2 Dec 2013 | Middle East and North Africa, News and features, Saudi Arabia
A shot from the YouTube trailer for H W J N (Image: Yatakhayaloon Sci Fi/YouTube)
A top selling Saudi Arabian science fiction novel has been removed from book shops across the country.
Last Tuesday (26 Nov) representatives from the country’s Commission for the Promotion of Virtue and Prevention of Vice — the Haya’a — raided several bookshops selling the novel H W J N by Ibraheem Abbas and Yasser Bahjatt’s, demanding it’d be taken off the shelves. H W J N is a “fantasy, sci-fi and romance” novel about a genie who falls in love with a human, and is a best-seller in Saudi Arabia.
Our source, who wishes to remain anonymous, says the book is charged with “blasphemy and devil-worshiping”. They add that the ban appears to stem from a Facebook post accusing the novel of “referencing jinn [genies] and leading teenage girls to experiment with Ouija boards”.
An official, handwritten letter was delivered to at least one book store from the government body. It stated, among other things that: “We purchased one copy of the book to review and we have counted 73 copies of H W J N by Ibarheem Abbas at your shop. You are requested not to dispose of, sell, or return these books until further notice.” The owners were also asked to “follow up” on this with the Haya’a the following day (27 Nov).
The book is reportedly still available in smaller shops, and the English version is also reportedly available in a number of stores. It is so far unknown what actions, if any, are being taken against the authors.
This article was published on 2 Dec 2013 at indexoncensorship.org
25 Sep 2013 | News and features, Religion and Culture
A publicity shot from Lucien Bourjeily’s latest play
Banning a work of art, a book or a play says more about a society and its temperament than anything else. As free speech and readers mark Banned Books Week, Index on Censorship magazine editor Rachael Jolley looks at Lebanon, where the country’s Censorship Bureau has recently flexed its muscles
In the past few weeks, Lebanese playwright Lucien Bourjeily has had his play Will It Pass or Won’t It? banned by his government. Ironically, the play is about censorship, specifically the process in Lebanon whereby plays are passed by the Censorship Bureau of the General Security Office — or not performed.
Bourjeily’s play dramatically challenged that process. But the censors did not see the funny side of his finger poking at a system that involves playwrights putting their words through the wringer of a censorship process, before being squeezed out again.
The censors came up with a variety of reasons why the play should not be shown, ranging from it not being “realistic” (surely missing the point of fiction there), to it not being good enough. Those in charge decided it was not for the people to decide whether it was worthy of their time, it was for them. And with that the play was to be banned.
Banning a work of art, a book or a play says more about the society and its temperament than anything else. Some nations are less than confident about themselves; they are clearly worried that if their ideas are questioned they will be weakened and their power diminished. Ban a book or a play if you worry that by talking an idea or a principle that discussion will somehow harm society. If you don’t worry about your values, principles or laws being discussed since you are perfectly willing and able to defend them, then there is no need for a work of art, book or play to be censored.
A robust, vibrant and creative society is a place where open discussions can take place, and Index on Censorship magazine, throughout its life, has often helped publish some important writings which were censored in other parts of the world, and smuggled out to Index. When the Soviet Union still existed, great thinkers there were censored and silenced, and Index helped their voices to be heard. Today it still seeks to help publish those whose words and ideas are silenced by their own governments. In its winter edition it will publish an extract from Bourjeily’s play so that readers can make up their own minds about whether it is worth performing.
Healthier societies do not hold back debates, even when they may disagree with them. They allow them oxygen to see how worthy of consideration they are. Ideas can shock or offend. Robust societies can cope with that, and even feel healthier for it.
Prodding and debating, as any writer, politician, thinker, inventor or scientist knows, is good for an idea or a thesis; it might be flawed, disproved or ignored. Or not. In the same way that scientists depend on their ideas being tested to see if they work and should be developed, leaders of nations should expect their proposals, their laws or processes to be prodded, debated and discussed. And that is what happens in a book or a play.
In a recent interview, Bourjeily said he felt that the Lebanese were treating their people as children, not allowing them to make their own decisions. Because of that, they were no longer expressing ideas in public, because of the consequences. They are self censoring, they are not exploring. None of that is good for any developing society. Inventors and scientists are attracted to those vibrant centres as are artists and writers. Across the world and throughout history those buzzing hives of thought have led the globe financially and culturally. As ever an open lively society attracts the world’s leading thinkers and creators, a place where censorship and fear is rife does not. Leaders of the world take note.
Rachael Jolley is editor of Index on Censorship, an award-winning magazine, devoted to protecting and promoting free expression. International in outlook, outspoken in comment, Index reports on free expression violations around the world, publishes banned writing and shines a light on vital free expression issues through original, challenging and intelligent commentary and analysis, publishing some of the world`s finest writers.
To mark Banned Books week, Index’s publisher SAGE has freed up access to the full archive of Index on Censorship through 28 Sept. Access articles here: http://ioc.sagepub.com/
This article was originally posted on Sage Connection
24 Dec 2012 | Turkey
Judging by sales figures, Turkish readers love comics magazines and graphic novels, but the political and military leaders of the country have had little patience for them, an examination of Turkey’s banned books revealed last month.
On 5 January 2013, the Turkish government will lift bans against 453 books and 645 periodicals blacklisted over a 63 year period. It is part of a package of judicial reforms that will also offer a conditional pardon for certain media and freedom of expression offences and secure greater free expression in the publishing field.
When Turkish journalists got hold of the astonishing list of banned books at the end of November, a surprise awaited them. Amid titles of works by “usual suspects” — Karl Marx, Friedrich Engels, Vladimir Lenin; Turkish authors Nazım Hikmet and Aziz Nesin; and the theologian Said Nursî — the figure of Captain Miki (or “Tommiks” as he is known here) made an unexpected appearance. One episode among the adventures of the Italian hero, who has been popular with Turkish readers since the 1950s, was banned for more than 52 years, they learned.
So how exactly did Captain Miki offend Turkish state? The Prosecutor’s report revealed that a single issue of Captain Miki’s adventures was banned in 1961, months after the 27 May 1960 military coup took place. The generals, who hung a democratically elected prime minister the same year, accused Captain Miki of having encouraged laziness and a “spirit of adventurousness” among Turkish people.
When I called MK Perker, one of Turkey’s most prolific comic book authors, to ask about Captain Miki’s tragic fate, he didn’t sound much surprised. In 2011, Perker and a group of famous Turkish comic writers published Harakiri, a high quality comics magazine which was fined the Turkish equivalent of 50,000 GBP after putting out only two issues. They were accused of precisely the same offence: Encouraging laziness and a spirit of adventurousness among Turkish people.
“Some people spy on comics magazines,” he said, “and then complain to prosecutors about certain images they find disagreeable. These are mostly random events. You can’t foresee them. A magazine publishes content similar to ours and nothing happens. But just because someone picks on you and files a complaint, you end up getting in trouble.”
Perker, whose comics appear weekly in the Sunday supplements of two national newspapers, said he regularly feels the need to self-censor his own work. “For my newspaper pieces, I need to be cautious,” he said. “But in places like Harakiri I feel more free. We don’t have a boss at the magazine. We don’t have to show our work to an editor. We don’t run any advertisement so there is no fear of ever losing our artistic independence. Harakiri is like HBO [the American cable television network] when compared to comic sections of national newspapers,” he said.
Despite the 50,000 GBP fine in 2011 putting an end to his happy days of artistic independence, Perker and his friends put out a third issue earlier this year.
Credit: Habertürk
Perker, whose works appeared in the New Yorker, Mad Magazine, the New York Times, the Wall Street Journal, the Washington Post and Heavy Metal among others, began his career at the Turkish cartoon magazine Gırgır, which used to sell half a million copies in its heyday during the 1970s. I asked Perker whether things got better in terms of freedom of expression since his days in Gırgır.
“Censorship always existed in Turkey,” he said. “It is a very consistent phenomenon. After the 12 September 1980 coup d’état, Gırgır was shut down by the military junta. Markopaşa, the weekly satirical magazine published by the Turkish author Sabahattin Ali, was closed numerous times. Its publishers had to sell the magazine personally on streets because there was simply no other way to distribute it,” he said.
In Ottoman times, under rule of Sultan Abdul Hamid II, cartoonists and comic writers faced similar problems. Perker points out that when the Sultan’s pointed nose became a subject of cartoons, a ban was issued against newspapers running such images. He says:
The Sultan’s nose became a metaphor for government. Depictions of all pointed noses were outlawed. Comic magazine publishers had to go to Geneva in order to continue their publishing operations.
According to Perker, despite the pressures on their activities, the influence of comic magazines continue to be a force in Turkey’s cultural life. The political response to weekly comic magazines has even become a subject for debate in government.
In 2005, Prime Minister Recep Tayyip Erdogan sued Penguen magazine when it published a cartoon that depicted him as an elephant, giraffe, monkey, camel, frog, snake, cow and duck. Erdogan lost the case on free expression grounds. While some parliamentarians sue cartoonists in courts, others, like the deputy prime minister Bülent Arınç said he wanted all cases against cartoonists dropped and expressed his support in 2010.
This is a feeling shared by Kürşat Kayra, the Ankara prosecutor who prepared the legal documents that lifted bans placed on hundreds of books, newspapers and periodicals:
If we don’t acknowledge that the right to freedom of expression is a fundamental human right, then we won’t be able to say ‘the king is naked!’ when the occasion arises.
Kaya Genc is a Turkish essayist and novelist. Follow him on Twitter: @kayagenc
3 Apr 2012 | Index Index, minipost
Bahraini authorities banned several books from the country’s international book fair, which was held between 22 March and 1 April. The Press and Publications Directorate, which is affiliated with the Information Affairs Authority, banned and confiscated all copies of the book “Political organisations and societies in Bahrain”, co authored by journalist Abbas Almurshid and human rights defender Abdulhadi AlKhawaja, who is currently on hunger strike. Another book by Almurshid, “Bahrain in the Gulf Gazetteer” was also banned by The Press and Publications Directorate. Other books removed from the fair include the novel “Jazaweyat” by Saudi author Fahad Fatik and “Wahhabism” by Saudi author Miqat AlRajehi.
