The Censor Keeps a Copy

Twenty years ago, give or take, a friend told me a story he expected me to admire. He was a Latter-day Saint who worked in technology, and he was, as I understood it then, the bishop of his ward, an unpaid office the church gives to laymen who keep their day jobs, so he kept a company’s hours all week and presided over a congregation on Sundays. There was a Mormon bookstore he went into often, and one day he walked in and found a new display for Goosebumps, the paperbacks with the dripping green logo about haunted masks, a ventriloquist’s dummy with a mind of its own, and a werewolf in a Florida swamp. He spoke to the owner. The owner told him the books were selling well and that those sales were keeping the store alive. My friend pressed him on content, judged the whole series blasphemous, an invitation to the occult at a child’s price, and let it be understood that if the titles stayed on the shelf a report would go to the stake president. A week later he came back. The books were gone, the owner was distant and cold, and my friend bought a couple of books, in his own phrase, to make up the difference. He told me this the way another man might tell you he had coached his kid’s team to a championship. He was proud. The word I have settled on, twenty years later, is forensic: he had investigated, prosecuted, and won, and he walked out of that store on the high of it.

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The New Book Burning: Rewriting Roald Dahl

There’s nothing new in having established books censored. In 2011, I wrote about the concentrated effort to have Mark Twain’s books “rewritten” and “edited” without him. Today, there is a similar effort to “rewrite” and “edit” the fine work of author Roald Dahl. These reverse efforts, after publication, to quiet the writer’s voice through “social context” editing, is absolutely the same as burning books on a wood pyre — but with the excuse of protecting children. and of being sensitive to the new emancipation of provocative social norms.

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