Censorship

Defenders of the Holt Basic Readers celebrated their legal victory, but it was a hollow one. In Battleground, a comprehensive account of the case, author Stephen Bates noted that the Holt readers were "once the most popular reading series in the nation," but were brought to "the verge of extinction" by the controversy associated with the court case.¹ If publishers learned a lesson from the saga of the Holt reading series, it was the importance of avoiding controversy by censoring themselves in advance and including nothing that might attract bad publicity or litigation. The 1986 revision of the series, designed to replace the 1983 edition that was on trial in Tennessee, omitted some of the passages that fundamentalist parents objected to. The Holt readers won the legal battle but were commercially ruined. This was not a price that any textbook publisher would willingly pay.

A third major area for litigation in the 1980s involved efforts to ban books, both those that were assigned in class and those that were available in the school library. The first major test came not in the South, but in the Island Trees Union Free School District in New York. There, the local board directed school officials to remove 10 books from their libraries because of their profanity and explicit sexual content, including Bernard Malamud’s The Fixer, Richard Wright’s Black Boy, Kurt Vonnegut’s Slaughterhouse-Five, and Eldridge Cleaver’s Soul on Ice. The courts traditionally deferred to school officials when it came to curriculum and other policy-making, but in this instance the students who objected to the school officials’ decision won by a narrow one-vote margin. In 1982, the U.S. Supreme Court ruled that the students had a "right to receive information." The decision was far from conclusive, however, as the justices wrote seven opinions, none of which had majority support.

Many book-banning incidents were never challenged in the courts. In the 1970s and 1980s, school officials in different sections of the country removed certain books from school libraries or from classroom use, including J.D. Salinger’s The Catcher in the Rye, John Steinbeck’s Grapes of Wrath, Aldous Huxley’s Brave New World, George Orwell’s 1984, MacKinley Kantor’s Andersonville, and Gordon Parks’s Learning Tree. In most cases, parents criticized the books’ treatment of profanity, sex, religion, race, or violence.

The battle of the books shifted to Florida in the late 1980s. In Columbia County, a parent (who was a fundamentalist minister) complained to the local school board about a state-approved textbook used in an elective course for high school students. The parent objected to the book because it included Chaucer’s "The Miller’s Tale" and Aristophanes’s Lysistrata. The school board banned the book and its decision was upheld in federal district court and in an appellate court. In Bay County, a parent complained about Robert Cormier’s I Am the Cheese, a work of adolescent fiction that contains some mild profanity and not especially explicit sexual scenes. The school superintendent suppressed not only that book, but required teachers to write a rationale for every book they intended to assign unless it was on the state-approved list. The superintendent then proscribed a long list of literary classics that he deemed controversial, including several of Shakespeare’s plays, Charles Dickens’s Great Expectations, F. Scott Fitzgerald’s Great Gatsby, and Ernest Hemingway’s A Farewell to Arms. Parents, teachers, and students sued the local school board and the superintendent to prevent the book-banning, and a federal district judge ruled that it was acceptable to remove books because of vulgar language but not because of disagreement with the ideas in them. The litigation soon became moot, however, when the superintendent retired, and all of the books were restored in that particular district.

During the 1980s and 1990s, and after, there were numerous challenges to books by parents and organized groups. Many were directed against adolescent fiction, as authors of this genre became increasingly explicit about sexuality and more likely to utilize language and imagery that some adults considered inappropriate for children. The 30 "most frequently attacked" books from 1965 to the early 1980s included some that offended adults from different ends of the political spectrum. Some were assigned in class; others were in the school library. The list included such books as The Adventures of Huckleberry Finn by Mark Twain, The Diary of a Young Girl by Anne Frank, Black Like Me by John Howard Griffin, The Scarlet Letter by Nathaniel Hawthorne, The Catcher in the Rye by J.D. Salinger, and Go Ask Alice by anonymous.

By 2000, the American Library Association’s list of the "most attacked" books had changed considerably. Most of the classics had fallen away. At the beginning of the new millennium, the most challenged books were of the Harry Potter series, assailed because of their references to the occult, satanism, violence, and religion, as well as Potter’s dysfunctional family. Most of the other works that drew fire were written specifically for adolescents. Some of these books were taught in classes; others were available in libraries.²

The most heated controversy over textbooks in the early 1990s involved a K-6 reading series called Impressions, which was published by Holt, Rinehart, and Winston. The Impressions series consisted of grade-by-grade anthologies with a cumulative total of more than 800 reading selections from authors such as C.S. Lewis, Lewis Carroll, the Brothers Grimm, Rudyard Kipling, Martin Luther King, Jr., and Laura Ingalls Wilder. Its purpose was to replace the old-fashioned "Dick and Jane"-style reader with literary anthologies of high interest for children.

The texts may have been altogether too interesting because they captured the avid attention of conservative family groups across the country. Before they became infamous among right-wing groups, the books were purchased by more than 1,500 elementary schools in 34 states. A small proportion of the series’ literary selections, some of them drawn from classic fairy tales, described magic, fantasy, goblins, monsters, and witches.

Right-wing Christian groups, including Focus on the Family, Citizens for Excellence in Education, and the Traditional Values Coalition, organized against the Impressions series. The controversy became especially fierce in the early 1990s in California. The state-approved textbooks came under fire in half of California’s school districts. Large numbers of parents turned out for school board meetings to demand the removal of the readers they claimed were terrifying their children. One district glued together some pages in the books to satisfy critics. Some districts dropped the series. Critics objected to stories about death, violence, and the supernatural. They charged that the series was promoting a New Age religion of paganism, the occult, and witchcraft. In one district, angry parents initiated a recall campaign against two local school board members who supported the books (the board members narrowly survived the recall vote). In another district, an evangelical Christian family filed a lawsuit charging that the district--by using the Impressions textbooks--violated the Constitution by promoting a religion of "neo-paganism" that relied on magic, trances, a veneration for nature and animal life, and a belief in the supernatural. In 1994, a federal appeals court ruled that the textbook series did not violate the Constitution.

Public ridicule helped to squelch some of the ardor of those who wanted to censor books. Editorial writers across California uniformly opposed efforts to remove the Impressions series from the public schools, providing important encouragement for public officials who were defending the books. The editorial writers read the books and saw that they contained good literature. Most reckoned that children do not live in a hermetically sealed environment. Children, they recognized, see plenty of conflict and violence on television and in real life as well. They confront, sooner or later, the reality of death and loss. Most know the experience of losing a family member, a pet, a friend. Over the generations, fairy tales have served as a vehicle for children to deal with difficult situations and emotions. Even the Bible, the most revered of sacred documents in Western culture, is replete with stories of violence, betrayal, family dissension, and despicable behavior.

One cannot blame parents for wanting to protect their children’s innocence from the excesses of popular culture. However, book censorship far exceeds reasonableness; usually, censors seek not just freedom from someone else’s views, but the power to impose their views on others. Parents whose religious beliefs cause them to shun fantasy, magic, fairy tales, and ghost stories will have obvious difficulties adjusting to parts of the literature curriculum in public schools today. They would have had equal difficulty adjusting to the literary anthologies in American public schools 100 years ago, which customarily included myths and legends, stories about disobedient children, even tales of magical transformation. It may be impossible for a fundamentalist Christian (or Orthodox Jew or fundamentalist Muslim) to feel comfortable in a public institution that is committed to tolerance and respect among all creeds and promotion of none. This conflict cannot be avoided. Much of what is most imaginative in our culture draws upon themes that will prove objectionable to fundamentalist parents of every religion. Schools may offer alternative readings to children of fundamentalist parents, but they cannot provide readings of a sectarian nature, nor should the schools censor or ban books at the insistence of any religious or political group.

Even though the religious right has consistently lost court battles, its criticisms have not been wasted on educational publishers. The Impressions series, for all its literary excellence, was not republished and quietly vanished.

Fear of the pressures that sank the Impressions series has made publishers gun-shy about any stories that might anger fundamentalists. Textbook publishers are understandably wary about doing anything that would unleash hostile charges and countercharges and cause a public blow-up over their product.

Publishers of educational materials do not want controversy (general publishers, of course, love controversy because it sells books in a competitive marketplace). Even if a publisher wins in court, its books are stigmatized as "controversial." Even if a textbook is adopted by a district or state over protests, it will lose in other districts that want to avoid similar battles. It is a far, far better thing to have no protests at all. Publishers know that a full-fledged attack, like the one waged against Impressions, means death to their product. And the best recipe for survival in a marketplace dominated by the political decisions of a handful of state boards is to delete whatever might offend anyone.

II. Censorship from the Left
The left-wing groups that have been most active in campaigns to change textbooks are militantly feminist and militantly liberal. These groups hope to bring about an equitable society by purging certain language and images from textbooks.

Lee Burress, a leader of anticensorship activities for many years in the National Council of Teachers of English, describes in The Battle of the Books how feminists and liberals became censors as they sought to "raise consciousness" and to eliminate "offensive" stories and books. Joan DelFattore, in What Johnny Shouldn’t Read, writes that political correctness, taken to its extreme, "denotes a form of intellectual terrorism in which people who express ideas that are offensive to any group other than white males of European heritage may be punished, regardless of the accuracy or relevance of what they say" (italics in the original). The censors from the left and right, she says, compel writers, editors, and public officials to suppress honest questions and to alter facts "solely to shape opinion." Once a society begins limiting freedom of expression to some points of view, then "all that remains is a trial of strength" to see whose sensibilities will prevail.³

While the censors on the right have concentrated most of their ire on general books, the censors on the left have been most successful in criticizing textbooks. Although left-wing censors have occasionally targeted books too, they have achieved their greatest influence by shaping the bias guidelines of the educational publishing industry. Educational publishers have willingly acquiesced even to the most far-fetched demands for language censorship, so long as the campaign’s stated goal is "fairness." Only a George Orwell could fully appreciate how honorable words like fairness and diversity have been deployed to impose censorship and uniformity on everyday language.

The organization that led the left-wing censorship campaign was the Council on Interracial Books for Children (CIBC). Founded in 1966 in New York City, CIBC was active over the next quarter-century as the best-known critic of racism and sexism in children’s books and textbooks. Directing its critiques not as much to the general public as to the publishing industry and educators, CIBC issued publications and conducted seminars for librarians and teachers to raise their consciousness about racism and sexism.

CIBC ceased its organizational life in 1990; its most enduring legacy proved to be its guidelines, which explained how to identify racism, sexism, and ageism, as well as a variety of other -isms. They were the original template for the detailed bias guidelines that are now pervasive in the education publishing industry and that ban specific words, phrases, roles, activities, and images in textbooks and on tests. The CIBC guidelines are still cited; they circulate on many Web sites, and they continue to serve as training materials for bias and sensitivity reviewers.⁴

CIBC’s initial goal was to encourage publishers to include more realistic stories and more accurate historical treatments about blacks, Hispanics, Native Americans, and women. It awarded annual prizes for the best new children’s books by minority writers. However, soon after it was founded in the mid-1960s, the nation’s political and cultural climate changed dramatically. In the wake of riots and civil disorders in major American cities, including New York, the racial integration movement was swept away by movements for racial separatism and black power. CIBC was caught up in the radicalism of the times. Its goals shifted from inclusion to racial assertiveness, from the pursuit of racial harmony to angry rhetoric about colonialism and the "educational slaughter" of minority children. As its militancy grew, CIBC insisted that only those who were themselves members of a minority group were qualified to write about their own group’s experience. It demanded that publishers subsidize minority-owned bookstores, printers, and publishers. It urged teachers and librarians to watch for and exclude those books that violated its bias guidelines.

CIBC’s critiques of racial and gender stereotyping undoubtedly raised the consciousness of textbook publishers about the white-only world of their products and prompted necessary revisions. However, in the early 1970s, CIBC demanded elimination of books that it deemed "anti-human," racist, and sexist.

CIBC attacked numerous literary classics as racist, including Hugh Lofting’s Dr. Dolittle books, Pamela Travers’s Mary Poppins, Harriet Beecher Stowe’s Uncle Tom’s Cabin, Theodore Taylor’s The Cay, Ezra Jack Keats’s books (Snowy Day and Whistle for Willie ), Roald Dahl’s Charlie and the Chocolate Factory, and William H. Armstrong’s Sounder.⁵ The American publisher of Dr. Dolittle, agreeing that the series contained stereotypical images of Africans, expurgated the books to remove offensive illustrations and text. The original version of the books has now disappeared from library shelves and bookstores.

CIBC attacked fairy tales as sexist, asserting that they promote "stereotypes, distortions, and anti-humanism." It charged that such traditional tales as "Little Red Riding Hood," "Cinderella," "Jack and the Beanstalk," "Snow-White," "Beauty and the Beast," "The Princess and the Pea," "Rumpelstiltskin," and "Hansel and Gretel" were irredeemably sexist because they portrayed females as "princesses or poor girls on their way to becoming princesses, fairy godmothers or good fairies, wicked and evil witches, jealous and spiteful sisters, proud, vain, and hateful stepmothers, or shrewish wives." The "good" females were depicted as beautiful, the "bad" ones as evil witches. The males were powerful and courageous, while the females were assigned to "traditional" roles as helpers. Typically, the characters in fairy tales rose from poverty to great wealth, CIBC complained, but no one ever asked about the "socioeconomic causes of their condition"; no one ever talked about the need for "collective action" to overcome injustice. In the eyes of CIBC, fairy tales were not only rife with sexist stereotypes, but with materialism, elitism, ethnocentrism, and racism too.⁶

CIBC’s Human (and Anti-Human) Values in Children’s Books listed 235 children’s books published in 1975. Each was evaluated against a checklist that measured whether it was racist, sexist, elitist, materialist, ageist, conformist, escapist, or individualist; or whether it was opposed to those values or indifferent to them; whether it "builds a positive image of females/minorities" or "builds a negative image of females/minorities"; whether it "inspires action versus oppression"; and whether it is "culturally authentic." Only members of a specific group reviewed books about their own group: Blacks reviewed books about blacks, Chicanos reviewed books about Chicanos, and so on. Few of the books reviewed had any lasting significance, and few of them are still in print a quarter-century later. One that is still read is John D. Fitzgerald’s The Great Brain Does It Again, which CIBC rated as racist, sexist, materialist, individualist, conformist, and escapist.

The author Nat Hentoff reacted angrily to what he called CIBC’s "righteous vigilanteism." Although he agreed with the council’s egalitarian goals, he warned that its bias checklists and its demands for political correctness would stifle free expression. He interviewed other writers who complained about the CIBC checklist but were fearful of being identified. CIBC’s efforts to eliminate offensive books and to rate books for their political content, he argued, were creating a climate in which "creative imagination, the writer’s and the child’s, must hide to survive." Its drive against "individualism," he said, was antithetical to literature and the literary imagination: "Collectivism is for politics," he said, not for writers.⁷

In retrospect, CIBC appears to have had minimal impact on general books. Despite having been denounced as racist, The Cay  and Sounder  remain commercially successful. Fairy tales continue to enchant children (although they are seldom found in textbooks and are usually bowdlerized). The public was only dimly aware, if at all, of CIBC’s lists of stereotypes, its reviews, and its ratings. Publishers kept printing and selling children’s books that defied CIBC’s strictures.

Where CIBC did make a difference, however, was with publishers of K-12 textbooks. Textbook houses could not risk ignoring CIBC or its labeling system. No publisher could afford to enter a statewide adoption process with a textbook whose contents had been branded racist or sexist or ageist or handicapist or biased against any other group. The publishers’ fear of stigma gave CIBC enormous leverage. When publishers began writing their own bias guidelines in the late 1960s and early 1970s, they consulted with CIBC or hired members of its editorial advisory board to counsel them about identifying bias. James Banks, a member of the CIBC advisory board, wrote the bias guidelines for McGraw-Hill; his wife, Cherry A. McGee Banks, was one of the main writers of the Scott Foresman-Addison Wesley guidelines.

CIBC multiplied its effectiveness when it worked in tandem with the National Organization for Women (NOW), which was also founded in 1966. Unlike CIBC, which operated from New York City, NOW had chapters in every state. CIBC and NOW frequently collaborated to fight sexism and to promote language censorship in the publishing industry and in textbooks. Feminist groups, some associated with NOW, others operating independently, testified at state hearings against unacceptable textbooks, pressured state and local school boards to exclude such books, and lobbied publishers to expunge sexist language from their books. Feminists demanded a 50-50 ratio of girls and boys, women and men, in every book. They counted illustrations to see how many female characters were represented. They noted whether girls and women were in passive or active roles as compared to boys and men. They made lists of the occupations represented, insisted that women have equal representation in professional roles, and objected if illustrations showed women as housewives, baking cookies, or sewing. They hectored publishers, textbook committees, and school boards with their complaints. And they made a difference.

In 1972, a group called Women on Words and Images published a pamphlet titled Dick and Jane as Victims: Sex Stereotyping in Children’s Readers that documented the imbalanced representation of boys and girls in reading textbooks. In the most widely used readers of the mid-1960s, boys were more likely to be lead characters and to play an active role as compared to girls, who were portrayed as dependent, passive, and interested only in shopping and dressing up. At textbook hearings around the country, feminist groups brandished the book and demanded changes. Within a year of the pamphlet’s appearance, the authors reported that they had drawn national attention to the problem. Publishers consulted with them for advice about how to revise their materials.⁸ By the mid-1970s, every major publishing company had adopted guidelines that banned sexist language and stereotypes from their textbooks.

By adopting bias guidelines, the publishers agreed to police their products and perform the censorship demanded by the politically correct left and the religious right. Publishers found it easier to exclude anything that offended anybody, be they feminists, religious groups, racial and ethnic groups, the disabled, or the elderly, rather than to get into a public controversy and see their product stigmatized. It was not all that difficult to delete a story or a paragraph or a test item, and most of the time no one noticed anyway.

The publishers reacted differently to pressure groups from the left and right. Companies did not share the Christian fundamentalist values of right-wing groups; they sometimes fought them in court, as Holt did in the Mozert v. Hawkins case described earlier. By contrast, editors at the big publishing companies often agreed quietly with the feminists and civil rights groups that attacked their textbooks; by and large, the editors and the left-wing critics came from the same cosmopolitan worlds and held similar political views. The publishers and editors did not mind if anyone thought them unsympathetic to the religious right, but they did not want to be considered racist by their friends, family, and professional peers. Nor did they oppose feminist demands for textbook changes, which had the tacit or open support of their own female editors. In retrospect, this dynamic helps to explain why the major publishing companies swiftly accepted the sweeping linguistic claims of feminist critics and willingly yielded to a code of censorship.

III. Battered by Left and Right:
The Inside Account of One Textbook Battle
Publishing companies zealously protect the confidentiality of their internal discussions. However, in the mid-1980s, when the fundamentalist parents in Hawkins County, Tennessee, sued Holt, Rinehart, and Winston in Mozert v. Hawkins County Board of Education, 2,261 pages of correspondence among editors and executives at the company were subpoenaed and entered into the court records. Stephen Bates, in Battleground, first reported on the content of these documents, and he made them available to me for this book. These files reveal in clear detail the political warfare waged against Holt’s reading series by partisans of both right and left, as well as the private exchanges among editors about how to react to the latest salvo from a left-wing or right-wing group.

The Holt reading series reached the market in 1973, just as the great wave of feminist criticism broke over the publishing industry, and it was in trouble with feminists from the beginning. The Holt Basic Readers (not to be confused with Holt’s Impressions series discussed earlier) contained a good deal of excellent literature, but by today’s standards, the 1973 edition was undeniably sexist: Women and girls played subordinate roles, while men and boys were frequently shown in active and dominant occupations. The first-grade book declared that dolls and dresses were for girls and that trains and planes were for boys. Stories and illustrations contained more male characters than female characters. All of this material had passed through the hands of female authors, female editors, and female text designers, with no one noticing the disparate treatment of boys and girls. But as feminist criticism intensified, Holt, Rinehart, and Winston issued its guidelines on "the treatment of sex roles and minorities" in 1975, and revised its popular readers in 1977 to expand the representation of females and minorities in the text and art and to eliminate any sexist language.

As soon as the Holt series was published, the complaints began to pour in from conservative parents as well. The Indianapolis school board said that it would not adopt the series unless certain words, phrases, paragraphs, and stories that offended conservative parents were deleted. These parents objected to stories that included the word hate or that seemed to condone lying or bad behavior or anger or family disunity; they positively despised a story called "How to Keep the Cousin You Hate from Spending the Whole Weekend at Your House and Maybe Even Longer" because it used the word hate and showed two boys sharing the same bed, which might foster "homosexualism."⁹

No sooner had the editors begun changing offensive words, cutting paragraphs, eliminating problematic stories, and pasting in new material in response to conservative complaints than the feminist tide rose up and crashed over them. In 1973, feminists in California attacked every reading textbook considered for statewide adoption, including the Holt Basic Reading series. NOW lodged a formal complaint with the state’s curriculum commission, and a group called the Task Force on Sexism urged the California State Board of Education to reject dozens of reading and literature textbooks because of their sexism. Feminists lined up to testify against the textbooks at public hearings and gathered signatures and testimony from large numbers of sympathetic academics. Letters started arriving at the Holt offices with precise counts of the number of females and males represented in the text and artwork. Holt’s California representative cautioned the home office that "the movement is gaining momentum like you have never seen in this state and I am sure that it is going to spread to every other state in the same manner."

Even in Texas, known for its conservatism, the state board of education reacted to complaints from feminists. It ruled in 1973 that textbooks henceforth would have to present both men and women in a variety of roles and activities, including "women in leadership and other positive roles with which they are not traditionally identified." This directive coexisted with the Texas board’s existing mandate that textbooks promote citizenship, patriotism, and "respect for recognized authority," while excluding any selections "which contribute to civil disorder, social strife, or flagrant disregard of the law." In the fall of 1974, feminists in Oregon and Arizona joined the protests against reading textbooks, and Holt internally decided to issue a special revised "California edition" for California, Oregon, and Arizona.

As feminists raised the heat on textbook publishers, other critics objected to the depiction of race and ethnicity in literature books. In 1974, a group in California called the Standing Committee to Review Textbooks from a Multicultural Perspective identified racism in such phrases as "the deputy’s face darkened," "the afternoon turned black," and "it’s going to be a black winter." This committee also complained that the reading textbooks were unacceptably biased toward Judeo-Christian teaching, ignoring other religious traditions.

As they began revising the reading books to meet feminist and multicultural demands, the Holt editors quickly concluded that the next edition would have to contain a precise ratio of at least 50 percent females and a representation of minority groups based on their percentage of the population. The editors began fumbling their way toward a consensus about portraying women and ethnic minorities. They agreed they would show American Indians in business suits, not in traditional "hides and headdress." Girls would be pictured fixing a bicycle tire, not looking for a boy to do it, and a "Caucasian boy or man would be shown unashamedly crying if the situation were appropriate." Girls would be seen working with electricity, studying insects, and solving math problems, while boys would read poetry, chase butterflies, and pay attention to their personal appearance. Older people would not be depicted as living in nursing homes, wearing glasses, or using canes or wheelchairs. Almost overnight, the editors became absorbed in images, stereotypes, males cooking, and females driving tractor trailers.

Literary Quality Takes a Back Seat
Even the editors of Holt’s high school literature series (Concepts in Literature) joined the effort to expunge older literary works that reflected outmoded views about women and minorities and to increase the representation of authors from these groups. Literary quality became secondary to representational issues. The female editor in charge of the high school series lamented that many of "the best modern works by and about members of these groups" were unacceptable for textbooks because of their language and "candid subject matter." Worse, from Holt’s point of view, "attempts to have authors modify such works have rarely met with success." Recognized authors of "the best modern works" by and about women and minorities refused to permit the bowdlerization (or "adaptation," as the editors put it) of their writings to meet the publisher’s need for stories that had no offensive language and the right head-count of females and minorities.

During 1975, as the textbooks were being revised, the Holt editors worked with a numerical quota system, imposed by their own internal guidelines. These guidelines directed them to "familiarize yourself with the latest U.S. population figures so that our materials reflect current statistics.... Counting and chart-keeping should not be regarded as a useless editorial exercise. Careful tallies and analysis of how people are represented will reduce the need for costly reprint corrections and may prevent the loss of an adoption."

Trying to comply with these directives, the editors began searching, almost frantically, for new stories to increase the representation of females and minorities. In the internal exchange of memos, Bernard J. Weiss, the editor of the elementary reading series, frequently admitted that a proposed story lacked literary quality but at least it had the right gender and ethnic representation. He said about one story: "I like the ethnic aspect. I like the use of a girl as the lead. I don’t like the story. The urban setting is a plus." Another story was added that the editors agreed was "not great literature," but "We gain two points--a female leading character and characters with Spanish-American names." Weiss observed of another selection: "I agree that this story has very little literary merit.... However, it does help us to achieve some ethnic balance in a very unbalanced book." Stories were freely rewritten to change a character’s job or role or ethnicity, even gender. The editors changed the gender of the main character in Judy Blume’s story "Freddie in the Middle," which became "Maggie in the Middle," with the author’s consent (in the same story, Mrs. Jay became Mrs. Chang, to increase ethnic representation). In another story, a grandmother was added to increase the count of elderly persons in the book. Some stories were added to the revised edition even though Weiss thought they were of poor quality, in order to boost the number of female characters. After extensive revisions, an editor reported numerical success for one volume in the series: "The in-house count shows 146 female and 146 male characters, or a ratio of 1:1. Animal characters were not included in this count."

Despite Holt’s valiant efforts to balance its characters by gender and ethnicity, the 1977 revised edition came under fire from feminists and multiculturalists anyway. Seattle’s Ethnic Bias Review Committee found the new edition "unacceptable" because "while blacks are emphasized, it is a narrow representation of those in athletics and music," and besides, one of the books contained intolerable ethnic stereotypes: a black waiter and an Asian cook. A textbook adoption committee in New Mexico was not satisfied with Holt’s statistics showing the proportion of characters by gender and minority status; it demanded to know the ethnic balance of both characters and authors. (Holt promptly responded with a list identifying their authors as Black, Puerto Rican, Oriental, American Indian, Hispanic, Jewish, Dutch, Polish, Greek, German, Italian, Scandinavian, Japanese, French, or Indian, as well as a breakdown of all main characters by gender and race.)

In 1980, the education task force of Texas NOW battered the Holt readers yet again at state textbook hearings. Holt’s editors thought they had achieved a perfect 1:1 balance of male and female characters, but the Texas feminists said that when they added in animals, males actually outnumbered females by 2:1. A feminist critic pointed out, "Children of this age are influenced by a story about Mr. Rabbit just as much as they are by a story about Mr. Jones." Reeling from the latest criticism, the Holt editors invited a feminist critic from Texas, members of the California committee that evaluated textbooks for sexism and racism, and the director of CIBC to review the company’s bias guidelines.

* * *

Editors at Holt learned to look at every potential story through a political lens: What might anger the religious right? What might anger feminists and representatives of racial minorities? Does the story have a strong female character or a positive portrayal of an ethnic minority? Every entry, every chapter, every volume was measured against a detailed checklist to ensure that there was the right proportion of males, females, and minorities; even workbooks, drill sheets, and spelling exercises were carefully scrutinized because California officials would reject the entire series if there was a gender imbalance in any part of it. At the same time that Holt editors were balancing these political demands, they were also simplifying the vocabulary of their readers, in response to complaints that they were too hard.

Occasionally Holt editors reminded themselves that the purpose of the reading series was to teach children to read, but their internal notes show that discussion of literary quality, pedagogical effectiveness, and interest level steadily diminished.

Ultimately, however, it proved impossible to please everyone. Holt did a better job of reaching out to left-wing pressure groups than to those on the right. The supervising editor of reading books at Holt described right-wingers as the kind of "censors" that one finds in "totalitarian societies," but characterized left-wing critics as "positive pressure groups" with whom the editors were prepared to collaborate. The more that Holt pleased "positive pressure groups" by increasing their feminist and multicultural content, the more the books offended conservatives. As noted earlier, in the mid-1980s, Christians in Tennessee sued their children’s school district to stop them from mandating the Holt readers. Eventually the school district won, but afterward, the publishing company let the Holt Basic Reading series go out of print. There were no more revisions. The Holt textbooks were destroyed by the censors of left and right. The textbooks became victims in a political ping-pong game that doomed them.

By the end of the 1980s, every publisher had complied with the demands of the critics, both from left and right. Publishers had established bias guidelines with which they could impose self-censorship and head off the outside censors, as well as satisfy state adoption reviews. Achieving demographic balance and excluding sensitive topics had become more important to their success than teaching children to read or to appreciate good literature. Stories written before 1970 had to be carefully screened for compliance with the bias guidelines; those written after 1970 were unlikely to be in compliance unless written for a textbook publisher. So long as books and stories continue to be strained through a sieve of political correctness, fashioned by partisans of both left and right, all that is left for students to read will be thin gruel.

See Related Story: Excised by the Language Police! by Diane Ravitch

See Related Story: Banned Words, Images, and Topics

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