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In a world that still reverberates with the conflicts of World War II, it isn't really surprising to learn that Dr. Seuss, beloved creator of ''Hop on Pop'' and ''Horton Hears a Who,'' sharpened his artistic skills drawing political cartoons of Hitler and Mussolini. Nevertheless, it is fascinating to realize that the shadow of Fascism lurks beneath the shell of Yertle the Turtle and that Uncle Sam is a distant antecedent of the Cat in the Hat. Whether these discoveries say something about the seriousness of Dr. Seuss or the cartoonish nature of American culture is another question.

Born Theodor Seuss Geisel in 1904, the author was in midcareer when World War II came along. He had published his first children's book, ''And to Think That I Saw It on Mulberry Street,'' in 1937, but that book, which had been rejected by 27 publishers, was only modestly received, as were several others that followed.

Dr. Seuss was far better known in those days as an illustrator of Flit bug spray advertisements. His years creating cheerful depictions of insect extermination, combined with the sensibility of a children's author, served him well when he turned his attention in 1941 to political cartoons for the newspaper PM. Now, for the first time, these cartoons are to appear in one volume, ''Dr. Seuss Goes to War,'' a book published by The New Press and edited by Richard H. Minear that should be in stores in September.

An innovative left-wing paper that accepted no advertisements (which helps explain why it folded after eight years), PM flourished briefly in a New York newspaper culture that boasted seven dailies. Geisel brought himself to the editors' attention with an unsolicited cartoon attacking Virginio Gayda, the Fascist editor of Il Giornale d'Italia. Soon Geisel was a PM regular, zipping off hundreds of cartoons from 1941 to 1943 condemning United States isolationism, appeasement, anti-Semitism and racism; attacking the Rev. Charles E. Coughlin as anti-Semitic and Charles A. Lindbergh as pro-Nazi, and, most of all, urging that the United States enter the war. (Dr. Seuss's liberalism did not save him from falling into occasional ethnic generalizations, like depicting Japanese-Americans as an ''honorable fifth column.'')

These cartoons bear the unmistakable stamp of Dr. Seuss's zany style, a hyperanimated world where animals and people seem interchangeable and quaint complex machines (like a pedal-operated tank for Mussolini) roll comically along.

There is, as in his children's books, a pervasive geniality, a sense of whimsy, a feeling that Norman Rockwell characters have fallen through the looking glass, but no farther.

This is not the dark side of Dr. Seuss. In a cartoon dated Dec. 9, 1941, titled ''The End of the Nap,'' a beleaguered American eagle in an Uncle Sam hat is rudely awakened by tiny, identical Japanese soldiers variously shooting a slingshot, wielding a mallet, giving Uncle Sam a hotfoot. They all look like naughty boys in need of a spanking -- this, two days after some 2,300 Americans died at Pearl Harbor. But of course stark depictions of treachery are not always useful in getting men to enlist.

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THINK TANK; Oh, the Places He Went! When Dr. Seuss Took His Whimsy to War

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Jonathan Rosen Think Tank comment on political cartoons drawn by Theodor Seuss Geisel (Dr Seuss) for leftist newspaper PM during World War II; notes that drawings were precursor to those in famous children's books, with Uncle Sam as distant antecedent of Cat in the Hat; photos of cartoons (M)

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HELPFUL: RESEARCH and CITATIONS: Introducing it, explaining it, agreeing with it, disagreeing with it, and counter arguing it, saying why it matters, and helpful transitions

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HELPFUL: RESEARCH and CITATIONS: Introducing it, explaining it, agreeing with it, disagreeing with it, and counter arguing it, saying why it matters, and helpful transitions