Between 1924 and 1925 AA 's poetry faced controversy: while some critics placed her in the forefront of women poets in Russia, others blamed her for being un-Soviet, a representative of the long-gone pre-revolutionary era.The year 1925 saw inclusion of her work in the voluminous anthology Russian Poetry of the Twentieth Century, but this marked the last appearance of her writing till 1940. By a secret resolution, the Communist regime banned publication of her poetry.The campaign against Akhmatova's poetry . . . had begun, although she did not learn about the ban until 1927.

As a direct result of this publication she was removed from her top job as Egypt's Director of Public Health and Education, and from the related positions that went with it. Defiantly, she followed this book in 1973 with another publication whose title translates as Men and Sex. Many of her early Arabic writings have not been translated.

The novel's serialisation ran until December 1920, when the US Post Office brought charges of obscenity against it. In spite of the threat of prosecution, the Little Review continued its serialisation. The 1919 January and May numbers were confiscated, as was the January 1920 number. As Richard Ellmann writes: Confiscation meant burning.

Walder discerned in it a coded homage to George Bizos and Bram Fischer , who defended Nelson Mandela .Gillian Slovo , who grew up in these circles, recognized the family: their heroism and their sacrifice, and . . . something of the strain that is placed on a child from such a family. Reading this book was for her a lesson in the way novels not only open up worlds to readers, but bring intimates of those worlds to a fuller understanding of themselves.NG , with others, told the story of the banning of this book in the following year in a pamphlet published in Johannesburg, What Happened to Burger's Daughter, or how South African Censorship Works.

A number of MBL 's stories deal with the damage inflicted by war. The Molotov Bread Basket in What of the Night describes the effects of blast, which can kill without maiming, as MBL had discovered from the wartime death of one of her daughter's friends. A story about a dog was held up in 1944 by the British wartime censorship because it featured a land-mine—even though it had already been widely circulated in the USA.

This novel fell foul of the Irish Censorship Board , which banned it as immoral because of its portrayal of a young Irish girl choosing of her own will (rather than being led astray) to commit sins she knows to be grave: premarital sex and adultery.KOB 's emphasis on the struggles of conscience of young Irish girls marked her, said an English friend, as a member of an extinct species. The Irish ban contributed to the novel's high sales elsewhere. Val Hennessy observes that here, KOBwrites with almost poetic intensity of the ecstasy and anguish of love.

After her rejection by Pawling , P. R. said she should try another publisher. Arthur Waugh of Chapman and Hall liked her manuscript but judged it too outspoken because it mentioned corsets. He suggested another publisher, whom she duly tried although she found it was a dealer in soft porn. This firm said that two of their three readers had liked the work (the disliker was a woman), and offered to publish it, but at three and six, instead of the usual six shillings.GHS was outraged and went back to Waugh, who accepted it with the corsets passage cut out. It is mentioned as already published on the title-page of The Roundabout, which followed later that year.

EG 's close friend Lady Warwick , when shown the finished manuscript of this book, warned EG not to publish it, or she would tarnish or ruin her reputation. Indeed, the novel did shock many readers, both by its explicit love scenes and by the lovers being adulterous.Though the Sunday Times found much to praise, it also sounded a cautionary note: Readers who can tolerate in fiction a defiance of the conventions will find Three Weeks a very dainty romance. The Times Literary Supplement review, however, was uniformly scathing and admonitory. It reproved EG for idealising adultery and for her extravagantly melodramatic style. The lack of delicacy and refinement which mars her handling of the theme tends at every turn to emphasise its objectionable character. Mrs. Glyn must return to fresher and more healthful themes if she is to retain her hold upon an English audience.American author Mark Twain , however, took up with gusto the novel's idea that so great a passion was divine and that its commands must be obeyed. They get to obeying them at once and they keep on obeying them and obeying them, to the reader's intense delight and disapproval, and the process of obeying them is described, several times, almost exhaustively, but not quite—some little rag of it being left to the reader's imagination.But as Lady Warwick had foreseen, EG 's own reputation came under attack by those who felt that the author of an immoral book must also necessarily be immoral.The book was banned from Eton , and variously banned in the USA. There one state banned it entirely, Boston banned it from libraries and schools, and it was prohibited from being sent by mail. As late as 1932 it still faced censorship: Ohio banned a Mickey Mouse cartoon in which a character was seen reading it.

Sooner or Later received (perhaps excessively) high praise from a number of VH 's contemporaries. Marie Belloc Lowndes (daughter of Bessie Rayner Parkes ) wrote in The Merry Wives of Westminster, 1946, that it was Hunt's most important book . . . the first modern novel which dealt, in a serious sense, with the problem of illicit love.W. Somerset Maugham , one of the novel's first readers, suggested to Hunt, I do not think, in English at least, that the relationship between a married man & his mistress, a jeune fille, has ever been analyzed before. I think you have done it with very great skill. I confess I should have liked a little more obscenity . . . but I recognise that this was impossible. Perhaps because the perceived obscenity that Sooner or Later did contain, Boots the chemists refused to carry it in their circulating libraries (as they were later to refuse Hunt's White Rose of Weary Leaf, 1908).

The printer and publisher of DM 's New Atalantis were arrested.

When, later this year, PB published against the Munich Pact, the Nazi government reacted within only four days by banning the translation of Sleep in Peace.

On the other hand her second poem written in Brazil, The Shampoo—which likens the rings of lichen growing on rocks, the rings around the moon, to the shooting stars in your black hair / in bright formation—was rejected for The New Yorker by Katharine White as a small personal poem [which] perhaps doesn't quite fit there. It was rejected or ignored by others as well: presumably not because it was small and personal but because it celebrated same-sex love at a time when the USA (though not Brazil) was becoming increasingly suspicious of this as an unacceptable perversion.

The film was praised for its strong political message. Bosley Crowther of the New York Times wrote, There is no use mincing words about it: The Mortal Storm falls definitely into the category of blistering anti-Nazi propaganda. It strikes out powerfully with both fists at the unmitigated brutality of a system which could turn a small and gemutlich university community into a hotbed of hatred . . . . As propaganda, The Mortal Storm is a trumpet call to resistance.

View reference

qtd. in

Calder, Robert. Beware the British Serpent. McGill-Queen’s University Press, 2004.

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The film was so powerful as propaganda that Joseph Goebbels allegedly ordered countries under German control to ban all Hollywood films.

Jassy was the only picture scheduled for production when she and Sydney took over managing Gainsborough Studios in 1946, and even that was not ready to go, being not fully scripted. When the Boxes moved on four years later, MB left forty-two scripts at various stages of production—which, she observes, was only just enough to keep the wheels turning smoothly. She writes: The lack of good screen-writers at this period drove us nearly berserk, and much of her own writing stemmed from being compelled to rewrite, cut and polish a script ourselves in order to meet the minimum standard required. There were constant problems with the censor. Pre-consultation might cause a whole project to be abandoned, but on the other hand submission at a later stage ensured that the mandatory cuts frequently arrived in the middle of shooting, thereby wasting time and fraying tempers.MB followed Jassy with the costume drama Quartet, 1948, and Trio, 1950, both from works by Somerset Maugham . She was billed as co-director with Bernard Knowles of The Lost People, 1949, a film about postwar refugees in Europe, whose script she had very largely rewritten.

EC was imprisoned in Newgate to await trial at the Old Bailey criminal court for her publication (which Jacob Tonson , reporting this, called a Libell upon the whole Government. At the same time, by order of the Privy Council , all copies found in her house were seized.

In 1915 films of VC 's novels Five Nights and Paula were produced in Britain. Cross stated that she had prepared and practically produced the former, although Charlotte Mitchell notes that the records do not support her claim. Noting with pride that Five Nights had been immensely successful, making a profit of £11,000 in the first six months, Cross later proclaimed in a letter that I think I can justly claim to know what the public wants in films as well as books. The adaptation of Five Nights was controversial. Produced by William George Barker and directed by Bert Haldane (who had previously collaborated to produce an adaptation of Ellen Wood 's East Lynne in 1912), the film was passed by the British Board of Film Censors but considered indecent by local authorities in Preston, Bath, Walsall, Brighton, and London (it was, however, shown in Liverpool, Cardiff, and Bristol). These differing interpretations of the movie's indecency led to calls for stronger centralised censorship of films.

RHD left the New York Daily Tribune after a connection of twenty years, over the infringement of her First Amendment rights and her determination to retain her integrity.

Several of her tracts of 1660 were deemed too inflammatory to be included in her Works in 1702.

Ruth, EG 's sympathetic portrayal of a fallen woman, was published as by the author of Mary Barton; the novel was promptly banned by Bell's Library in London and created fierce debate country-wide.

The bookseller W. H. Smith , on its publication in 1891, declined to sell the novel on the grounds that it was filthy.

Irish nationalist Jane Francesca Elgee (later JFLW ) anonymously published her second polemical leader, Jacta Alea Est (that is the die [literally the javelin] is cast), in the Nation. The paper was at once suppressed.

EW 's The Whim, A Comedy, having been, most unusually, denied a licence by John Larpent , the official censor (husband of the diarist Anna Margaretta Larpent ), was printed at Margate in Kent with an indignant Address from the author.

Some reviewers were tiring of AW 's committed stance. Katha Pollitt in the New York Times complained that these stories were partisan (the black woman is always the most sympathetic character). The Kirkus Review found them ragged, often superficial, with more sociological than literary interest.The Abortion, however, won the O. Henry Prize for 1981. The pornography story, Coming Apart, presented from the point of view of the porn-user's wife, was itself deemed pornographic and temporarily banned by at least one US school district.

Married Love sold over two thousand copies in two weeks, was into its sixth edition by the end of 1918, and was eventually translated into twelve languages. It was, however, declared obscene by the Court of Special Session in New York, and the publisher fined $250. The ODNB entry on MS reminds readers of the essential fact that this book literally changed lives.