The Atlantic: How Banning Books Marginalizes Children

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Every year since 1982, an event known as Banned Books Week has brought attention to literary works frequently challenged by parents, schools, and libraries. The books in question sometimes feature scenes of violence or offensive language; sometimes they’re opposed for religious reasons (as in the case of both Harry Potter and the Bible). But one unfortunate outcome is that 52 percent of the books challenged or banned in the last 10 years feature so-called “diverse content”—that is, they explore issues such as race, religion, gender identity, sexual orientation, mental illness, and disability. As a result, the organizers of Banned Books Week, which started Sunday, chose the theme “Celebrating Diversity” for 2016.
Since the inception of the American children’s literature industry in the 1820s, publishers have had to grapple with the question of who their primary audience should be. Do kids’ books cater to parents and adult cultural gatekeepers, or to young readers themselves? But as books that address issues of diversity face a growing number of challenges, the related question of which children both the industry and educators should serve has become more prominent recently. Who benefits when Sherman Alexie’s The Absolutely True Diary of Part-Time Indian, which deals with racism, poverty, and disability, is banned for language and “anti-Christian content”? Who’s hurt when Jessica Herthel and Jazz Jennings’s picture book I Am Jazz, about a transgender girl, is banned? The history of children’s book publishing in America offers insight into the ways in which traditional attitudes about “appropriate” stories often end up marginalizing the lives and experiences of many young readers, rather than protecting them.
During the 19th and early 20th centuries, debates over the target audience of the American children’s-literature industry largely centered around the question of how much adults should trust children to choose what they read. Before the Civil War, the prevailing answer was “very little.” Accordingly, kids’ books and magazines addressed the instructional concerns of adults without worrying much about readers’ interests. New entertainment options, from dime novels to nickelodeons, led to a greater effort to retaining children’s attention by amusing them. Yet even as publishers focused more on engagement, they carefully avoided subjects that riled the parents who bought the books.
In researching my book Commercializing Childhood, I discovered that children’s stories and magazines during the 19th century rarely discussed slavery. When the popular children’s magazine The Juvenile Miscellany ran anti-slavery stories in the early 1830s, its largely New England-based audience abandoned it, and the magazine collapsed within 18 months. The outcome had a chilling effect on other publications. The subject of slavery had a brief revival during the war (when it served to highlight the evils of Southern society), but afterward the topic remained unpopular within the industry. Indeed, the recent #SlaveryWithASmile controversy over two books’ depiction of slaves’ lives indicates that publishers today still haven’t figured out how to address the subject for younger children in a way that’s both historically accurate and acceptable to parents. -Read more: http://www.theatlantic.com/entertainment/archive/2016/10/how-banned-books-marginalize-children/502424/
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