“There is more than one way to burn a book,” wrote Ray Bradbury, in an afterword to his novel Fahrenheit 451. “And the world is full of people running about with lit matches.”
It is no small irony, consequently, that Bradbury’s classic tale of book burning, written in the wake of Germany’s affinity for book burnings leading up to and during World War II, finds itself banned at times in the present day. Book challenges and resulting book bans may not send a plume of smoke into the sky, but the goal is the same: to make it difficult for people to be exposed to certain ideas, to control what they may learn and think. Another classic of thought control, George Orwell’s 1984, often finds itself alongside Bradbury’s novel where such censorship takes root. Both appear on PEN America’s dataset of some 5,800 books banned in US schools between July 2021 and June 2023.
There are multiple compendiums of banned books in schools that have been developed by different organizations. In addition to the expansive list from PEN America, The Washington Post studied trends within book challenges numbering roughly 1,000, drawn from 150 school districts during the 2021-22 year, publishing their results in a multistory report on December 23. Days earlier, on December 20, the Orlando Sentinel listed 673 books removed from classrooms in Orange County, Florida this year alone, primarily due to new Florida laws which require school media specialists to remove books with pornography or so-called “sexual conduct.”
The 673 books from Orange County described many of the same trends as those summarized by the Post and PEN: young adult books, books with LGBTQIA+ content, books by authors of color. Among the authors whose works were placed into review were Maya Angelou, Margaret Atwood, Gordon Parks, Ovid, Marcel Proust, William Styron, Kurt Vonnegut and Alice Walker; among the perhaps more unexpected titles are Jude the Obscure by Thomas Hardy and A Tree Grows in Brooklyn by Betty Smith.
It’s impossible to know what books are in Orange County schools but presumably the number and range is considerable. US News says the district serves over 200,000 students and has 91 middle schools and 60 high schools. That said, it’s not unreasonable to expect that the source of the challenges matches the profile ascertained by the Post in its study, which revealed that 60% of the book challenges came from only 11 people.
Within the 657 books detailed by the Orlando Sentinel, it’s worth noting that a small number of plays were placed under review. They are, in alphabetical order by author:
Four Plays by Aristophanes
Dance Nation by Clare Barron
The History Boys by Alan Bennett
The Bridges of Madison County by Marsha Norman and Jason Robert Brown
The House of Bernarda Alba by Federico Garcia Lorca
The Collected Plays by Lillian Hellman
M. Butterfly by David Henry Hwang
The Beauty Queen of Leeanne by Martin McDonagh
Sweat by Lynn Nottage
Equus by Peter Shaffer
The Food Chain byNicky Silver
That’s right: in Orange County, Florida, students currently can’t read three Tony Award winners for Best Play, as well as a major work by a Pulitzer prize-winner, let alone a collection of plays by one of the earliest major dramatists in world history. There is no indication as to the specific reason why these books have been withdrawn or what universe of books these were drawn from. Is the list so short because the district hasn’t provided schools with a representative sampling of play texts or because the individuals lodging complaints simply haven’t focused their attention in that direction?
Curiously the significantly longer PEN list for 2022-23 doesn’t show any dramatic works, suggesting something in their methodology may be at play, though prose works by writers who are strongly affiliated with theatre can be found, including Alan Cumming, Tim Federle, Lupita Nyong’o, and Adam Rapp; a manga edition of Hamlet also appears. If for some reason PEN has extracted dramatic works intentionally, then they have done the field a great disservice, since the challenging or banning of any text must be brought into the light.
The presence of play texts in school classrooms and libraries is essential, because even in districts where drama has escaped the censors’ eyes, there simply are too few production opportunities for students to be exposed to the breadth of dramatic literature. Incidents of production censorship make the news intermittently, but my own workshops reveal how many titles are refused for production by school officials, and yet more aren’t even proposed by teachers who fear blowback for even suggesting them.
In the wake of the Orlando Sentinel article David Henry Hwang wrote on the social media platform Threads, “Proud to have my play banned in Florida! When the MButterfly movie was banned in China in the 1990s, this led to everyone there wanting to see it. Remains to be seen how Floridians react.”
Nothing would be more gratifying than to find that bans only increase the popularity of the works under fire, sending students to public libraries and bookstores to seek out the forbidden fruit. If that were the case, we’d see authors clamoring to be banned. But once a book is banned, even if the ban generates attention, time passes and attention eventually fades, while the book remains unavailable as part of an educational experience, whether in a classroom or in a school library.
As expansive and valuable as all three reports are, those from PEN and the Washington Post are surely not fully representative of the full extent of book challenges and bans across the country, since they rely on various forms of public records releases, external submissions in response to requests, and direct discovery through interviews. As with so many such cases, they still must be looked at as the tip of the iceberg and, when it comes to dramatic works, as largely insufficient, except to highlight the degree to which a relatively small activist group of narrow-minded people want to dictate what literature can be accessed by young people who are inquisitive, broad-minded and in search of thoughts and stories beyond those that have passed some manner of purity test invented by unqualified individuals on censorious crusades.
As the Sentinel and the Post note, challenges don’t always result in bans and some works may yet be restored to school shelves. That’s why the only response is to support the books and the opportunity for expansive learning – and to watch for where theatre is being silenced, be it in performances, or just as text on shelves in schools.
