The head librarian at the National Library of Scotland in Edinburgh most likely didn’t anticipate that a public call to nominate favourite Scottish books for the institution’s 100th anniversary would ignite a national controversy. But when The Women Who Wouldn’t Wheesht, a collection of essays by feminist writers including JK Rowling and former MP Joanna Cherry, was voted into the top 200, it sparked a long, fierce internal debate.
The book, which critiques gender self-ID reforms brought forward by Nicola Sturgeon’s government, is polarising. For some, it represents a defence of women’s rights; for others, it feels like a rejection of trans identities and a challenge to the legitimacy of their lived experience.
Faced with this tension, Amina Shah, the National Librarian, sought an equality impact assessment. The advice was mixed. Including the book might lead to protests from LGBTQ+ staff and allies. Excluding it could be perceived as censorship. Concerns had been raised by LGBT+ staff network about the book’s inclusion, and in consultation with the chair of the library’s board Drummond Bone, Shah ultimately decided the book would not be included in the display.
That could have been the end of it. But an FOI request filed by the book’s editors brought the decision-making process into public view and turned a quiet decision into a news story.
Much of the subsequent debate has turned on language. Some headlines have referred to The Women Who Wouldn’t Wheesht as a “banned book” – a claim others have taken issue with. After all, the National Library of Scotland has said the book is still available in its open reading room. Others have wrongly claimed it was removed after the exhibition began in June, rather than not being part of the display to begin with.
In this kind of charged environment, misinformation spreads quickly. So let’s be clear: the public was invited to select Scottish books for the Dear Library exhibition, created to mark the centenary. Apparently 523 books were nominated and the 200 that received the most nominations would make the main display. The Women Who Wouldn’t Wheesht made the cut with four votes. It was the only title (as far as we know) excluded from the display after qualifying. That’s not an impartial act of curation. It’s a deliberate exception. And exceptions based on viewpoint deserve scrutiny.
At Index, we’ve just reprised our role as the UK lead for Banned Books Week. We don’t champion books because we always agree with them, or even because we find them palatable. We champion them because books must be a space where ideas – even deeply uncomfortable ones – can be explored.
In recent years, we’ve seen how frequently books on LGBTQ+ themes are targeted for removal, particularly in the United States. In the UK, too, we’ve seen troubling signs: last month a Reform MP urged libraries in Kent to remove books on trans issues. We called it out. In that case, as here, defenders said it wasn’t censorship – the books were still available, just not in the spotlight.
Curation is never neutral. What gets displayed, what doesn’t, what is “safe” enough to be seen, these are all decisions that shape the cultural landscape. These decisions matter. A book moved from the front shelf to the back is a signal.
Some say the book in question promotes “hate”. They’re entitled to that view and indeed entitled to protest its inclusion. It’s also important to acknowledge that for many LGBTQ+ readers and staff, this isn’t just a political disagreement. It’s personal and painful. In a liberal democracy though, even speech that offends or unsettles us deserves protection, especially in books, where the whole point is to wrestle with complex, often conflicting, ideas. Books that are deemed “dangerous” or “offensive” have always existed. Many are now considered classics. Others remain debated. In all cases, open dialogue – not quiet removal – is the better path forward.
Ironically, the decision to exclude the book has only amplified its reach. In what some are calling a classic case of the Streisand Effect, sales have surged on Amazon. People are talking about it more than they ever would have otherwise.
And now, the consequences have broadened. One of the exhibition’s funders is reportedly unhappy. There’s speculation that Shah could face professional consequences. That, too, would be a mistake. This is, after all, a very fraught space. Shah was clearly trying to do, with the backing of her chair, what she thought was right, balancing the concerns of staff, readers and the broader public. She was between a rock and a hard place, a damned if do, damned if don’t situation. Instead of continuing with the message that you can face professional risks either way, we should be asking how we can hold space for difficult conversations, without silencing people on either side. Because this isn’t just about one book, or one exhibition. It’s about a moment in which institutions are being pushed and pulled by opposing forces, and trying, often imperfectly, to chart a course through it all.
Ultimately, we need space for discomfort, for disagreement, and above all, for empathy. That’s how democracies grow – not by hiding books away, but by reading them, debating them and understanding why they matter.
What’s one book that changed how you see the world?
Books can transform us. They open up new perspectives, help us understand lives different from our own, and spark ideas we might never have imagined. The freedom to read – to explore, question and connect through stories – is a vital part of any free and open society.
But that freedom is under threat.
Around the world, writers face censorship, imprisonment and violence simply for putting words on a page. Booksellers from Iran to Belarus, Israel to Hong Kong have been harassed and silenced. Publishers in China and Russia are being pressured and censored. In places like the USA, Brazil, Hungary and even the UK, books are being banned and pulled off the shelves in libraries because of the ideas they hold and the questions they raise.
Why? Because stories are powerful. Because reading can challenge the status quo.
Banned Books Week UK returns from 5–11 October 2025. It’s a week to celebrate the books that have been challenged, removed or silenced, and to stand with the people who write, sell and share them. Join Index on Censorship in honouring the right to read freely and the courage it takes to speak up. In partnership with the International Publishers Association and Hay Festival Global.
Get Involved!
Booksellers and libraries are invited to host displays, organise events or highlight books that have been banned or challenged around the world.
Writers and readers are encouraged to celebrate books that have come under fire ( globally or locally)
Publishers and literature organisations are invited to join the campaign, whether curating online reading lists, hosting events or posting online
Index on Censorship is the UK partner for the USA Coalition, which runs ‘Banned Books Week’. Banned Books Week was launched in 1982 in response to a sudden surge in the number of challenges to books in libraries, bookstores, and schools. Typically (but not always) held during the last week of September, the annual event highlights the value of free and open access to information and brings together the entire book community — librarians, educators, authors, publishers, booksellers, and readers of all types — in shared support of the freedom to seek and to express ideas. You can read more about Banned Books Week here: About | Banned Books Week.
Banned Books Week UK is led by Index on Censorship as a parallel campaign to Banned Books Week in the USA. It ran successfully for a couple of years prior to the pandemic and is re-launching in 2025. Index invites booksellers, libraries, literary organisations, publishers, schools, writers and any other organisations interested in getting involved with the campaign. The aim of Banned Books Week UK is to become a truly nationwide campaign. Follow us on X.
In the lead up to the Beijing Olympics, when China was on a global charm offensive, Ma Jian’s book Beijing Coma was published. Through the central character Dai Wei, a protester who was shot in Tiananmen Square and fell into a deep coma, Ma presented the other side of the country, an insecure nation afraid of its past and struggling with its present. Ma stated that he wrote the book “to reclaim history from a totalitarian government whose role is to erase it”. I raced through it, went to several book talks he gave and, given the epic proportions of the novel, even enquired about buying the film rights. They were available but I was told that was because few studios would dare take on a work so confronting. To this day the book remains banned in China and no film of it has yet to be made. We are the worse off for that. Jemimah Steinfeld
Are you there God? It’s me Margaret – Judy Blume
As the only child of an amazing single parent, books were a core feature of my childhood. A trip to the library was a joy and visits to the bookshop were a special treat. Getting lost in the pages of a book every night was my happy place and my favourite author as a teenager was Judy Blume. Blume writes beautifully and takes the reader on a journey of exploration of a teenage mind – helping you realise you aren’t alone in being challenged by new experiences and feelings. While from an Index perspective I should say that my favourite book was the one most banned – Forever (which I loved), my absolute favourite was actually Are you there God? It’s me Margaret. As the only Jewish kid at my school I related to Margaret’s internal conflict and her personal relationship with G-d. Blume remains a personal heroine and every effort to ban her books confirms why the work of Index on Censorship is so important. Ruth Anderson
Lady Chatterley’s Lover – DH Lawrence
I had to read DH Lawrence’s Lady Chatterley’s Lover at school. I hated it. But I did enjoy the ironies that the attempted prosecution of it for “obscenity” totally undermined the state of the obscenity laws at the time and the court case reaffirmed art’s freedom to say pretty much anything it liked, as long as it was judged to be of literary merit (whatever that means). Those who tried to suppress the book only succeeded in fanning the flames of public interest exponentially, beyond who might otherwise have read it without all the hoo-ha and salacious interest whipped up around it. Public interest was the other marker of whether the book should be permitted, so in bringing the prosecution it rather ensured the inevitable failure of the case. The trial has also been highlighted as the start of societal values changing and ushering in the more permissive 1960s. None of this impacted on DH Lawrence, since he’d been dead for 30 years. Publishers had self-censored by holding off publication until Penguin Books took the plunge and British society was probably never the same again. Now, if only a book could have such a societal impact in the 21st century… David Sewell
The Satanic Verses – Salman Rushdie
The Satanic Verses was the subject of a fatwa issued by the Supreme Leader of Iran, Ayatollah Khomeini in 1989, which called for the assassination of its author, Salman Rushdie. The novel is Rushdie’s masterpiece: a comic take on the life of Muhammad that also wraps in the British Indian immigrant experience, Bollywood, Sikh separatism and Hinduism. Its ambition is vast and it deserves to be celebrated as one of the greatest novels of the 20th century. Its legacy will live well beyond the regime which forced its author into hiding. Martin Bright
Spycatcher – Peter Wright
I was at university in London when Peter Wright’s Spycatcher was first published and Margaret Thatcher’s government banned it. Wright was a former assistant director of MI5, who was annoyed about the security service’s pension arrangements and decided to blow the whistle over its shadier activities in order to recoup some money for his retirement in Australia. In the 1980s, the workings of the security services were shrouded in secrecy and the book caused huge ripples with its stories of Soviet moles and the then advanced technologies that were being used to spy on Britain’s ‘enemies’. I still remember reading the first chapter and finding out that a nondescript building around the corner from my university department I passed every day was used by MI5 for its covert operations. As the book was not banned in Australia or Scotland, its contents gradually leaked and Thatcher’s government was forced to admit defeat and the book ban was dropped. Mark Stimpson
The Handmaid’s Tale – Margaret Atwood
Look on the shelves of certain school districts in Texas, Michigan and Florida and you’ll find an empty space where The Handmaid’s Tale used to be, after book challenges led to its removal. Atwood’s most famous book might have been published in 1985, but it still has the power to scare self-appointed censors today. The graphic novel, too, is just as excellent and just as hated by censors. In the dystopian Gilead patriarchal structures are taken to the absolute extreme. A woman’s body is not her own – she is judged by her capacity for baby-making. Even her vocabulary is closely monitored. But the way this society was created is even more concerning, with events in the novel inspired by real-world happenings. It’s a book worth reading again and again – it hit home differently when I was a wide-eyed student to how it does now that I’m a mother, and still sends the same chill in a 2023 context. Katie Dancey-Downs
To Kill a Mockingbird – Harper Lee
Harper Lee’s classic 1960 novel To Kill a Mockingbird explores complex themes of race, justice, and humanity, bringing a degree of warmth to heavy subject matter by using the perspective of child protagonist Scout Finch to invoke a sense of innocence, even while tackling difficult topics. Although the book is considered a modern classic, it has been subject to bans and challenges due to its use of profanity, racial slurs, and adult themes. The language and subject matter may make it an uncomfortable read for some, but the overriding message of tolerance and morality is both important and necessary. Daisy Ruddock
Animal Farm – George Orwell
There’s always a book you read that, when you reflect back on, has made an impression on your whole life. For me it was Animal Farm by George Orwell. I first read the book as a teenager and it made me think about the meaning behind the role of governments and the issues of right and wrong, greed and the corruption of power. When I watched the world news and saw the power and restrictions that states placed on their citizens, a book published in 1945 showed me how the world turns and how little change there can be without true democracy. Cathy Parry
His Dark Materials trilogy – Philip Pullman
The His Dark Materials Trilogy by Philip Pullman made its way to me through my grandmother. This was how I often got the books that have stuck with me nearly two decades later. I wonder whether she knew what she did would be so frowned upon by those in the US states who took offence to its apparent “anti-Christian” message? His Dark Materials is glorious collection of young adult books, which snuck in complex messages without patronising the readers. In fact, it challenges and provokes the readers in a manner that sent my teenage brain racing. Also how can you not love a polar bear wearing armour? Nik Williams
The Bell Jar – Sylvia Plath
The Ireland that I was born into was a cold house for women. There was no access to abortion, no divorce and marital rape had only recently been outlawed. Since then, public opinion has been reshaped and laws have been liberalised, largely as a result of ordinary women speaking out about their personal experiences. That’s why The Bell Jar by Sylvia Plath is important. It’s a rare example of a canonical work about the life of a young woman as told in her own words. The semi-autobiographical novel, which was previously banned in Ireland and remains banned in some US states, is a coming-of-age story following a young woman at odds with 1950s US society. It challenges the conventional roles of women and explores the difficult, and still tabooed, subject of mental illness. Jessica Ní Mhainín
Xinran has dedicated her career to highlighting the stories of Chinese people – and in particular Chinese women – set against the backdrop of an ever-changing political landscape. She started her career as the host of a call-in radio programme entitled “Words on the Night Breeze” which mainly focused on women’s stories. She has since gone on to publish nine books which have been translated into more than 40 languages.
Her writing focuses on Chinese realities in the aftermath of the Cultural Revolution. China Witness: Voices from a Silent Generation (2008) gives first-hand accounts of historical events in an attempt to counteract the destruction of historical documents during the Cultural Revolution. Her most recent release The Promise: Tales of Love and Loss in Modern China (2019) follows Chinese women through four generations.
Xinran has both experienced and observed censorship. And she highlights the ways in which Chinese censorship has changed over time with the introduction of new technologies and changing political dynamics.
The theme for Banned Books Week 2022 is “Books Unite Us. Censorship Divides Us.” Banned Books Week is an annual event celebrating the freedom to read. The initiative was launched in 1982 in response to a sudden surge in the number of challenges to books in schools, bookshops and libraries in the United States. Throughout the week, partner organisations come together to highlight the value of free and open access to information. We unite in shared support of the freedom to seek and to express ideas, even those some consider unorthodox or unpopular.XINRAN’S READING LIST
Xinran has also shared this reading list for those who want to learn more about the current realities in mainland China.
Feng Jicai
Born in Tianjin in 1942, Feng Jicai is a contemporary author, artist and cultural scholar who rose to prominence as a pioneer of China’s Scar Literature movement that emerged after the Cultural Revolution.
Yu Hua
Yu Hua grew up during the Cultural Revolution and this is a recurring topic in his writing. His writing often includes detailed descriptions of violence. Yu Hua’s most prominent novels include Chronicle of a Blood Merchant and To Live. The latter was adapted for film by Zhang Yimou but it was subsequently banned in China. Adding to this, his nonfiction collection, China in Ten Words (2010), cannot be distributed legally in mainland China because of its edgy political content.
Feng Tang
Through novels and poetry, Feng Tang describes life in contemporary Beijing. is best known for his novels Trilogy of Beijing (2021) and Oneness (2011). The latter explores the interplay between sexuality and religion.
Fan Wu
Fan Wu is a Chinese-American novelist and short story writer. She writes about China as well as Chinese immigrants in the US, with a focus on female characters. Her debut novel titled February Flowers (2007) is set on a Chinese college campus.
