Articles examine the history and evolution of censorship, presented in A to Z format.

"From New York Times bestselling author Naomi Wolf, Facing the Beast is a devastating, detailed account of wrongthink, deplatforming, and an unexpected political, personal, and spiritual transformation that followed during one of the most divisive times in American history. In this uncompromising investigation into today's most urgent issues, Naomi Wolf uses her own wildly politicized pilgrimage-from New York Times bestselling author and high-level Democratic consultant to a journalist cast out from the elite political and social circles she once moved through-as a stunning narrative framework that is both chilling and incisive. Wolf's sin? Doing the job that good journalists once prided themselves on: asking questions, challenging authority, and, during one of the most politically divisive moments in modern history, exposing the many failures of the public health response during the COVID-19 pandemic by chronicling the dangerous descent of our democracy into tyranny, censorship, and totalitarianism. Unable to remain silent in the shadows and unwilling to collude with the mainstream, Wolf bravely covers topics that few other writers dare to address critically for fear of being deplatformed. Facing the Beast explores reproductive rights, medical freedom, the uncurious thought-policing of the "progressive" left, the Second Amendment, the criminal relationship between the FDA and Pfizer-Wolf's clear writing repeatedly shines light in the dark corners of our fractured society. A decades-long champion of free speech, freedom of the press, and the Constitution, Wolf found herself not only in the midst of a political rebirth but a spiritual transformation as well-one in which the events of the day could only be described in terms of good, evil, and a metaphysical quest on the nature of reality. For readers of Matt Taibbi, Glenn Greenwald, and Bari Weiss, Facing the Beast is a fearless indictment of legacy media and the political class, as well as a brutal reminder that searching for and defending the truth can be dangerous. "Naomi Wolf is one of the bravest, clearest-thinking people I know. The reason you hear the forces of repression so desperately trying to dismiss her is because she is right."-Tucker Carlson"--

"Judy Gold, a concise, funny, and thoughtful polemic on the current assault on comedy, that explores how it is undermining free speech and a fundamental attack against the integrity of the art. From Mae West and Lenny Bruce to Richard Pryor and Howard Stern to Kathy Griffith and Kevin Hart, comedians have long been under fire for using provocative, often taboo subjects to challenge mores and get a laugh. But in the age of social media, comedians are at greater risk of being silenced, enduring shaming, threats, and damaged careers because of angry, censorious electronic mobs. But while comedians' work has often been used to rile up detractors, a new threat has emerged from the left: identity politics and notions like "safetyism" and trigger warnings that are now creating a cultural and political standard that runs perilously close to censorship. From college campuses to the Oscars, comics are being censured for old jokes, long-standing comedy traditions, unfinished bits and old material that instead of being forgotten, go viral. For comics like Judy Gold, today's attacks on comics would have Richard Pryor and Lenny Bruce "rolling in their graves." "No one has the right to tell comics what they can or cannot joke about. Do you tell artists what they can or cannot paint?" she asks. Freedom of speech is fundamental for great stand-up comedy. Humor is the most palatable way to discuss a subversive or taboo topic, but it better be funny. A comic's observations are deliberately delivered to entertain, provoke, and lead to an exchange of ideas. "We are truth tellers." More important, the tolerance of free speech is essential for a healthy democracy. In addition to offering readers a quick study on the history of comedy and the arts (noting such historical reference points as The Hays Code) and the threats to them., Gold takes readers on a hilarious ride with chapters such as "Thank God Don Rickles is Dead," as well as her singular take on "micro-aggressions," such as: Person: "OMG! You're a lesbian? I had no idea. I mean you wear make-up. When did you become a lesbian?" Judy Gold: "Coincidently, right after I met you!" (micro-assault!) In this era of "fake news," partisan politics, and heated rhetoric, the need to protect free speech has never been greater, especially for comics, who often serve as the canaries in the coalmine, monitoring the health of our democracy. Yes I Can Say That is a funny and provocative look at how safe spaces are the very antithesis of comedy as an art form-and an urgent call to arms to protect our most fundamental Constitutional right. There's a good reason it was the FIRST amendment"--

Hidden behind a screen of euphemisms and evasions, of political expediency and psychological denial, the most terrible crime in human history was committed. Despite the shock and outrage that swept the world when the Nazi death camps were first liberated in 1945, the truth about the extermination of European Jewry had been an open secret since at least 1941. Using sources and documents only recently made available, Walter Lacquer examines when and how information about the genocide became known to millions of Germans, international Jewish organizations, leaders of Jewish communities throughout Europe, and top government officials in neutral and Allied countries. Laying bare the lethal combination of disbelief and indifference that met this news, "The Terrible Secret" offers a brilliant and chilling demonstration of paralysis in the face of ultimate evil.

The best-selling author of Vagina, Give Me Liberty, and The End of America illuminates a dramatic buried story of gay history--how a single English law in 1857 led to a maelstrom, with reverberations lasting down to our day.

Documents all sides of the Rushdie controversy, providing an international chronology of events, early reviews of the book, and more reflective articles drawn from the huge, worldwide coverage, fairly and fully representing all points of view.

" Like every authoritarian regime in history, Nazi Germany tried to control intellectual freedom through book censorship. Between 1933 and 1945, Hitler's party orchestrated a massive campaign to take control of all forms of communication in the nation. Book burnings abounded-- in 1933 alone, there were 93 book burnings in 70 German cities. Indeed, Werner Schlegel, an official in the Ministry of Propaganda, called the book burnings "a symbol of the revolution." Bookstores, libraries, and universities were pillaged, while German authors were targeted by the regime. Yet surprisingly, Nazi book censorship has been largely overlooked by modern historians. In Harmful and Undesirable, Guenter Lewy analyzes the various strategies that the Nazis employed to enact censorship and the people, including Martin Bormann, Philipp Bouhler, Joseph Goebbels, and Alfred Rosenberg, who led the attack on intellectual life. The Propaganda Ministry played a leading role in the censorship campaign, supported by an array of organizations at both the local and state levels. Because of the many overlapping jurisdictions and organizations, censorship was disorderly and erratic. Beyond the implementation of censorship, Lewy also describes the plight of authors, publishers, and bookstores who clashed with the Nazi regime. Some authors were imprisoned, tortured, and even killed. Meanwhile others, such as Gottfried Benn, Gerhart Hauptmann, Ernst Jünger, Jochen Klepper, and Ernst Wiechert became controversial "inner emigrants" who chose to remain in Germany and criticize the Nazi regime through allegories and parables. Ultimately, Lewy paints a fascinating portrait of intellectual life under the Nazi dictatorship, revealing the fate of those who were caught in the wheels of censorship. "--

Captivated at a young age by Russia, Marianna Tax Choldin immersed herself as a student at the University of Chicago in that country's language and culture. In her book she describes the tension between her strong commitment to freedom of expression and her growing understanding of Russian and Soviet censorship. Fluent in Russian, she travels widely in post-Soviet Russia, speaking with hundreds of Russians about their own censorship history. She writes of the close friendships she formed in Russia, and reflects on her Jewish roots in the country her family had left behind 100 years earlier.

This volume looks at how all plays performed in England from 1737 to 1968 had to be approved by the Lord Chamberlain's office. It gives a savage and comic account of state control that would censor anything that was too frank or outspoken.