#censorship in schools

[sandboxworld]

Julianne Moore’s ‘Freckleface Strawberry’ Banned by the Department of Defense

I am stunned. The idea of banning books at any level is something I cannot support—period. But when it comes to children’s books? The very thought is outrageous and deeply troubling. It feels as though we are teetering on the edge of a dystopian reality, eerily reminiscent of the world depicted in Ray Bradbury’s classic novel Fahrenheit 451, where books are outlawed and knowledge is…

[blogjeepster]

The Left's Microaggression Obsession -- Universities Are Silencing Debate | [site:name] | National Review

The Gospel Message of Transformation vs The Godless Message of Tolerance and Transitioning – Gab News

[inkskinned]

one of the things about being an educator is that you hear what parents want their kids to be able to do a lot. they want their kid to be an astronaut or a ballerina or a politician. they want them to get off that damn phone. be better about socializing. stop spending so much time indoors. learn to control their own temper. to just "fucking listen", which means to be obedient.

one of the things i learned in my pedagogy classes is that it's almost always easier to roleplay how you want someone to act. it's almost always easier to explain why a rule exists, rather than simply setting the rule and demanding adherence.

i want my kids to be kind. i want them to ask me what book they should read next, and i want to read that book with them so we can discuss it. i want my kid to be able to tell me hey that hurt my feelings without worrying i'll punish them. i want my kid to be proud of small things and come running up to me to tell me about them. i want them to say "nah, i get why this rule exists, but i get to hate it" and know that i don't need them to be grateful-for-the-roof-overhead while washing the dishes. i want them to teach me things. i want them to say - this isn't safe. i'm calling my mom and getting out of this. i want them to hear me apologize when i do fuck up; and i want them to want to come home.

the other day a parent was telling me she didn't understand why her kid "just got so angry." this woman had flown off the handle at me.

my dad - traditional catholic that he is - resents my sentiment of "gentle parenting". he says they'll grow up spoiled, horrible, pretentious. granola, he spits.

i am going to be kind to them. i am going to set the example, i think. and whatever they choose become in the meantime - i'm going to love them for it.

[oobbbear]

Me standing here watching Americans praising China like it’s heaven on earth like you do realize the system is beyond fucked there right it’s important to me that you know that 🧍‍♂️

[dreaminginthedeepsouth]

This was removed from all Gannett papers. It's a travesty for many reasons, + though GT is surely fine, it's another example of how conditions for cartoonists keep getting worse + worse: positions eliminated, cartoons with bite being purged, fees decimated, outlets disappearing.

[Ward Sutton]

[intothestacks]

A handful of states are eyeing laws that would allow criminal charges against school librarians for distributing books that contain "obscene matter."

Why it matters: GOP state lawmakers have in recent years increased their efforts to ban material they deem inappropriate from schools and libraries.

That material includes books on gender identity and sexual orientation.

Critics, including the American Civil Liberties Union of West Virginia, said the bill "is designed to create confusion for educators about what kinds of materials can be taught or displayed."

The American Library Association said this type of legislation would allow for "advocacy groups and parents to sue or prosecute library workers" for providing books and other materials that present "accurate medical information about sex or puberty, describe sexual behavior, or reflect the experiences of LGBTQ+ persons."

The ALA noted that such legal action would be "based on the false claim that any material that includes information about sex, sexuality, gender identity, or sexual orientation is legally obscene and inappropriate for minors."

[siryouarebeingmocked]

“Banned books” might be my favorite left-wing LARP ritual.

Yes, these books you can get everywhere for <$10 and are major parts of public school curriculum are subversive, dangerous, suppressed!

Real banned books cost hundreds for a used copy

There are other books so strongly “banned” that most people don’t even know they exist.

Burton’s treatise on the Stodatic Zone and his works on Middle Eastern ethnography, for example.

Only known copy of the latter is locked in a private collection, closed to all viewers

https://twitter.com/0xAlaric/status/1710025202363490521 There’s More to the thread, but I cut it for length.

Ironically, using “banning” like this is itself propaganda for gullible ideologues.

The book in the last pic is “Slaughterhouse Five”, by Kurt Vonnegut*. The earliest book burning or ban on the ALA page is from 1899. And they have a bunch of books banned in 1929, but most of those weren’t even banned or challenged in America.

Class, can you spell “padding”?

*I own a copy of Breakfast of Champions. Read it in high school. Not sure it was appropriate, but I still think about it sometimes. Especially when I steal mirrors.

[justinspoliticalcorner]

Richard Luscombe at The Guardian:

Six major book publishers have teamed up to sue the US state of Florida over an “unconstitutional” law that has seen hundreds of titles purged from school libraries following rightwing challenges. The landmark action targets the “sweeping book removal provisions” of House Bill 1069, which required school districts to set up a mechanism for parents to object to anything they considered pornographic or inappropriate. A central plank of Republican governor Ron DeSantis’s war on “woke” on Florida campuses, the law has been abused by rightwing activists who quickly realized that any book they challenged had to be immediately removed and replaced only after the exhaustion of a lengthy and cumbersome review process, if at all, the publishers say. Since it went into effect last July, countless titles have been removed from elementary, middle and high school libraries, including American classics such as Brave New World by Aldous Huxley, For Whom the Bell Tolls by Ernest Hemingway and The Adventures of Tom Sawyer by Mark Twain.

Contemporary novels by bestselling authors such as Margaret Atwood, Judy Blume and Stephen King have also been removed, as well as The Diary of a Young Girl, Anne Frank’s gripping account of the Holocaust, according to the publishers. “Florida HB 1069’s complex and overbroad provisions have created chaos and turmoil across the state, resulting in thousands of historic and modern classics, works we are proud to publish, being unlawfully labeled obscene and removed from shelves,” Dan Novack, vice-president and associate general counsel of Penguin Random House (PRH), said in a statement. “Students need access to books that reflect a wide range of human experiences to learn and grow. It’s imperative for the education of our young people that teachers and librarians be allowed to use their professional expertise to match our authors’ books to the right reader at the right time in their life.” PRH is joined in the action by Hachette Book Group, HarperCollins Publishers, Macmillan Publishers, Simon & Schuster and Sourcebooks. The 94-page lawsuit, which also features as plaintiffs the Authors Guild and a number of individual writers, was filed in federal court in Orlando on Thursday.

The suit contends the book removal provisions violate previous supreme court decisions relating to reviewing works for their literary, artistic, political and scientific value as a whole while considering any potential obscenity; and seeks to restore the discretion “of trained educators to evaluate books holistically to avoid harm to students who will otherwise lose access to a wide range of viewpoints”. “Book bans censor authors’ voices, negating and silencing their lived experience and stories,” Mary Rasenberger, chief executive of the Authors Guild, said in the statement. “These bans have a chilling effect on what authors write about, and they damage authors’ reputations by creating the false notion that there is something unseemly about their books. “Yet these same books have edified young people for decades, expanding worlds and fostering self-esteem and empathy for others. We all lose out when authors’ truths are censored.” Separate from the publishers’ action, a group of three parents filed their own lawsuit in June, insisting that the law discriminated against parents who oppose book bans and censorship because it allowed others to dictate what their children can and cannot read.

Six major publishers sue Florida over book ban law HB1069.

[chubphoe-linkclick]

I'm still not over how ridiculously intense Cheng Xiaoshi's words were when he first met Lu Guang. Like sweet Christ, was he having to bet a kidney on this amateur basketball match to make rent?

I get that he's like 16 here, and 16 year olds say the awkwardest of things because that's the age most of us haven't realised we're not the next great philosopher of our time. But Cheng Xiaoshi, boy, TONE IT DOWN HERE, YOU'RE COMING ON WAY TOO STRONG!!

What hole in Lu Guang's life caused him to hear this and go "...Yes." He heard this and then looked like a newborn baby deer staring in awe at something calmingly delightful like HOW DID THIS WORK???

Lu Guang later said what drew him to Cheng Xiaoshi the most was how sincere he was.

Was Lu Guang experience of trying to call Cheng Xiaoshi cringe, and Xiaoshi's response of "I am not cringe, but I am having fun because I got to hang out with you," so powerful that it just shattered some deep-rooted, jaded attitude Lu Guang had been fostering up until now?

Like was this Lu Guang's equivalent of Nagi's awakening in Blue Lock?!

PEOPLE PLEASE SCREAM WITH ME I'M GOING INSANE

[archivlibrarianist]

Remember when the Brooklyn Public Library offered a free library card to any American aged 13-26, so that they could access banned books via the Books Unbanned program?

We have some data on those who applied, thanks to a report by University of Washington MLIS students.

From a press release from the Brooklyn Public Library:

"More than 14,000 young people had signed up for Books Unbanned programs at the two libraries through February 2024, collectively checking out over 340,000 books. Books Unbanned cardholders have signed up from every state in the nation, as well as D.C., Guam, and Puerto Rico."

Young people need these stories.

Keep circulating the link.

[mysharona1987]

[liyazaki]

read the full article here

help fight book censorship

[ineffable-opinions]

BL “Censorship” & Commercialization

Content: 1. ubiquitous censorship - special focus on Japanese BL 2. commercial viability of live action BL & generalizations 3. solutions - special focus on state support of Thai BL 4. [update state-supported production of Love in the Big City series]

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Censorship is a sensitive topic. I have tried my best. Please feel free to comment and critique.

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History of Korean BL is one of censorship and commercialization and Korean fu-people has struggled against both. There have been different victors at different points in time. Aljosa Puzar’s "BL"(Boy Love), "GL"(Girl Love) and Female Communities of Practice and Affect in South Korea chronicles that struggle. (Highly recommended.)

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I have tried to problematize BL commercialization before. But that was in the context of fu-culture and the commodity fetishism associated with the consumption of BL, particularly in live action form which is probably its most capitalist rendition for many many reasons.

Here I would like to look at it from another angle: censorship. This is a continuation of my earlier post (Why so many shonen ai live-action?) motivated by the live action adaptation of ‘조폭인 내가 고등학생이 되었습니다’ (I, A Gangster, Became a High School Student) by 호롤 (Ho Rol).

The live action has jumped genres switching from BL to 판타스틱 휴먼 드라마 (lit. fantasy human drama). This switch got it tagged as ‘Censored Adaptation of Same-sex Original Work’ on My Drama List. I personally don’t like that tag. Almost all BL adaptation is a censored adaptation, with notable exceptions like Sei no Gekiyaku. But no one uses that tag for, say, 25 Ji, Akasaka de (2024) which censored all sexual content, especially from the volume 1 of the manga which was critical to the story and the couple’s development in the original manga series’ and its multiple adaptations’ popularity. Sukiyanen Kedo Do Yaro ka (2024) went as far as removing the more sexual second couple from the live action adaptation all together, yet it does not get a "censored" tag.

An interesting question that the controversy surrounding High School Return of a Gangster (2024) has sparked is that of BL media’s commercial viability, especially in live action form. Here’s what producers told the Korean newspaper, Hankook Ilbo, about the genre-jumping:

"BL 장르는 제작비 투자나 리쿱(제작비 회수)에 한계가 있는 게 사실이다. 그러다 보니 처음부터 이 작품은 브로맨스로 해보고 싶었다"

“The BL genre is limited in terms of investment in production costs and recoup (recovery of production costs). So, from the beginning, we planned it as a bromance (beulomaenseu).”

The author of this article cites examples of works that enjoyed success on OTT platforms, namely Watcha’s Semantic Error and TVing's Unintentional Love Story (2023). However, the article also highlights the fact that BL continues to be a niche genre and live action adaptations don’t guarantee success.

이성택 (Lee Seong Taek), the director of High School Return of a Gangster, previously directed the BL Love Class (2022). The producer 넘버쓰리픽쳐스 (Number Three Pictures Co., Ltd.) have BL works like Unintentional Love Story under its belt.

'Unintentional Love Story' Director Jang Eui-soon (장의순) | source

If the producer of one of the two most popular live action BL is admitting to it, then it is not easy to dismiss the issue of commercial viability of live action BL.

Very famous BL publishing houses (starting with JUNE) and hosting platforms with relatively lower expenses have struggled. Some of them are no more. It is also difficult for authors to survive merely on earnings from publishing houses and hosting platforms, especially when those platforms are not very rich. So, it is not difficult to imagine that live action production houses also struggle to survive.

Take GMMTV for example. They are probably one of the most successful BL producers. According to their managing director, BL content (series) is not a profitable business in itself. They rely on khujin (branded pairs) of actors to bring in advertisement revenue, merchandize sales, and pull crowds to concerts and fan-meets. It is not enough for actors to just act. They are expected to sing, dance and perform. Meanwhile, GMMTV is forced to keep working with these actor pairs and stick to templates that suit them. While it works for now, it remains to be seen how long the business model can last.

Now there is also investment from Mainland China that has migrated to other BL producers following dangai ban. But those who invest already burned themselves pretty bad with all the money they poured in during the short-lived but explosive dangai boom. It is sunk cost at this point. Another crack down could be the death knell for Chinese investments in BL. 

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More generally, it is likely that commercial viability of a live action BL project hinges on the following:

#1 Target demographic

Like all other BL content, live action too is primarily targeted at fu-people (BL audience) – both queer and non-queer. The target demography is further sub-divided based on the type of BL and purchasing power.

Sweeter ones are supposed to appeal to all ages and that’s the area Thailand and GMMTV in particular are focused on. Most of Japanese BL series are sweet. Korea too produces sweet BL. However, they are unlikely to bring in explosive success the way odo BL (those following royal road narrative progression – wherein characters face significant challenges, interpersonal or otherwise, to reach happy ending).

Older and, perhaps more hard-core fans, are likely to support jado works (BL that follow the evil path where neither happy ending nor resolution to challenges are guaranteed) with surprising frequency. This might be partly due to the erotic content in jado works.

Purchasing power of BL fans vary widely. There are those who are

“sending gifts to their actors in Thailand, sending food trucks to their shooting locations, putting up billboard advertisements and doing charity events [as well as] ordering merchandise in bulk.”

They also travel to BL producing nations [on fan pilgrimages] and attend fan meetings, concerts and other events regularly.

(Source: The Print)

The other group of BL fans who are probably younger and/or can’t afford to show support in the above-mentioned ways. BL commercially benefits from being appealing to those with higher purchasing power.

#2 Popularity of original work in case of adaptation  

Popular BL novels, manhwa, etc. bring in a set of fans who are interested in the live action. Longer and more-acclaimed works are likely to ensure success of the live action given decent making and reasonable changes during adaptation. Semantic Error is a case in point. However, missteps during adaptation can have the opposite effect.

#3 Cost of production

It is difficult to get investment in the first place, especially with how niche the genre is. Moreover, higher cost of production sets the bar for success higher too.

On the other hand, high production quality and better cast and crew (likely more expensive too) makes the viewing more pleasurable and increases the likelihood of success.

There are other factors which influence the success of BL producers. The most popular BL live action from China, Addicted, was produced by the author, Chai JiDan, with a tiny budget. Its dangai family drama remake, Stay with Me, also has an interesting producer.

Source | Mame with her Japanese fans

Orawan Vichayawannakul’s MeMindY is another BL author led production company that has enjoyed considerable success.

OP Pictures’ entry into BL genre has also been successful.

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Solutions

#1 Let’s start with the worst

BL as money laundering vehicle. It is probably the most obvious, sort of win-win until it isn’t. Sustainability depends how much skin the ruling class have in the game.

#2 State sponsorship

(or better yet, tax payer supported BL production)

State sponsorship is what Thailand has perfected.

source | 2023 seminar on "Beyond Borders: Exploring the Global Appeal and Diversity of Thailand's Boys' Love Contents" by 9 companies from Thailand organized by Department of International Trade Promotion under Thailand’s Ministry of Trade.

The eleven speakers, including an official from the Office of Commercial Affairs, Royal Thai Embassy in Japan, vigorously pitched partnerships with Japanese content companies [at the above-mentioned seminar.]

Also, several of the companies pitching at the seminar, such as Star Hunter Entertainment […] were plumping for BL not as a niche product but rather a core element of their corporate strategy.

Halo Productions representative Tewarat Supunnium [trumpeted] the vertical integration of his company, from talent representation to contents distribution.

source

Thai BL has been big hits in China, South Korea, Japan, India, Indonesia, the Philippines, and beyond, which has motivated Thailand’s government to ‘deploy Boys Love as its latest soft power weapon to promote the country on the global stage’. In an article published in The Nation, BL director, Bundit Sintanaparadee, explains how that affects production.

He pointed out that the international popularity of Thai shows can boost tourism and generate interest in the featured locations – a vital aspect of soft power. The government can facilitate this process by providing support and streamlining the bureaucratic obstacles to filming in attractive locations like Bangkok’s Chinatown district of Yaowarat.

Filming in iconic places such as Yaowarat can be costly and complicated due to the need to coordinate with multiple government agencies and pay location fees. Bundit said the government could simplify the process to benefit not just filmmakers but also tourist revenue in the locations.

Bundit also cautioned against a top-down approach to soft power, where the government dictates what represents Thailand on the world stage. He emphasises the need for industry professionals to have their say.

source

In a 2022 article, Bangkok Post explores the impact of BL on Thailand’s economy ‘as export products that can draw lucrative revenue streams and foster business opportunities in other areas, including tourism.’

[According to government estimates from 2021,] Thailand's Y content market was worth more than 1 billion baht... In June that year, the Department of International Trade Promotion held an online Y content business matching event to boost the industry, with the participation of 10 Thai content creators. More than 360 million baht was generated from the purchase of the Thai content, with the top three buyers coming from Japan, Taiwan and Vietnam.

Noppharnach Chaiyahwimhon, GMMTV's senior director of content production, said [that the] business ecosystem linked to Y Series in Thailand shows a growth of 30-40% per year. [He also said that] Y Series can also be a boon for other businesses, such as films, artist management and merchandise. [He mentioned] Y Series from Thailand [getting] translated into several languages [and one of their Y Series having received theatrical adaptation in South Korea.]

[According to] Kanokporn Prachayaset, chief commercial officer and country manager of WeTV Thailand, … Y Series from Thailand is one of the most popular content genres on its platform. [Half of all the BL content on the platform was Thai.] WeTV [was] sourcing Y Series from Asia as well as having its own WeTV original shows by working with various local production houses, such as GMMTV, TV Thunder, Dee Hup House, M Choice Studio and All This Entertainment. [She also highlighted the contribution of the fan base, which is] active in organising activities and campaigns for their idols.

Seksan Sripraiwan, director of the Tourism Authority of Thailand's (TAT) Tokyo office, said the TAT and the Royal Thai Embassy have actively promoted the country by using Thai entertainment [and that] Thai BL content is considered one of the most popular recent cultural exports to Japan. Japan's market for Thai BL is around 1 million viewers, of which 20,000-30,000 are heavily active on social media sites for renowned BL actors, led by Bright-Win and Krist-Singto. He said Japanese tour operators already offered tailor-made tour packages which contain elements related to BL TV series, such as shooting locations like universities, cafes, Wat Arun or the Amphawa floating market.

Kanokkittika Kritwutikon, director of the TAT Chengdu office, said Thai BL TV shows have gained popularity in China, such as the coming-of-age series "I Told Sunset About You", which helped drive tourists to Phuket, the main location of the story.

"Most Chinese BL fans are millennial females who can offer long-term support for their favourite actors," Mrs Kanokkittika said. [Recognizing the 3 million strong queer population of Chongqing,] she said the LGBT segment could be categorised as luxury travellers as they are high-income earners, live in key cities, and want to spend more for travel experiences.

source

Earlier this year Ministry of Commerce have partnered with Be On Cloud and Idol Factory to promote ‘Thai products, services, tourism, and culture by incorporating them seamlessly into’ their new series “Shine” and “Pin Phak” aka “The Loyal Pin” respectively.

“This will help create around 2 billion in value for Thailand’s economy,” said Commerce Minister Phumtham.

Deputy Prime Minister and Commerce Minister Phumtham Wechayachai and two actresses, Becky and Freen, witness the signing ceremony between the Ministry of Commerce and Idol Factory Co., Ltd. on February 28, 2024....

According to the Department of International Trade Promotion, the Thai movie and series sector and related industries will generate 8,000 million baht in exports by 2023. In 2024, it will likely reach 10,000 million baht, particularly in the Y-movie and Y-series, which are expected to expand in value from 1,000 million baht to 2,000 million baht as a result of the Ministry of Commerce’s proactive cooperation with the private sector.

source

The Thai government’s efforts are paying off.

Oramon Sapthaweetham, director-general of the Department of Business Development, revealed that the Boys’ Love series had helped revitalise the film production industry, generating substantial profits and extending economic benefits to allied sectors, such as advertising, leveraging actors as influencers, event organisation, and tourism. 

"Over the past 10 years, Thailand has produced over 177 Boys’ Love [series], continuously gaining popularity and expanding its customer base, eventually leading to exports to international markets," Oramon added.

The film production industry in Thailand is witnessing substantial growth. In the first four months of 2024, 56 new businesses were registered, marking a 12% increase from 2023. The total registered capital also saw a significant rise of 146.44% to 195.18 million baht. In 2023, the industry grew by 20% with 137 businesses and a capital of 258 million baht. The total revenue in 2022 was 12.895 billion baht, indicating a continuous growth trend.

source

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#3 Diversification

Ok, so this is based on my limited knowledge and imagination. Feel free to skip.

There are two production companies that I have ever been interested in - Bhavana Studios and Mammootty Kampany. Both of them have produced experimental Malayalam movies while managing to remain commercially successful. While is partially attributable to these companies being brands, I think their overall strategy of diversification have worked in their favour.

Mammootty Kampany could produce art-house movie Nanpakal Nerathu Mayakkam for award circuits and with no expectation of commercial performance by banking on their other production Kannur Squad which was action entertainer sure to bring in the big bucks. Their queer family drama Kaathal – The Core and neo-noir psychological thriller Rorschach did exceptionally well in the box office as well as garnered critical acclaim. Bhavana Studios has similar track record of their commercially successful projects kind of cross subsidizing their experimental and unique projects and lifting the heat off in case of flops.

Having production companies which are aspirational in their approach to BL while having the economics sorted out help where government support is not forth coming.

Censorship as No-thing

When sometime is truly censored, we wouldn’t know. Unless we ask. Here’s what Jooyin Saejang learned from asking.

Conclusion

I have a strong preference for live action adaptations that are willing to go the last mile in terms of sexual content, social critiques and addressing real-life issues. That’s the reason why the header image for this BL side blog is from Moothon (2019).

But realistically this isn’t always possible. And I prefer having more production companies offering variety. I don’t want them to sink under the weight of BL that didn’t do well commercially and me being left at the mercy of media conglomerates with seemingly bottomless funds and monopsony over BL authors, original works and the culture that creates them.

Also, there is queer content from Korean that is neither mainstream nor from fu-culture. Support those. Unfortunately, Cheers by Cheers 짠!하면 알 수 있어 has been removed from their YouTube channel which is now called Cheer Up. While the series is gone, there are interviews with English subtitles.

Love in the Big City

Love in the Big City, the series and the movie are based on Park Sang-young's novel of the same name that was published in 2019. In Korea, it sold over 100,000 copies. Ever since, it has been translated into 15 languages, including English. The English translation by Anton Hur was published in 2021. The book has been longlisted for the International Booker Prize in 2022 and the Dublin Literary Award in 2023.

The movie secured an investor early on. The film was produced by Showbox and Tale Farming (고래와유기농). Michigan Venture Capital, a key investor, was responsible for 2 billion won out of the net production cost of about 6 billion won. Plus M Entertainment, a subsidiary of the JoongAng Group took care of its distribution. (source)

State-sponsorship for Korean BL !

The series, on the other hand, faced difficulty attracting investment as well as had trouble finding OTT platforms willing to air the show. It was co-produced by MerryChristmas, a subsidiary of WYSIWYG Studio' a KOSDAQ-listed company, along with Big Stone Studio. Mbrella Films provided production services in Thailand. They have received the state-support through Korea Creative Content Agency under Ministry of Culture, Sports and Tourism amounting to 3 billion won as production costs support aimed at strengthening the global competitiveness of K-content through OTT.

Finally, TVING, a platform that has aired multiple BL projects previously (such as Unintentional Love Story, Jazz for Two, To My Star 2, The Eighth Sense and High School Return of a Gangster), aired the series in South Korea and the streaming platform Rakuten Viki promoted it as a BL.

An iconic scene from bonus chapter 2 of The New Employee aka The New Recruit manhwa adaptation (web novel written by Moscareto and illustrated by Zec) ahead that didn't make it into the live action adaptation.

Gong comes home to find su in a sexy position at the doorway, fingering himself according to gong's instructions over phone.

[isaacsapphire]

Banned books

The perennial topic, the regularly scheduled table of "banned books" at Borders and the public library.

The people who tell you that censorship is just sparkling repression unless it's done by a government tell you that a book is "banned" because one parent in Bumfuq, Kansas (population: 2436 if we count the prison) said they didn't want their 8 year old to be required to read it for a class they are legally required to attend, regardless of if this parent's objections were obeyed.

Meanwhile, what's not on the "banned books" table, because it isn't being printed (anymore), got "weeded" from the library, or otherwise isn't in the building because it don't fit the sociopolitical ideology of the people who assemble those displays?

Salman Rushdie books aside, has anything on that table ever been repressed by a government?