The Negation of Reality in Roald Dahl’s Literary Classic
From the Brownstone Institute
Last weekend it was reported how books by the popular children’s book author, Roald Dahl, are now being republished after significant changes to the texts. According to The Guardian, the changes are only about removing “offensive language” from his books. The Roald Dahl Story Company says the changes are minor and only about making the text more accessible and “inclusive“ to modern readers.
Gerald Posner covered the issue on February 19th, citing a few examples of changes, which are certainly not minor; entire paragraphs are removed or altered beyond recognition. There are hundreds of changes, Posner says, agreeing with writer Salman Rushdie who has called these changes “absurd censorship.”
Nick Dixon has published a short piece on the matter in the Daily Skeptic, pointing out how some of the changes make Dahl’s text lifeless and flat and how all humour is carefully removed. Example from Matilda: “Your daughter Vanessa, judging by what she’s learnt this term, has no hearing organs at all” becomes “Judging by what your daughter Vanessa has learnt this term, this fact alone is more interesting than anything I have taught in the classroom.”
In other cases, the meaning simply disappears: “It nearly killed Ashton as well. Half the skin came away from his scalp” becomes “It didn’t do Ashton much good.” Some of the changes are outright absurdly silly, considering when the original text was written. One example Dixon takes: “Even if she is working as a cashier in a supermarket or typing letters for a businessman” becomes “Even if she is working as a top scientist or running a business.”
“Mother” becomes “parent,” “man” becomes “person,” and “men” become “people.” “We eat little boys and girls” becomes “We eat little children.” Boys and girls have no right to exist anymore, no more than mothers or fathers; biological sex is prohibited. But the censors, sarcastically called Inclusive Minds, don’t seem to be bothered by the practice of eating children.
References to authors currently banned for unfashionable beliefs are removed or changed. Joseph Conrad becomes Jane Austen. Rudyard Kipling becomes John Steinbeck.
Nothing is mild enough to escape the watchful eyes of the censors, Dixon says, noting how “Shut up, you nut!” becomes “Ssshhh!” and “turning white” becomes “turning quite pale.” To the “inclusive,“ “white“ is a forbidden word of course.
Suzanne Nossel, president of the American branch of the PEN writers’ organization, expresses her dismay in an interview with the Washington Post. “Literature is meant to be surprising and provocative,” Nossel says, explaining how attempts at purging texts of words that might offend someone “dilute the power of storytelling.”
Roald Dahl is by no means uncontroversial. But his stories are the actual stories he wrote. The watered down and sanitised texts of the censors are simply no longer the author’s stories.
Or, as Posner concludes: “Words matter. The problem is that the Dahl sensitivity censorship sets a template for other hugely successful author franchises. Readers should know that the words they read are no longer the words the author wrote.”
The destruction of Roald Dahl’s books is yet another sign of the all-pervasive negation of reality we now face. We see this negation all around us, in literature, history, politics, economics, even in the sciences. Objective reality gives way to subjective experience, emotions, or preferences in place of what is true.
It gives way, in fact, to radical subjectivism, which might just be the logical, yet contradictory conclusion of the victorious march of individualism in the West over the past few decades. It gives way, until all our common points of reference are gone, until our common sense has all but disappeared; until, atomised, lonely, incapable of meaningful communication, we no longer share a society. What takes its place will surely be no fairy tale.
And what better example of this negation of reality than the Guardian’s headline, whereby the total destruction of the work of a beloved author becomes “removing offensive language” in a few places?
Republished from the author’s Substack
‘A big part of my life’: Orillia mourns hometown legend Gordon Lightfoot
Two men pay respects at Gordon Lightfoot’s Golden Leaves statue at Tudhope Park in Orillia, Ont., on Tuesday, May 2, 2023. Flowers were placed on the tribute after news broke that Lightfoot passed away at 84 years old Monday May 1, 2023. THE CANADIAN PRESS/Christopher Drost
By Sharif Hassan in Orillia
It didn’t take long for the flowers to appear at the statue of Gordon Lightfoot in his Ontario hometown.
The legendary folk musician, claimed by the City of Orillia as its “favourite son,” died of natural causes at a Toronto hospital on Monday at the age of 84.
Barely 24 hours later, Orillia residents stopped by the bronze sculpture of Lightfoot that stands in a city park to pay their respects.
Cam Gardy, who brought yellow flowers to lay at the base of the statue, said his mother went to school with the musician and would tell tales of how he’d perform for students.
“He has been a part of my life as I have grown up,” Gardy said, adding that while he never met Lightfoot personally, he had been to one of his concerts.
“Mr. Lightfoot is iconic, not only to the residents and the city but obviously to the people across Canada.”
Lightfoot put Orillia on the map, Gardy said, and was an “incredible ambassador” for the city.
“He always spoke of his town fondly,” Gardy said.
Joanna Bell, who brought a rose to place at the statue, said she cried when she woke up to news of Lightfoot’s death on Tuesday morning.
“Gordon Lightfoot was a big part of my life, my childhood,” she said, adding that she is one of seven siblings. “He was loved by all of us, and of course he wrote the most beautiful music.”
Lightfoot’s music brings to mind the beauty of Canada, she said.
“He is such a well-respected Canadian,” she said. “That is why I came today, I felt compelled to come.”
Heather Placken, who said she’s been a fan of Lightfoot’s for 40 years, said she only learned of the singer’s death when walking by the entrance of the Orillia park hosting his statue – an announcement had been posted by the entrance.
“I feel really honoured and grateful that I had the opportunity to see him here last summer,” she said.
Lightfoot was more than just a songwriter and musician, she said.
“Every song he has ever written and sang, it tells a story of something significant that everyone of us can relate,” she said.
“He was an amazing individual and for Canadians, to have somebody of that stature to look up to in the music industry is phenomenal.”
Lightfoot was born in Orillia in 1938, sang in a church choir as a boy and dreamed of becoming a jazz musician.
He later emerged from Toronto’s Yorkville folk club scene in the 1960s, and went on to record more than 20 studio albums and hundreds of songs, including “Early Morning Rain,” “Carefree Highway” and “Sundown.”
Orillia Mayor Don McIsaac said Lightfoot was highly regarded in the city.
“His homecoming concerts at the Orillia Opera House and appearances at the Mariposa Folk Festival have always been celebrated by Orillians as they welcomed him home,” the mayor wrote in a statement.
“Many of us who knew him will remember his soft-spoken demeanor, generous personality and infectious laugh.”
There are reminders of Lightfoot throughout Orillia, McIsaac said, noting that the singer’s name graces a city auditorium stage and a trail, while a bust of him sits at the Orillia Opera House, in addition to the sculpture honouring him in the city’s J.B. Tudhope Memorial Park.
“His deep roots in our city are woven into the fabric of Orillia,” McIsaac said. “Our community is mourning together along with the rest of the world.”
The city has lowered its flags to half-mast, the mayor said. Books of condolences for the music icon are available at the Orillia Opera House and Orillia City Centre.
A concert tour to celebrate Lightfoot’s music had been set to begin on Saturday, on the stage named after him at the Orillia Opera House. It will still go ahead, with the show’s creator saying she hopes it will serve as a celebration of Lightfoot’s music and life.
“My band and I were huge fans of Gordon Lightfoot. The reason that we created this concert is because his music has impacted all of our lives so much,” Leisa Way said in an interview.
“He’s just shaped who I am as a Canadian, certainly growing up in northern Ontario, and now it will be very emotional for all of us.”
Way said the concert, called Early Morning Rain: The Legend of Gordon Lightfoot, had premiered for three weeks in February 2020 but the COVID-19 pandemic meant it had to stop.
She said she hopes Saturday’s concert will be a special event for the residents of Orillia.
“There’s nothing that Gordon Lightfoot would love more than knowing that audiences are getting together in theaters and singing along to all of his songs,” she said. “I think he’ll be smiling down on us.”
– with files from Maan Alhmidi in Toronto.
This report by The Canadian Press was first published May 2, 2023.
Antiquities, plucked from storeroom, on Roman Forum display
Archaelogical findings are stored in plastic tubs in the antiquities storeroom inside the Roman Forum in Rome, Wednesday, April 19, 2023. The pieces today on display at the Forum were part of the myriads of findings still kept in the Colosseum storehouse that is not open to the public. (AP Photo/Domenico Stinellis)
By Frances D’emilio in Rome
ROME (AP) — Hundreds of remnants of ancient Roman life — including colored dice, rain gutter decorations depicting mythological figures, and burial offerings 3,000 years old — have long been hidden from public sight. Until now.
For the next few months, a limited number of visitors to the Roman Forum, Colosseum or Palatine Hill can view a tantalizing display of ancient statuettes, urns, even the remarkably well-preserved skeleton of a man who lived in the 10th-century B.C. All the exhibits have been plucked from storerooms in the heart of the Italian capital.
Indeed, so many artifacts are kept in storerooms that “you could open 100 museums,” said Fulvio Coletti, an archaeologist with the Colosseum archaeological park. On Wednesday, Coletti stood at the entrance to a “taberna,” a cavernous space which had served commercial purposes in ancient Roman times and belonged to the palace complex of the 1st-century Emperor Tiberius.
Three such “tabernae” now double as exhibition rooms for once-hidden antiquities. To give an idea of just how many more artifacts are still not on display, curators stacked enormous see-through plastic tubs, chockful of discoveries from some 2,000 years ago and bearing minimalist labels like “Ancient Well B Area of Vesta,” a reference to the temple in the Forum erected to the goddess of the hearth.
One display holds row after row of ancient colored dice — 351 in all — that in the 6th century B.C. were tossed into wells as part of rituals. Also in the exhibit is a decoration from a temple rain-gutter depicting a bearded Silenus, a mythological creature associated with Dionysus, the wine god.
Some artifacts are displayed in showcases custom-made by archaeologist Giacomo Boni, whose excavations in the first years of the 20th century revealed dozens of tombs, including many of children. Some of the tombs dated from as far back as the 10 century B.C., centuries before the construction of the Roman Forum, the center of the city’s political and commercial life, when the city’s inhabitants dwelt in a swampy expanse near the River Tiber.
In one display case is the largely intact skeleton of a man who was a good 1.6 meters tall (about 5-foot-4 inches), on the taller side for his time, in the 10th century B.C. He was buried with some kind of belt, whose bronze clasp survived. Found in his tomb and on display are a scattering of grains, remnants of funeral rites. Layers of mud, formed in Rome’s early days, helped preserve the remains.
The director of the Colosseum’s Archaeological Park said staff were working to make an inventory of artifacts kept in more than 100 storerooms, whose contents up to now have been accessible to academics but few others.
“We want in some way to make objects come to light that otherwise would be invisible to the great public,” Alfonsina Russo, the director, told The Associated Press.
“We’re talking of objects that tell a story, not a big story, but a daily story, a story of daily life,” Russo said.
Every Friday through July, visitors can admire the antiquities pulled out of the storerooms during 90-minute guided tours. The “tabernae” are small exhibition spaces, so only eight visitors can enter during each tour. Reservations are required, and visitors must buy an entrance ticket to the archaeological park. Park officials indicated they hope the initiative can be extended or renewed.
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