CLOSE
iStock
iStock

10 Classic Books That Have Been Banned

iStock
iStock

From the Bible to Harry Potter, some of the world's most popular books have been challenged for reasons ranging from violence to occult overtones. In honor of Banned Books Week, which runs from September 24 through September 30, 2017, here's a look at 10 classic books that have stirred up controversy.

1. THE CALL OF THE WILD

Jack London's 1903 Klondike Gold Rush-set adventure was banned in Yugoslavia and Italy for being "too radical" and was burned by the Nazis because of the author's well-known socialist leanings.

2. THE GRAPES OF WRATH

Though John Steinbeck's 1939 novel, about a family of tenant farmers who are forced to leave their Oklahoma home for California because of economic hardships, earned the author both the National Book Award and a Pulitzer Prize, it also drew ire across America because some believed it promoted Communist values. Kern County, California—where much of the book took place—was particular incensed by Steinbeck's portrayal of the area and its working conditions, which they considered slanderous.

3. THE LORAX

The cover of Dr. Seuss' The Lorax
Google Play

Whereas some readers look at Dr. Seuss's Lorax and see a fuzzy little character who "speaks for the trees," others saw the 1971 children's book as a dangerous piece of political commentary, with even the author reportedly referring to it as "propaganda."

4. ULYSSES

James Joyce's 1922 novel Ulysses may be one of the most important and influential works of the early 20th century, but it was also deemed obscene for both its language and sexual content—and not just in a few provincial places. In 1921, a group known as The New York Society for the Suppression of Vice successfully managed to keep the book out of the United States, and the United States Post Office regularly burned copies of it. But in 1933, the book's publisher, Random House, took the case—United States v. One Book Called Ulysses—to court, and ended up getting the ban overturned.

5. ALL QUIET ON THE WESTERN FRONT

In 1929, Erich Maria Remarque—a German World War I veteran—wrote the novel All Quiet on the Western Front, which gives an accounting of the extreme mental and physical stress the German soldiers faced during their time in the war. Perhaps unsurprisingly, the book's realism didn't sit well with Nazi leaders, who feared the book would deter their propaganda efforts.

6. ANIMAL FARM

The cover of George Orwell's Animal Farm
Public Domain, Wikimedia Commons

The original publication of George Orwell's 1945 allegorical novella was delayed in the U.K. because of its anti-Stalin themes. It was confiscated in Germany by Allied troops, banned in Yugoslavia in 1946, banned in Kenya in 1991, and banned in the United Arab Emirates in 2002.

7. AS I LAY DYING

Though many people consider William Faulkner's 1930 novel As I Lay Dying a classic piece of American literature, the Graves County School District in Mayfield, Kentucky disagreed. In 1986, the school district banned the book because it questioned the existence of God.

8. LOLITA

Sure, it's well known that Vladimir Nabokov's Lolita is about a middle-aged literature professor who is obsessed with a 12-year-old girl who eventually becomes his stepdaughter. It's the kind of storyline that would raise eyebrows today, so imagine what the response was when the book was released in 1955. A number of countries—including France, England, Argentina, New Zealand, and South Africa—banned the book for being obscene. Canada did the same in 1958, though it later lifted the ban on what is now considered a classic piece of literature—unreliable narrator and all.

9. THE CATCHER IN THE RYE

Cover of The Catcher in the Rye

Reading J.D. Salinger's The Catcher in the Rye has practically been a rite of passage for teenagers in recent years, but back when it was published in 1951, it wasn't always easy for a kid to get his or her hands on it. According to TIME, "Within two weeks of its 1951 release, J.D. Salinger’s novel rocketed to No. 1 on the New York Times best-seller list. Ever since, the book—which explores three days in the life of a troubled 16-year-old boy—has been a 'favorite of censors since its publication,' according to the American Library Association."

10. THE GIVER

The newest book on this list, Lois Lowry's 1993 novel The Giverabout a dystopia masquerading as a utopiawas banned in several U.S. states, including California and Kentucky, for addressing issues such as euthanasia.

nextArticle.image_alt|e
iStock
arrow
literature
Vivid Imagery Makes Poetry More Pleasurable, According to Psychologists
iStock
iStock

Contrary to what English teachers led us to believe, most readers don’t judge poetry based on factors like alliteration and rhyme. In fact, a new study published in the journal Psychology of Aesthetics, Creativity, and the Arts suggests that vivid imagery (i.e. sense-evoking description) is what makes a poem compelling, according to Smithsonian.

To determine why some poetic works are aesthetically pleasing while others are less so, researchers from New York University and the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany, had more than 400 online volunteers read and rate 111 haikus and 16 sonnets. Participants answered questions about each one, including how vivid its imagery was, whether it was relaxing or stimulating, how aesthetically pleasing they found it, and whether its content was positive or negative.

Not surprisingly, taste varied among subjects. But researchers did find, overall, that poems containing colorful imagery were typically perceived as more pleasurable. (For example, one favorite work among subjects described flowers as blooming and spreading like fire.) Emotional valence—a poem's emotional impact—also played a smaller role, with readers ranking positive poems as more appealing than negative ones. Poems that received low rankings were typically negative, and lacked vivid imagery.

Researchers think that vivid poems might also be more interesting ones, which could explain their popularity in this particular study. In the future, they hope to use similar methodology to investigate factors that might influence our enjoyment of music, literature, and movies.

[h/t Smithsonian]

nextArticle.image_alt|e
Hulton Archives/Getty Images
arrow
literature
15 Facts About Tennessee Williams's A Streetcar Named Desire
Hulton Archives/Getty Images
Hulton Archives/Getty Images

In a sweltering New Orleans, a wilted Southern belle collides with the dysfunctional marriage of her sweet sister and brutish brother-in-law. This is the plot of Tennessee Williams's classic play, A Streetcar Named Desire, which opened on Broadway on December 3, 1947. But the story of its making and legacy is even wilder than Stanley Kowalski's screaming.

1. WILLIAMS SET THE PLAY IN HIS CHOSEN HOME.

The boy born Thomas Lanier Williams III lived in Columbus, Mississippi, until he was 8 years old. From there, his traveling salesman father bounced the family around Missouri, moving 16 times in just 10 years before abandoning them. As he forged a path of his own, Williams wandered from St. Louis's Washington University to the University of Iowa to the New School in New York City, and even spent some time working on a chicken ranch in Laguna Beach, California. But at 28, he found his “spiritual home” in New Orleans. There he officially changed his given name to the college nickname he'd come to prefer. Inspired by the culture of the French Quarter, he wrote short stories and what would become one of his most popular plays. There he became Tennessee Williams, in more ways than one.

2. A STREETCAR NAMED DESIRE WAS NAMED AFTER A REAL STREETCAR LINE.

Named for its endpoint on Desire Street in the Ninth Ward, the Desire line ran down Canal Street onto Bourbon and beyond. It operated from 1920 to 1948—meaning that shortly after becoming famous on Broadway, it was retired in favor of buses that were quieter and put less stress on the streets and surrounding buildings. Gone but not forgotten, one of the Desire cars was restored in 1967, and was made a tourist attraction. In 2003, the city even proposed resurrecting the streetcars and this famous line's name, but this dream died when federal funding was denied.

3. STANLEY KOWALSKI WAS INSPIRED BY TWO MEN.

The name "Stanley Kowalski" was borrowed from a factory worker Williams met while living in St. Louis. But the playwright's true muse was Amado ‘Pancho’ Rodriguez y Gonzales, a Mexican boxer who was once Williams's lover, and who argued the character he inspired should be Latino, not Polish.

Ten years his junior, Gonzalez met Williams when the writer traveled to Mexico City in late 1945. Entranced by the macho 24-year-old, Williams invited Gonzalez to move into his New Orleans home. Their relationship lasted only two years. By the time Streetcar Named Desire hit Broadway, Williams had moved on to who would be the love of his life, aspiring writer Frank Merlo.

4. BLANCHE MAY HAVE BEEN A STAND-IN FOR WILLIAMS.

As a gay man, the writer had been mocked all his life, called "sissy" by sneering peers, and “Miss Nancy” by his drunken, abusive father. In some respects, he was like Blanche, a gentle Southern soul, thirsty for love and kindness, yet dangerously fascinated by gruff men. Elia Kazan, who directed both the original Broadway production of Streetcar and its movie adaptation, once said of Williams, "If Tennessee was Blanche, Pancho was Stanley….Wasn’t he [Williams] attracted to the Stanleys of the world? Sailors? Rough trade? Danger itself? Yes, and wilder. The violence in that boy, always on a trigger edge, attracted Williams at the very time it frightened him.”

The closest Williams came to commenting on this comparison was saying of his work, "I draw every character out of my very multiple split personality. My heroines always express the climate of my interior world at the time in which those characters were created.”

5. A STREETCAR NAMED DESIRE WAS WILLIAMS'S SECOND BIG BROADWAY HIT.

In 1945, Williams broke through with his groundbreaking autobiographical drama The Glass Menagerie. Just a year and a half after this acclaimed production closed, A Streetcar Named Desire opened to even greater praise. Reportedly, the standing ovation lasted for 30 minutes after the curtain descended on opening night.

6. THE PLAY WAS DRASTICALLY DIFFERENT FROM ITS BROADWAY CONTEMPORARIES.

In her historical essay on Williams, critic Camille Paglia notes that A Streetcar Named Desire was a total change from The Glass Menagerie. Where the former had a "tightly wound gentility," the latter boasted "boisterous energy and eruptions of violence." But more than that, "Streetcar exploded into the theater world at a time when Broadway was dominated by musical comedies and revivals." She adds, "the shocking frankness with which Streetcar treated sex—as a searingly revolutionary force—was at odds with the dawning domesticity of the postwar era and looked forward instead to the 1960s sexual revolution."

7. IT CEMENTED WILLIAMS'S REPUTATION AS A MAJOR VOICE IN AMERICAN THEATER.

The New York Times critic Brooks Atkinson proclaimed, "Mr. Williams is a genuinely poetic playwright whose knowledge of people is honest and thorough and whose sympathy is profoundly human." A Streetcar Named Desire went on to run for more than 800 performances, and would win the New York Drama Critics' Circle Award for Best Play. Jessica Tandy earned a Tony Award for originating the role of Blanche, and Williams was honored with the Pulitzer Prize for Drama.

8. STANLEY KOWALSKI LAUNCHED MARLON BRANDO.

At 23, Brando was a method actor who was drawing praise in a string of Broadway roles. The year before A Streetcar Named Desire debuted at the Ethel Barrymore Theatre, New York critics had voted him "Broadway's Most Promising Actor" because of his powerful performance in Maxwell Anderson's Truckline Café. His portrayal as Kowalski delivered on that promise, and then some. Playwright Arthur Miller wrote that he seemed "a tiger on the loose, a sexual terrorist … Brando was a brute who bore the truth." And this intensity was captured in the 1951 film adaptation, which earned the actor an Oscar nomination for what was only his second film role.

9. A STREETCAR NAMED DESIRE REDEEMED WILLIAMS'S HOLLYWOOD REPUTATION.

Following the success of The Glass Menagerie's Broadway run, Warner Bros. hired Williams to draft an adapted screenplay for a movie version. But seeking a more commercial offering, they hired another writer to tack on a happy ending, behind Williams's back. The result was a critically panned dud that the playwright denounced as a "travesty." Nonetheless, Williams returned to Warner Bros. with A Streetcar Named Desire. This time, however, the director and most of the cast from the Broadway show were kept on for the film, which went on to earn an impressive 12 Academy Award nominations, winning four, including Best Supporting Actress (Kim Hunter) and Best Actress (Vivien Leigh).

10. JESSICA TANDY WAS THE ONLY LEAD OF THE BROADWAY PLAY NOT CAST IN THE MOVIE.

Hollywood didn't care about her Tony or her rave reviews. Warner Bros. needed a big name to assure the film's success. So Tandy was dropped in favor of Leigh, who'd played the role of Blanche in a London production of A Streetcar Named Desire, but more importantly was a household name thanks to her first Oscar-winning role, that of Scarlett O'Hara in 1939's historical epic Gone With The Wind.

11. THE FILM WAS TAMER THAN THE PLAY.

With mounting pressure from a public concerned about the influence movies have on children, Hollywood created The Motion Picture Production Code, a series of guidelines about what was acceptable and not in film. Thus, A Streetcar Named Desire's movie adaptation was forced to tone down some coarser language, and cut some of its most scandalous elements, like Blanche's promiscuity and her late husband being a closeted homosexual. For instance, in the play Blanche demands of her sister, "Where were you? In bed with your pollack!" In the film, she says, "In there with your pollack!"

12. WILLIAMS FOUGHT TO KEEP BLANCHE'S RAPE FROM BEING CUT.

Following their climactic confrontation, the play implies Stanley rapes Blanche. But Warner Bros. felt this was too dark for the movie. Williams and Kazan sparred with the studio over this. The former argued, "[The] rape of Blanche by Stanley is a pivotal, integral truth in the play, without which the play loses its meaning which is the ravishment of the tender, the sensitive, the delicate by the savage and brutal forces of modern society." Like in the play, this grievous crime occurs between scenes, but its implication is clear by the violent events that lead up to a fade to black.

13. ONCE AGAIN, HOLLYWOOD TACKED ON A HAPPY ENDING.

The compromise on including the rape was that Stanley would have to be punished for the act. So just as they did with The Glass Menagerie, Warner Bros. softened the end of William's acclaimed tragedy with a script change. In this case, a line is included, where Stella declares she won't go back to her abusive husband. It's a stark contrast to the play, which concludes with the stage direction "He kneels beside her and his fingers find the opening of her blouse," as Stanley coos to her. Williams would go on to say the adaptation was "only slightly marred by [a] Hollywood ending."

14. THE FILM MADE A STREETCAR NAMED DESIRE ICONIC.

Brando's tour de force performance may not have won him the Oscar, but his brutish performance, tight white t-shirt, and signature "Stella!" cry made the movie one that would not be forgotten. Today, the play is considered a classic, and has been revived on Broadway eight times. In 1999, the movie adaptation was added to the National Film Registry, which aims to preserve "culturally, historically or aesthetically" works of cinema. And in 2005, the American Film Institute included Kowalski's agonized scream of "Stella! Hey, Stella!" among its 100 greatest movie quotes of the last 100 years. It came in at number 45.

15. EVERY SPRING, NEW ORLEANS THROWS A FESTIVAL IN HONOR OF THE PLAY.

Called the Tennessee Williams/New Orleans Literary Festival, the annual five-day event celebrates Williams's world-famous work, showcases emerging writers, and provides educational opportunities for literary students. It also offers tours of the French Quarter locations where Williams walked, conversed and worked, like the Hotel Maison de Ville, the restaurant Galatoire's, which gets a mention in Streetcar; and the apartment where he lived with Pancho, which overlooked the Desire line.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios