Every time I read this (which is often—sometimes nightly; from Dr. Seuss’s The Cat in the Hat Comes Back; p. 59 in the Beginner Books Book Club Edition, copyright 1958—our copy still in great shape and going strong!):
Then the Voom…
It went voom!
And, oh boy! What a voom!
Now, don’t ask me what Voom is.
I never will know.
But, boy! Let me tell you
It does clean up snow!
I think of this, the scariest moment in Cat’s Cradle, when the dead body of “Papa” falls into the ocean, freezing the entire planet (from the fifty-sixth printing of the New Dell Edition; copyright is 1963, print date is July 1983—half the age of the Seuss, and completely falling apart, but still functional!):
There was a sound like that of the gentle closing of a portal as big as the sky, the great door of heaven being closed softly. It was a grand ah-whoom.
I opened my eyes—and all the sea was ice-nine.
The moist green earth was a blue-white pearl.
The sky darkened. Borasisi, the sun, became a sickly yellow ball, tiny and cruel.
The sky was filled with worms. The worms were tornadoes.
In other words, for me, reading The Cat in the Hat Comes Back brings back childhood Reagan-era fears of a nuclear war—isn’t it about the Bomb, the arms race, the Cold War, capitalism, American exceptionalism?
Much of Seuss, in a way, is about capitalism—about the anxiety of a culture of conspicuous consumption (“Have you a Zans for cans? You should.” “We have the only Gack in town.” “[Y]ou should get a Yink.” “All girls […] [s]hould have a pet like this at home.”).
But that enthusiastic voom!—it freaks me out.