to its publication
by Vanguard Press.[30]
Geisel wrote four more books before the US entered World War II.
This was followed by Horton Hatches the Egg in 1940, in which Geisel returned to the use of poetry.
Essomarine
Geisel gained a significant public profile through a program for
motor boat lubricants produced by Standard Oil under the brand name
Essomarine[31]
He later recounted that Harry Bruno, Ted Cook, and Verne Carrier worked with him at the National Motor Boat Show on exhibits referred to as the Seuss Navy.[32]
In 1934, Geisel produced a 30-page booklet entitled Secrets of the Deep which was available by mail after June.
At the January boat show for 1935, visitors filled out order cards to receive Secrets. Geisel drew up a Certificate of Commission for visitors in 1936.
A mock ship deck called SS Essomarine provided the scene where photos of "Admirals" were taken. That summer, Geisel released a second volume of Secrets.
For the 1937 show, he sculpted Marine Muggs and designed a flag for the Seuss Navy.
The following year featured "Little Dramas of the Deep", a six-act
play with ten characters.
According to Geisel's sister, "He plans the
whole show with scenery and action and then, standing in a realistic bridge, reels off a speech which combines advertising with humor."
For 1939, exhibitors made available the Nuzzlepuss ashtray and illustrated tide-table calendars.
'The Goldbrick', Private Snafu episode written by Geisel, 1943
As World War II
began, Geisel turned to political cartoons, drawing over 400 in two
years as editorial cartoonist for the left-leaning New York City daily
newspaper, PM.[34]
Geisel's political cartoons, later published in Dr. Seuss Goes to War, denounced Hitler and Mussolini and were highly critical of non-interventionists ("isolationists"), most notably Charles Lindbergh, who opposed US entry into the war.[35]
One cartoon[36] depicted all Japanese Americans as latent traitors or fifth-columnists, while other cartoons simultaneously deplored the racism at home against Jews and blacks that harmed the war effort.
His cartoons were strongly supportive of President Roosevelt's
handling of the war, combining the usual exhortations to ration and
contribute to the war effort with frequent attacks on Congress[37] (especially the Republican Party),[38] parts of the press (such as the New York Daily News, Chicago Tribune, and Washington Times-Herald),[39] and others for criticism of Roosevelt, criticism of aid to the Soviet Union,[40][41] investigation of suspected Communists,[42] and other offences that he depicted as leading to disunity and helping the Nazis, intentionally or inadvertently.
In 1942, Geisel turned his energies to direct support of the U.S. war effort. First, he worked drawing posters for the Treasury Department and the War Production Board.
After the war, Geisel and his wife moved to La Jolla, California where he returned to writing children's books.
He wrote many, including such favorites as If I Ran the Zoo (1950), Horton Hears a Who! (1955), If I Ran the Circus (1956), The Cat in the Hat (1957), How the Grinch Stole Christmas! (1957), and Green Eggs and Ham (1960).
He received numerous awards throughout his career, but he won neither the Caldecott Medal nor the Newbery Medal.
Three of his titles from this period were, however, chosen as Caldecott
runners-up (now referred to as Caldecott Honor books): McElligot's Pool (1947), Bartholomew and the Oobleck (1949), and If I Ran the Zoo (1950).
Dr Seuss also wrote the musical and fantasy filmThe 5,000 Fingers of Dr. T,
which was released in 1953. The movie was a critical and financial
failure, and Geisel never attempted another feature film.
During the
1950s, he also published a number of illustrated short stories, mostly
in Redbook Magazine.
Some of these were later collected (in volumes such as The Sneetches and Other Stories) or reworked into independent books (If I Ran the Zoo).
A number have never been reprinted since their original appearances.
In May 1954, Life magazine published a report on illiteracy
among school children which concluded that children were not learning
to read because their books were boring.
William Ellsworth Spaulding was
the director of the education division at Houghton Mifflin (he later
became its chairman), and he compiled a list of 348 words that he felt
were important for first-graders to recognize.
He asked Geisel to cut
the list to 250 words and to write a book using only those words.[46]
Spaulding challenged Geisel to "bring back a book children can't put down".[47]
Nine months later, Geisel completed The Cat in the Hat,
using 236 of the words given to him.
It retained the drawing style,
verse rhythms, and all the imaginative power of Geisel's earlier works
but, because of its simplified vocabulary, it could be read by beginning
readers.
The Cat in the Hat and subsequent books written for
young children achieved significant international success and they
remain very popular today.
In 2009, Green Eggs and Ham sold 540,366 copies, The Cat in the Hat sold 452,258 copies, and One Fish Two Fish Red Fish Blue Fish (1960) sold 409,068 copies—outselling the majority of newly published children's books.[48]
Geisel went on to write many other children's books, both in his new simplified-vocabulary manner (sold as Beginner Books) and in his older, more elaborate style.
In 1956, Dartmouth awarded Geisel with an honorary doctorate.
He
added the “Dr.” to his penname because his father had always wanted him
to practice medicine.[49]
Geisel's wife Helen Palmer Geisel had a long struggle with illnesses,
including cancer and emotional pain over her husband's affair with
Audrey Stone Dimond. On October 23, 1967, she committed suicide.[50]
Geisel married Dimond on June 21, 1968.
Geisel had no children of his
own, though he devoted most of his life to writing children's books.
He
would say when asked about this, "You have 'em; I'll entertain 'em."
He won a special Pulitzer Prize
in 1984 citing his "contribution over nearly half a century to the
education and enjoyment of America's children and their parents".[52]
Illness, death, and posthumous honors
Geisel died of oral cancer on September 24, 1991 at his home in La Jolla at the age of 87.[53][54]
He was cremated and his ashes were scattered. On December 1, 1995, four years after his death, University of California, San Diego's University Library Building was renamed Geisel Library
in honor of Geisel and Audrey for the generous contributions that they
made to the library and their devotion to improving literacy.[55]
The induction ceremony took place December 15 and Geisel's widow Audrey
accepted the honor in his place.
On March 2, 2009, the web search engineGoogle temporarily changed its logo to commemorate Geisel's birthday (a practice that it often follows for various holidays and events).[57]
In 2004, U.S. children's librarians established the annual Theodor Seuss Geisel Award
to recognize "the most distinguished American book for beginning
readers published in English in the United States during the preceding
year".
It should "demonstrate creativity and imagination to engage
children in reading" during years pre-K to grade two.[58]
At Geisel's alma mater of Dartmouth, more than 90-percent of incoming first-year students participate in pre-registration Dartmouth Outing Club
trips into the New Hampshire wilderness.
It is traditional for students
returning from the trips to stay overnight at Dartmouth's Moosilauke Ravine Lodge, where they are served green eggs and ham for breakfast in honor of Dr. Seuss.
On April 4, 2012, the Dartmouth Medical School renamed itself the Audrey and Theodor Geisel School of Medicine in honor of their many years of generosity to the college.[59]
Dr. Seuss's honors include two Academy awards, two Emmy awards, a Peabody award, the Laura Ingalls Wilder Medal, and the Pulitzer Prize.
Geisel's most famous pen name is regularly pronounced /ˈsjuːs/, an anglicized pronunciation inconsistent with his German surname (the standard German pronunciation is [ˈzɔʏ̯s]).
He himself noted that it rhymed with "voice" (his own pronunciation being /ˈsɔɪs/). Alexander Liang, one of his collaborators on the Dartmouth Jack-O-Lantern, wrote of it:
You're wrong as the deuce
And you shouldn't rejoice
If you're calling him Seuss.
He pronounces it Soice[61] (or Zoice)[62]
Geisel switched to the anglicized pronunciation because it "evoked a
figure advantageous for an author of children's books to be associated
with—Mother Goose"[47] and because most people used this pronunciation.
For books that Geisel wrote and others illustrated, he used the pen name "Theo LeSieg", starting with I Wish That I Had Duck Feet published in 1965. "LeSieg" is "Geisel" spelled backward.[63]
Geisel also published one book under the name Rosetta Stone, 1975's Because a Little Bug Went Ka-Choo!!, a collaboration with Michael K. Frith.
Frith and Geisel chose the name in honor of Geisel's second wife Audrey, whose maiden name was Stone.[64]
His early political cartoons show a passionate opposition to fascism,
and he urged action against it both before and after the United States
entered World War II.
His cartoons portrayed the fear of communism as
overstated, finding greater threats in the House Un-American Activities Committee and those who threatened to cut the US "life line"[41] to Stalin and the USSR, whom he once depicted as a porter carrying "our war load".[40]
His treatment of the Japanese and of Japanese Americans (between whom
he often failed to differentiate) has struck many readers as a moral
blind spot.[65]
On the issue of the Japanese, he is quoted as saying:
But 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.[66]
After the war, though, Geisel overcame his feelings of animosity, using his book Horton Hears a Who! (1954) as an allegory for the Hiroshima bombing and the American post-war occupation of Japan, as well as dedicating the book to a Japanese friend.[67]
In 1948, after living and working in Hollywood for years, Geisel moved to La Jolla, California, a predominantly Republican town.[68]
Geisel converted a copy of one of his famous children's books into a polemic shortly before the end of the 1972–74 Watergate scandal, in which United States presidentRichard Nixon resigned, by replacing the name of the main character everywhere that it occurred.[69]
The line "a person's a person, no matter how small!!" from Horton Hears a Who! has been used widely as a slogan by the pro-life
movement in the U.S., despite the objections of Geisel's widow.
The
line was first used in such a way in 1986; he demanded a retraction and
received one.[70]
In his books
Geisel made a point of not beginning to write his stories with a
moral in mind, stating that "kids can see a moral coming a mile off".
He
was not against writing about issues, however; he said that "there's an
inherent moral in any story",[71] and he remarked that he was "subversive as hell".[72]
This is often
suggested as one of the reasons that Geisel's writing was so well
received.[73][74]
Anapestic tetrameter consists of four rhythmic units called anapests,
each composed of two weak syllables followed by one strong syllable
(the beat); often, the first weak syllable is omitted, or an additional
weak syllable is added at the end.
And today the Great Yertle, that Marvelous he
Is King of the Mud. That is all he can see.[75]
Some books by Geisel that are written mainly in anapestic tetrameter also contain many lines written in amphibrachic tetrameter, such as these from If I Ran the Circus:
All ready to put up the tents for my circus.
I think I will call it the Circus McGurkus.
And NOW comes an act of Enormous Enormance!
No former performer's performed this performance!
Traditionally, English trochaic meter permits the final weak position
in the line to be omitted, which allows both masculine and feminine
rhymes.
Geisel generally maintained trochaic meter for only brief passages, and for longer stretches typically mixed it with iambic tetrameter,
which consists of a weak syllable followed by a strong, and is
generally considered easier to write.
Geisel's earlier artwork often employed the shaded texture of pencil drawings or watercolors,
but in children's books of the postwar period, he generally employed
the starker medium of pen and ink, normally using just black, white, and
one or two colors.
His endlessly varied (but never rectilinear) palaces, ramps, platforms,
and free-standing stairways are among his most evocative creations
Geisel also drew complex imaginary machines, such as the
Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, or the "most peculiar machine" of Sylvester McMonkey McBean in The Sneetches.
Geisel also liked drawing outlandish arrangements of feathers or fur, for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish Two Fish.
Geisel's images often convey motion vividly.
He was fond of a sort of voilà
gesture, in which the hand flips outward, spreading the fingers
slightly backward with the thumb up; this is done by Ish, for instance,
in One Fish Two Fish when he creates fish (who perform the gesture themselves with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the Little Cats in The Cat in the Hat Comes Back.
He was also fond of drawing hands with interlocked fingers, which looked as though the characters were twiddling their thumbs.
Geisel also follows the cartoon tradition of showing motion with lines, for instance in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus.
Cartoonists' lines are also used to illustrate the action of the senses (sight, smell, and hearing) in The Big Brag and even of thought, as in the moment when the Grinch conceives his awful idea.
Recurring images
Geisel's early work in advertising and editorial cartooning produced
sketches that received more perfect realization later in the children's
books. Often, the expressive use to which Geisel put an image later on
was quite different from the original.[77]
An editorial cartoon of July 16, 1941[78] depicts a whale resting on the top of a mountain as a parody of American isolationists, especially Charles Lindbergh. This was later rendered (with no apparent political content) as the Wumbus of On Beyond Zebra (1955). Seussian whales (cheerful and balloon-shaped, with long eyelashes) also occur in McElligot's Pool, If I Ran the Circus, and other books.
Another editorial cartoon from 1941[79] shows a long cow with many legs and udders representing the conquered nations of Europe being milked by Adolf Hitler. This later became the Umbus of On Beyond Zebra.
The tower of turtles in a 1942 editorial cartoon[80] prefigures a similar tower in Yertle the Turtle. This theme also appeared in a Judge cartoon as one letter of a hieroglyphic message, and in Geisel's short-lived comic strip Hejji. Geisel once stated that Yertle the Turtle was Adolf Hitler.[81]
Little cats A B and C (as well as the rest of the alphabet) who spring from each other's hats appeared in a Ford ad.
The connected beards in Did I Ever Tell You How Lucky You Are? appear frequently in Geisel's work, most notably in Hejji, which featured two goats joined at the beard, The 5,000 Fingers of Dr. T, which featured two roller-skating guards joined at the beard, and a political cartoon in which Nazism and the America First movement are portrayed as "the men with the Siamese Beard".
Geisel's earliest elephants were for advertising and had somewhat wrinkly ears, much as real elephants do.[82] With And to Think That I Saw It on Mulberry Street! (1937) and Horton Hatches the Egg (1940), the ears became more stylized, somewhat like angel
wings and thus appropriate to the saintly Horton. During World War II,
the elephant image appeared as an emblem for India in four editorial
cartoons.[83] Horton and similar elephants appear frequently in the postwar children's books.
While drawing advertisements for Flit, Geisel became adept at drawing insects with huge stingers,[84]
shaped like a gentle S-curve and with a sharp end that included a
rearward-pointing barb on its lower side. Their facial expressions
depict gleeful malevolence. These insects were later rendered in an
editorial cartoon as a swarm of Allied aircraft[85] (1942), and again as the Sneedle of On Beyond Zebra, and yet again as the Skritz in I Had Trouble in Getting to Solla Sollew.
There are many examples of creatures who arrange themselves in
repeating patterns, such as the "Two and fro walkers, who march in five
layers", and the Through-Horns Jumping Deer in If I Ran the Circus, and the arrangement of birds which the protagonist of Oh, the Places You'll Go!
walks through, as the narrator admonishes him to "... always be
dexterous and deft, and never mix up your right foot with your left."
Geisel also wrote a pair of books for adults: The Seven Lady Godivas (1939; reprinted 1987), a retelling of the Lady Godiva legend that included nude depictions; and You're Only Old Once! (written in 1986 when Geisel was 82), which chronicles an old man's journey through a clinic.
His last book was Oh, the Places You'll Go!, which published the year before his death and became a popular gift for graduating students.[88]
For most of his career, Geisel was reluctant to have his characters
marketed in contexts outside of his own books.
However, he did permit
the creation of several animated cartoons, an art form in which he
himself had gained experience during the Second World War, and he gradually relaxed his policy as he aged.
It was presented as part of the Merrie Melodies series and included a number of gags not present in the original narrative, including a fish committing suicide and a Katharine Hepburn imitation by Mayzie.
In 1959, Geisel authorized Revell,
the well-known plastic model-making company, to make a series of
"animals" that snapped together rather than being glued together, and
could be assembled, disassembled, and re-assembled "in thousands" of
ways.
The series was called the "Dr. Seuss Zoo" and included Gowdy the
Dowdy Grackle, Norval the Bashful Blinket, Tingo the Noodle Topped
Stroodle, and Roscoe the Many Footed Lion.
The basic body parts were the
same and all were interchangeable, and so it was possible for children
to combine parts from various characters in essentially unlimited ways
in creating their own animal characters (Revell encouraged this by
selling Gowdy, Norval, and Tingo together in a "Gift Set" as well as
individually).
Revell also made a conventional glue-together "beginner's
kit" of The Cat in the Hat.
In 1966, Geisel authorized eminent cartoon artist Chuck Jones – his friend and former colleague from the war – to make a cartoon version of How the Grinch Stole Christmas!.
Geisel was credited as a co-producer under his real name Ted Geisel, along with Jones.
The cartoon was narrated by Boris Karloff,
who also provided the voice of the Grinch.
It was very faithful to the
original book, and is considered a classic to this day by many. It is
often broadcast as an annual Christmas television special.
The last adaptation of Geisel's work before he died was The Butter Battle Book, a television special based on the book of the same name, directed by adult animation legend Ralph Bakshi.
A television film titled In Search of Dr. Seuss
was released in 1994 which adapted many of Seuss's stories.
It uses
both live-action versions and animated versions of the characters and
stories featured; however, the animated portions were merely edited
versions of previous animated television specials and, in some cases,
re-dubbed as well.
After Geisel died of cancer at the age of 87 in 1991, his widow
Audrey Geisel was placed in charge of all licensing matters.
The Grinch has had limited engagement runs on Broadway during the Christmas season, after premiering in 1998 (under the title How the Grinch Stole Christmas) at the Old Globe Theatre
in San Diego, where it has become a Christmas tradition.
In 2003,
another live-action film was released, this time an adaptation of The Cat in the Hat that featured Mike Myers
as the title character.
Audrey Geisel has spoken critically of the
film, especially the casting of Myers as the Cat in the Hat, and stated
that she would not allow any further live-action adaptations of Geisel's
books.[89]
However, an animated CGI feature film adaptation of Horton Hears a Who! was approved, and was eventually released on March 14, 2008, to critical acclaim.
A CGI-animated feature film adaptation of The Lorax was released by Universal on March 2, 2012 (on what would have been the 108th birthday of Seuss).
Four television series have been adapted from Geisel's work.
The first, Gerald McBoing-Boing, was an animated television adaptation of Geisel's 1951 cartoon of the same name and lasted three months between 1956 and 1957.
The fourth, The Cat in the Hat Knows a Lot About That!,
produced by Portfolio Entertainment Inc., began on August 7, 2010, in
Canada and September 6, 2010, in the United States and is currently
still showing.
Marilyn Manson
used to make pop-art flyers mixing porn pictures, serial-killers' and
other celebrities faces, self-portrait caricatures and Dr. Seuss
characters for the promotion of his early band Marilyn Manson & the Spooky Kids.[93] The singer is also quoted as saying that he liked the Bible just like he liked The Cat in the Hat, implying both were fictional books.[94]
Sales Questioning Techniques to Use with your Prospects
Studies show that most people approach a buying decision
with some level of anxiety.
The truth is, they really don't want to
have to make a decision.
Believe it or not, your prospects are very
often looking for an excuse not to satisfy a need or want. The
decision-making process is just too stressful for them.
What does
that mean for you?
Your job as a sales professional is to help your
prospects overcome this anxiety - their desire to avoid making a
decision - and commit to satisfying their needs or wants with YOUR
product or service.
So how do you do it?
There are two keys here:
1. You've got to ask the right questions....everyone knows that.
However, in training thousands of salespeople every year, we've found
that salespeople talk their way out of more sales than they listen their
way into. Salespeople who talk instead of listen tend to lose
sales because they let their focus slip: They start thinking about what
they want to have happen instead of what their prospects want to have
happen.
2. You've got to listen to your prospect's responses.
You must listen carefully so that your follow-up questions keep the
focus where it needs to be - on that prospect and what he or she wants
to have happen. In this article, we're going to look at 10 tips that
will help you ask the right questions and keep your focus on your
prospect.
Questioning Tip #1 Prepare, in advance, the questions you will ask.
Of course, every prospect is unique and every selling situation
requires some variation, but certain basic questions that come up in
every interview can be planned in advance.
By carefully planning your
basic questions, you can make sure you cover all bases and that your
wording will be precise. Here are some examples:
What about the product/service is most important to you?
Have you seen anything else on the market that you especially don't like?
What do you most want to have happen as a result of using this product/service?
What about the product/service is most important to you?
Have you seen anything else on the market that you especially don't like?
What do you most want to have happen as a result of using this product/service?
What about the product/service is most important to you?
Have you seen anything else on the market that you especially don't like?
What do you most want to have happen as a result of using this product/service?
I do have one caution: Be careful not to phrase them so they sound canned.
Questioning Tip #2 Open the sale with a good question.
The best way to open a sale is with a question. If you're calling
on someone, always ask, "Is this a good time for you?"
And always ask
your prospect, "In order to be of service to you, do you mind if I ask
you a few questions?"
If they have the time, people will almost
always answer "yes" to that second question.
Whether or not that leads
to a sale depends almost entirely on how good your follow-up questions
are and how good you are at listening to the answers.
Questioning Tip #3 Ask open-ended and indirect questions.
Closed questions that call for a "yes" or "no" answer tend to
discourage people from talking, to give only limited information, and to
set a negative tone.
Instead, you should ask open-ended questions that
require prospects to tell you how they feel, what they want, or what
they think.
For example, you may ask something along the lines of, "How
would you describe your current situation (with or without this
product/service)?"
The answer will tell the observant sales professional a great deal - including what benefits of their offering to emphasize.
Questioning Tip #4 Ask need-development questions.
When you are in the questioning phase of the sale, you want to
do more than get the prospect to talk - you want that prospect to tell
you what he or she needs.
Therefore, frame questions that will give you
insights into how prospects perceive their needs.
You may ask, for
example, "What would your primary use be for this product/service?"
Questioning Tip #5 Ask questions that help you identify dominant needs.
Usually there is one, single overriding need in the prospect's mind - a
need you can pinpoint by asking the right questions.
You may ask,
"What would you most like to change about your present situation?"
"What would it mean for you if you could improve your current situation?"
Questioning Tip #6 Ask questions that help you pinpoint the dominant buying motivations.
Buying motivations and needs are not always the same. Buying
motivations have to do with desires, feelings, tastes, and so on.
Needs
are logical, fact-based, and tangible. Buying motivations are more
emotional and intangible. And the truth is, people tend to buy what
they need from you when they see that you understand what they really
WANT.
You can find out what motivates your buyer -what he or
she wants--by asking what kind of similar products or services they've
used in the past.
Even if all they give you is a list, you at least
learn what they like, or are familiar with.
Often, however, people will
talk about one or two experiences that were particularly well received.
That knowledge will tell you exactly what benefits to emphasize most.
Questioning Tip #7 Avoid offensive questions or asking questions in an insensitive way.
This may seem obvious, but some salespeople make this mistake
because they make assumptions about the prospect. Some questions can
offend a prospect and cause them to back away from you.
Don't ever use leading or "setup" questions such as, "You do want your children to have a fair chance, don't you?" What is the prospect going to say? "No! Let them tough it out!"?
Nosy,
or overly personal questions can be a real turnoff. Stick to business!
It's always a good idea to avoid explosive subjects like religion,
politics, race, and deep personal issues. Bonding on a personal level
can help cement a sale but as a professional you want to keep the
interview focused on the business at hand.
Sometimes your
manner can be threatening. Instead of asking, "How much do you want to
spend?" why not phrase it, "How much had you planned to invest?"
Questioning Tip #8 Start with broad questions, and then move toward questions with a narrower focus.
Broad questions are usually less threatening and yield general
information. Thus, they can help you get things rolling and steer you in
the right direction.
Your prospects may know, for example, that they
want your product/service, but they don't always know what specifics of
your offering would work best for them.
Prospects who call us,
for example, tend to know they're looking for help in improving their
organization's sales, but they don't always know the details of how our
training programs are assembled.
Why would they? It's up to us to ask
the prospect questions and find out what the best course of action is
for them.
Not until your probing becomes more comfortable and
picks up speed should you start asking more specific questions that
allow the prospect to mentally take ownership of your product or
service.
Questioning Tip #9 Ask questions that are easy to answer.
Questions that require knowledge the prospect doesn't have can often
make a person feel dumb and reinforce his or her natural state of
anxiety and discomfort in making the decision to buy or commit to a
purchase.
Here's a broad example:
Computer salespeople who
ask a prospect what kind of memory they're looking for usually get a
blank stare or silence over the phone.
As Dell computer salespeople know
well, a better question would be, "What do you plan on using the
machine for?"
If a person says, "Gaming, video conferencing and media
storage," the salesperson knows this prospect is going to need a
boatload of memory.
If the prospect says, "email, home file management
and surfing the web," the salesperson knows a smaller amount of memory
will work.
Try asking questions that don't depend on the
prospect's technical knowledge.
If they use jargon and technical speak
that's one thing, but just because you're an expert doesn't mean they
are.
The smarter you make your prospects feel, the smarter they'll think
you are and the better they'll like you.
Questioning Tip #10 Ask - then shut up and listen.
The prospect can't talk while you're talking. Besides, you can't
learn while you're talking. Don't just get quiet and think up something
to say next; listen to and analyze every word that prospect says.
Remember:
You can't talk people into buying, but you can listen them into it.
Questions are your greatest selling tool. The better you become at
asking questions, the easier it will become for you to sell.
Bill Brooks, CEO of The Brooks Group, is a
world-renowned expert on hiring, sales management, business development,
and sales.
Somebody Come and Play in "Traffic" with me. If you would like to "Join" A Growing Biz Op! Here is Your Chance to get in an Earn While You Learn to Do "The Thing" with us all here at Traffic Authority.
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