Children Revolt Over Censorship of Classic Literature, Says Sir Alexander McCall Smith
The Roald Dahl Story Company has undertaken a review of Dahl's works to remove offensive content related to weight, mental health, violence, gender and race
In a recent commentary, acclaimed Scottish author Sir Alexander McCall Smith voiced his criticism of the ongoing practice of censoring classic children's books to cater to modern sensitivities. McCall Smith, best known for his No. 1 Ladies’ Detective Agency series, argued that children prefer the unedited versions of beloved classics by authors such as Roald Dahl and Enid Blyton, suggesting that young readers are capable of recognizing and protesting against what they perceive as a “sanitised world view.”
Criticism of Censorship in Classic Literature
The debate over the censorship of children's literature has intensified in recent years, with publishers and literary estates reassessing the content of older books to align with contemporary values. The Roald Dahl Story Company, in collaboration with Puffin Books, has notably undertaken a review of Dahl's works, leading to the removal or alteration of language deemed offensive. These changes targeted references to weight, mental health, violence, gender, and race. Similarly, Enid Blyton's works have faced criticism for perceived racism and xenophobia, prompting revisions to address these concerns.
McCall Smith expressed his opposition to these modifications in his column for Scottish Field magazine, emphasizing that children appreciate the authenticity and rawness of the original texts. He argued that young readers are perceptive enough to notice when content has been altered to fit modern sensibilities. “Children know if you skip anything, whether out of desire to get to the end more quickly, or because you decide that a passage is too out of step with the zeitgeist,” McCall Smith wrote. “Once they spot the censorship, they are not slow to protest.”
The Appeal of Unedited Stories
Despite acknowledging the problematic aspects of certain classic works, McCall Smith believes that children can understand and contextualize these themes. He shared his personal experience of reading the unedited versions of Blyton’s Secret Seven books to his grandchildren, noting that they still find joy in these stories. “There is a lot to feel uncomfortable about in Enid Blyton,” he noted. “The children in the books are often unkind, embodying the unattractive attitudes of bourgeois Surrey circa 1952. The real point here is somebody is excluded, which makes membership of the band seem infinitely more precious.”
McCall Smith posited that the exclusivity and sometimes harsh behavior depicted in these stories resonate with children, who, he suggests, “remain doggedly socially conservative, not to say reactionary.” He observed that despite modern parenting efforts to instill more progressive values, children continue to be drawn to the unfiltered, sometimes politically incorrect narratives of the past. “They love unbowdlerised Roald Dahl. They love the nasty put-downs of the Secret Seven,” he added.
Freedom to Choose
The debate over censorship in children’s literature gained widespread attention last year when Puffin Books announced the release of the Roald Dahl Classic Collection. This move was in response to public backlash against the editing of Dahl's works, with critics arguing that the changes diluted the original stories' essence. The publisher's decision to offer both edited and unedited versions of Dahl’s books was seen as a compromise, allowing readers to choose which version they prefer.
Balancing Sensitivity and Authenticity
McCall Smith’s comments underscore a broader discussion about the role of censorship in preserving cultural heritage while adapting to evolving societal norms. Proponents of editing argue that making classic literature more inclusive and sensitive to contemporary issues is essential in shaping a more tolerant society. Critics, however, argue that altering these works undermines their historical and literary value, preventing readers from engaging with the context in which they were originally written.
As the debate continues, the publishing industry and readers alike are faced with the challenge of balancing sensitivity with authenticity, ensuring that children can enjoy classic literature while also fostering an understanding of its historical context. McCall Smith’s remarks highlight the enduring appeal of unaltered narratives and suggest that, despite the intentions of modern censorship, young readers may still prefer stories that reflect the complexities and imperfections of the past.
