25 Classic Books That Have Been Banned

iStock.com/asadykov
iStock.com/asadykov

National Library Week is a time to celebrate the most influential books in literary history. But not every novel that's considered a classic today received instant praise. Many beloved titles had to overcome years of censorship before securing spots on required reading lists and library shelves.

The American Library Association has shared a list of books from the Radcliffe Publishing Course Top 100 Novels of the 20th Century that have been challenged or banned. Of the 100 books, nearly half have received pushback from institutions in the past. Some have been criticized for featuring violence (Beloved), profanity (To Kill a Mockingbird), or controversial political messages (Animal Farm). Even seemingly inoffensive novels have been targeted by censors. (The Lord of the Rings was burned outside a New Mexico church in 2001 for being "satanic.")

Below are 25 of the most popular works of literature from the last century that have been banned from schools, libraries, and, in some cases, entire countries. For even more great books that have been banned, including picture books like Dr. Seuss's The Lorax, check out this list.

  1. The Catcher in the Rye by J.D. Salinger

  1. The Grapes of Wrath by John Steinbeck

  1. To Kill a Mockingbird by Harper Lee

  1. The Color Purple by Alice Walker

  1. Beloved by Toni Morrison

  1. Gone With the Wind by Margaret Mitchell

  1. Lolita by Vladimir Nabokov

  1. Of Mice and Men by John Steinbeck

  1. Catch-22 by Joseph Heller

  1. Brave New World by Aldous Huxley

  1. Animal Farm by George Orwell

  1. The Sun Also Rises by Ernest Hemingway

  1. As I Lay Dying by William Faulkner

  1. A Farewell to Arms by Ernest Hemingway

  1. Invisible Man by Ralph Ellison

  1. Native Son by Richard Wright

  1. One Flew Over the Cuckoo's Nest by Ken Kesey

  1. Slaughterhouse Five by Kurt Vonnegut

  1. For Whom the Bell Tolls by Ernest Hemingway

  1. The Call of the Wild by Jack London

  1. The Jungle by Upton Sinclair

  1. Lady Chatterley's Lover by D.H. Lawrence

  1. A Clockwork Orange by Anthony Burgess

  1. The Awakening by Kate Chopin

  1. In Cold Blood by Truman Capote

6 Puzzling Anachronisms That Made It Into Shakespeare’s Plays

iofoto/iStock via Getty Images
iofoto/iStock via Getty Images

William Shakespeare was known for writing with a fabulous disregard for the rules of language. Not only did he regularly coin his own phrases, he also literally made up words—many of which are now in our discourse and dictionaries. And, considering how influential his work has been for the last five centuries, you’d be hard-pressed to find a scholar who thinks that the prolific playwright’s penchant for literary invention was anything but genius.

Having said that, the Bard did actually get a few things wrong. Because many of Shakespeare’s plays include historical figures like Julius Caesar and events like the Trojan War, we know they were set during pretty specific time periods. And while Shakespeare is certainly allowed to mention Niccolò Machiavelli in a play that takes place before Machiavelli was even born, it’s not exactly historically accurate.

What we don’t know for sure are the reasons behind the Bard’s occasional anachronisms. Did he include them intentionally to provide context and clarity for his audience? Or were they legitimate mistakes, because fact-checking was a lot more labor-intensive in the pre-internet era?

Since we’re now just a Google search away from knowing Machiavelli’s birth year and more, here are the details behind six of Shakespeare’s most surprising anachronisms.

1. The clock in Julius Caesar

In Act 2, Scene 1 of Julius Caesar, after the stage directions say “Clock strikes,” Brutus tells Cassius to “count the clock,” and Cassius says it “hath stricken three.” Though humans have been measuring time for thousands of years, clocks definitely didn’t "strike" while Caesar was alive. The first weight-driven mechanical clock was recorded in England in 1283, more than 1300 years after Caesar’s death. Before that, people used sundials or devices called clepsydras, which counted time by measuring water that slowly dripped in or out of a container. Given the late hour, a sundial wouldn’t have sufficed for this scene, and maybe Shakespeare felt that “Check how much water is in the bowl!” would bewilder his modern audience.

2. The doublet in Julius Caesar

doublet from 1580
A doublet, circa 1580.
Catherine Breyer Van Bomel Foundation Fund, Metropolitan Museum of Art // Public Domain

The clock might be Shakespeare’s most famous anachronism in Julius Caesar, but it’s not the only one. Earlier in the play (Act 1, Scene 2), Casca recounts to Cassius and Brutus how, after refusing the crown three times, Caesar pulls aside his clothing to offer the crowd his throat to cut. The clothing, however, isn’t the Roman military finery you’re probably imagining. Casca calls it a doublet, which is a type of fancy jacket popular between the 15th and 17th centuries—Shakespeare himself is sometimes pictured wearing one. Caesar may have been ahead of his time in some ways, but he certainly wasn’t fashion-forward enough to have predicted a trend that occurred more than 1500 years after he died in 44 BCE.

3. The billiards game in Antony and Cleopatra

In Act 2, Scene 5 of Antony and Cleopatra, Cleopatra invites her servant Charmain to play billiards. Considering that Cleopatra was born around 69 BCE in Egypt, and the earliest known mention of billiards wasn’t until 15th-century Europe, an apt response from Charmain would’ve been “Madam, what are billiards?” Instead, she declines the game due to a sore arm, and a mercurial Cleopatra declares that she’s lost interest and would rather go fishing (which, of course, has been around for much longer than billiards).

4. The mentions of Machiavelli in Henry VI

the prince by niccolo machiavelli
dcerbino/iStock via Getty Images

Niccolò Machiavelli made such an impact on society with his treatise The Prince that Shakespeare mentioned him in Henry VI not once, but twice—both with negative connotations. In Act 5, Scene 4 of Part 1, Joan of Arc tells Warwick and York that she’s pregnant with Alençon’s child to convince them not to burn her at the stake. At this, York exclaims “Alençon! That notorious Machiavel!” meaning that Alençon is essentially an immoral person. As you might remember from a high school history class, Joan of Arc eventually did end up burning at the stake in 1431.

Shakespeare’s next reference to Machiavelli occurs in Act 3, Scene 2 of Part 3, right after Henry VI is captured and imprisoned in the Tower of London in 1465. Richard, whose brother Edward currently sits on the throne, delivers a lengthy monologue in which he vows to commit whatever heinous crimes are necessary to steal the crown for himself, “[setting] the murderous Machiavel to school.” In other words, he plans to take Machiavelli’s “The ends justify the means” mantra to such a high level that he’ll basically be showing its founder how it’s done. However, in 1465, Machiavelli was definitely not yet “murderous.” In fact, he wasn’t even born until four years later (and decades after Joan of Arc's death), in 1469.

5. The mention of Aristotle in Troilus and Cressida

In Troilus and Cressida, Shakespeare spins a tale of love and loss during the Trojan War, which is thought to have occurred in either the 12th or 13th century BCE. Aristotle, on the other hand, was definitely born in 384 BCE. So when Hector likens Paris and Troilus to the young men “whom Aristotle thought unfit to hear moral philosophy” in Act 2, Scene 2, he showed wisdom beyond his years … by several hundred years.

6. The gun in A Midsummer Night’s Dream

titiana and nick bottom from a midsummer night's dream
Edwin Henry Landseer, Wikimedia Commons // Public Domain

What we now call gunpowder exploded onto the scene in China as early as 850 CE, and guns themselves were developed over the following centuries. Ancient as that may seem, it’s not nearly as old as ancient Greece, the setting for Shakespeare’s A Midsummer Night’s Dream. In Act 3, Scene 2, the jester Puck tells the fairy king Oberon how, when Nick Bottom’s friends see him with a donkey’s head, they act like wild geese “rising and cawing at the gun’s report.” In other words, they scatter in fear, much like geese do when a hunter fires his gun. Having said that, it’s hard to begrudge Shakespeare one measly anachronism in a play with fairies, love potions, and roguish sprites who can transform humans into donkeys.

Salvador Dalí's Tarot Card Deck Is Coming Back, Courtesy of TASCHEN

TASCHEN
TASCHEN

Looking for a tarot deck with a little surreal flair? You’re in luck: Beginning in November, art publisher TASCHEN will sell a set of tarot cards drawn by Salvador Dalí, the Spanish artist famous for his paintings of melting clocks.

Dalí was originally commissioned by producer Albert R. Broccoli to design a set of tarot cards for the 1973 James Bond movie Live and Let Die, Smith Journal reports (Jane Seymour’s character, a fortune teller, used them in the film). But the arrangement fell apart when Dalí reportedly requested a much higher sum than Broccoli was prepared to pay. Broccoli later turned to artist Fergus Hall to create the tarot cards that were eventually shown in the film, but Dalí was far enough into the project that he finished all 78 cards.

Each of the cards in the finished deck shows off Dalí’s distinctive style—the Queen of Cups, for example, has a blue mustache and goatee, and the Death card shows a skull floating in a cypress tree. At least two of the cards (the Magician and the King of Pentacles) are self-portraits. The deck was originally published in a 1984 limited edition, but it’s since been re-released on a few occasions.

The latest edition is scheduled for release on November 15. The full set, including all 78 cards and a companion book, costs $60 and can be purchased here.

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