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The Canadian government censored the news during World War II for two main reasons: to keep military and economic secrets out of enemy hands and to prevent civilian morale from breaking down. But in those tumultuous times - with Nazi spies landing on our shores by raft, U-boat attacks in the St. Lawrence, army mutinies in British Columbia and Ontario and pro-Hitler propaganda in the mainstream Quebec press - censors had a hard time keeping news events contained. Now, with freshly unsealed World War II press-censor files, many of the undocumented events that occurred in wartime Canada are finally revealed. In Mark Bourrie's illuminating and well-researched account, we learn about the capture of a Nazi spy-turned-double agent, the Japanese-Canadian editor who would one day help develop Canada's medicare system, the curious chiropractor from Saskatchewan who spilled atomic bomb secrets to a roomful of people and the use of censorship to stop balloon bomb attacks from Japan. The Fog of War investigates the realities of media censorship through the experiences of those deputized to act on behalf of the public and reveals why press censorship in wartime Canada was, at best, a hit-and-miss game.
The book explores the importance of free speech in America by telling the stories of its chief antagonists - the censors.
Lev Loseff (1937), der Leningrad 1976 verlassen musste und seit 1979 in Hannover, New Hampshire am Dartmouth College in den USA als Professor of Russian Language and Literature lehrt, hat u.a. Werke von E. Svarc, N. Olejnikov und M. Bulgakov herausgegeben. In seiner ersten großen Monographie "On the Beneficence of Censorship: Aesopian Language in Modern Russian Literature" analysiert Loseff an Werken von Svarc, Solzenicyn, Evtusenko u.a. die aus der Auseinandersetzung mit der Zensur gebotenen stilistischen - auch bereichernden - Besonderheiten der modernen, in der Sowjetunion entstandenen russischen Literatur und veranschaulicht diese im Kontext von Werk, Autor und Epoche.
Stonewall Book Award Winner Lambda Literary Award Finalist Charlotte Huck Honor Book Perfect for Valentine's Day, Love, Violet by Charlotte Sullivan Wild and Charlene Chua is a touching picture book about friendship and the courage it takes to share your feelings. Only one person makes Violet’s heart skip Of all the kids in Violet's class, only one leaves her speechless: Mira, the girl with the cheery laugh who races like the wind. If only they could adventure together! But every time Violet tries to tell Mira how she feels, Violet goes shy. As Valentine's Day approaches, Violet is determined to tell Mira just how special she is. Charlene Chua’s luminous watercolors bring to life this sweet and gentle picture book about friendship, love, and the courage it takes to share your heart.
After solving the environmental problems of the United States, dictator Chairman Rahma must fight off new weapons being deployed by the corporations and deal with unsettling reports of mutants.
A lively graphic narrative reports on censorship of political cartoons around the world, featuring interviews with censored cartoonists from Pittsburgh to Beijing. Why do the powerful feel so threatened by political cartoons? Cartoons don't tell secrets or move markets. Yet, as Cherian George and Sonny Liew show us in Red Lines, cartoonists have been harassed, trolled, sued, fired, jailed, attacked, and assassinated for their insolence. The robustness of political cartooning--one of the most elemental forms of political speech--says something about the health of democracy. In a lively graphic narrative--illustrated by Liew, himself a prize-winning cartoonist--Red Lines crisscrosses the globe to feel the pulse of a vocation under attack. A Syrian cartoonist insults the president and has his hands broken by goons. An Indian cartoonist stands up to misogyny and receives rape threats. An Israeli artist finds his antiracist works censored by social media algorithms. And the New York Times, caught in the crossfire of the culture wars, decides to stop publishing editorial cartoons completely. Red Lines studies thin-skinned tyrants, the invisible hand of market censorship, and demands in the name of social justice to rein in the right to offend. It includes interviews with more than sixty cartoonists and insights from art historians, legal scholars, and political scientists--all presented in graphic form. This engaging account makes it clear that cartoon censorship doesn't just matter to cartoonists and their fans. When the red lines are misapplied, all citizens are potential victims.
When the war was declared in August 1914, one of the first acts to be implemented by the politicians and military was a strict censorship on the newspapers. As the poacher turned gamekeeper, Winston Churchill said: The war is going to be fought in a fog and the best place for correspondence about the war is London, The military sought to have one of their officers, dubbed “Eyewitness”, to be the official spokesman to enable them to control what the newspapers could print. In the early stages of the war, there were many reporters on the Continent who were evading military arrest and sending back reports about the reality of the situation. Several volunteered with the various ambulance services just to disguise their real purpose, but all were eventually banished. Having finally cleared all reporters from fighting area, the military was persuaded to allow a small number of accredited war reporters to be chaperoned around the battle fronts. They were closely watched and their reports thoroughly scrutinised, until they eventually became almost a part of the Headquarters hierarchy. Later, diaries and letters revealed how many of them really felt and they had to bear the post-war shame of not writing the truth. The Western Front was not the only front in this world war. Reporters found censorship less rigidly applied on the Eastern Front, Palestine and Italy. One correspondent, whose reports famously brought about the sacking of the campaign commander and the ending of the fruitless and bloody Gallipoli Expedition, bravely broke ranks and was finished as a war reporter. War reporting was not confined to print. The emergence of photographers and cinematographers on the battlefield has left us with an extraordinary record. Unlike their writing brothers, the photographers could get close to the action and shoot what they liked. The resultant film was, of course, censored but thankfully nothing was discarded and museum archives are full of their stunning work. Having been the pre-war stars of their newspapers, the war reporters experienced a post-war wave of anger and cynicism which took years to overcome.
Before there was Lois Lowry’s The Giver or M. T. Anderson’s Feed, there was Robert Cormier’s I Am the Cheese, a subversive classic that broke new ground for YA literature. A boy’s search for his father becomes a desperate journey to unlock a secret past. But the past must not be remembered if the boy is to survive. As he searches for the truth that hovers at the edge of his mind, the boy—and readers—arrive at a shattering conclusion. “An absorbing, even brilliant job. The book is assembled in mosaic fashion: a tiny chip here, a chip there. . . . Everything is related to something else; everything builds and builds to a fearsome climax. . . . [Cormier] has the knack of making horror out of the ordinary, as the masters of suspense know how to do.”—The New York Times Book Review “A horrifying tale of government corruption, espionage, and counter espionage told by an innocent young victim. . . . The buildup of suspense is terrific.”—School Library Journal, starred review An ALA Notable Children’s Book A School Library Journal Best Book of the Year A Horn Book Fanfare A Library of Congress Children’s Book of the Year A Colorado Blue Spruce Young Adult Book Award Nominee