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Numerous scholars including Cummins in her article “The Resisting Monkey: ‘Curious George,’ Slave Captivity Narratives, and the Postcolonial Condition,” have observed this disparity, speculating that the picture might “suggest that children should likewise submit to authority” and “speaks volumes about the ambivalence of the series as a whole” (79) however, none connect the racist implications of the narrative to the potential audience of the instruction to “appease captors” (Cummins 79). This particular introduction to George proves important given the image’s contrasting counterpart within the book itself while the cover depicts George as gleeful, in the same image within the context of the story, he appears downtrodden and remorseful (Rey 39) at the prospect of arrest. His tiny arms clutched by the officers, George appears smiling between the two men, suggesting that he is a character not only in need of discipline and societal guidance, but joyful at the prospect of being punished for his actions and furthermore, his position of subordination. Adorned in vibrant blue and red in outfits which the “beholder” immediately associates with policemen, the white men that dominate a predominant amount of space-especially when juxtaposed with the central character, George, who appears insignificant next the two men’s towering figures-are established as the authority in this relationship. The cover illustration of Curious George, the first book of the series, has become one of the most recognizable images of the franchise and provides an emblematic representation of the power dynamics, cultural structures, and characterizations associated with racism in America. Additionally, the commercialization of the series allows the stories and their characters to remain iconic without the need to directly engage with the original text while still supporting the original books’ assertions regarding white supremacy by avoiding discussion of their problematic nature. The Curious George series still remains such a prominent and popular American childhood classic as it is able to perpetrate the social and racial subordination associated with childhood innocence through the power dynamics established between the Man with the Yellow Hat and George. While scholars such as professor June Cummins have addressed the books’ ties to racist propaganda and negative depictions of blacks, none have explained the books’ continued popularity despite a world increasingly aware of the problematic nature in which people of color are depicted in older literature. The series’ celebration of the oppression of an abducted monkey parallels the oppression of black Americans, making the books’ fame seemingly contradictory to the atmosphere of innocence in which modern society has deemed it necessary for children to appropriately and healthily develop.
While in many ways the Curious George series proves to be the perfect childhood companion with its inquisitive protagonist and entertaining shenanigans, the earlier books in the series prove problematic with their overt references to the abduction and forced enslavement of Africans during the slave trade and their glorification of the Man with the Yellow Hat who is celebrated as a friend and protector rather than condemned as a captor and oppressor.
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The series has spawned countless spin-offs and adaptations as a separate book series, television show, movie franchise, and video game, a classic which the media continues to revamp and reutilize in order to engage children and their parents as consumers. and Margaret Rey’s 1941 Curious George, despite its blatant negative racial connotations and depictions, has remained a classic in the hyper-sensitive, highly-censored environment constructed for children. A beloved childhood picture book series with a legacy that has withstood seventy years of technological and social evolutions, H.A.
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