The backlash to Puffin Booksโ decision to update Roald Dahlโs childrenโs books has been swift and largely derisive. The publisher has been accused of โabsurd censorshipโ, โcorporate safetyismโ and โcultural vandalism.โ
At its core, however, updating Roald Dahlโs childrenโs books is really about the rights and control copyright grants to authors and copyright holders. Those rights are exercised to update childrenโs books more frequently than many of these critics may realise.
Over the past decades, authors, copyright owners and publishers have edited and updated childrenโs books. They have removed racial stereotypes, reflected changing gender and cultural norms and in doing so, maintained their booksโ relevance and appeal to the modern reader.
Hugh Loftingโs The Story of Doctor Dolittle (1920), Dr. Seussโs And To Think That I Saw It On Mulberry Street (1937), Helen Bannermanโs The Story of Little Black Sambo (1899), Mark Twainโs Adventures of Huckleberry Finn (1885) and classic childrenโs books series such as Hardy Boys and Nancy Drew have all changed to keep up with increasing sensitivities to racial, gender and other social stereotypes.
In 1973, Roald Dahl edited Charlie and the Chocolate Factory himself after the National Association for the Advancement of Colored People (NAACP) criticised the Oompa Loompas, who were originally portrayed as African โpygmiesโ.
Classic childrenโs books occupy a special cultural place and evoke sentiments of tradition and nostalgia. They are venerated as works of art, making their preservation feel vital to a shared heritage.
As such, any suggestion of changing them can feel like an attack on culture itself. Of course, whose heritage and whose culture these โclassicโ books represent is up for debate, especially when original versions included portrayals of certain groups in hurtful or stereotypical ways.
Read more: From pygmies to puppets: what to do with Roald Dahl's enslaved Oompa-Loompas in modern adaptations?
Some argue that books for children should be held to a higher standard of sensitivity, given that children learn about their society, identity and group membership from books. Through their books, authors and copyright holders wield the power to shape the attitudes and minds of children, teaching them notions of good, bad, ugly, pretty, who is accepted and who is excluded.
Copyright law grants its holder the exclusive right to edit a copyrighted childrenโs book and the right to limit publication of a work. This means that during a bookโs copyright term, the copyright holder has the right to make edits that maintain the bookโs popularity and commercial viability.
This is true even when an author no longer owns the copyright to their work. In those situations, the copyright holder generally has the right to make edits to the work even without the authorโs consent, as Goosebumps author R.L. Stine recently discovered.
These rights arenโt absolute and โ most importantly โ arenโt forever. Once the copyright term expires, anyone can reproduce, edit and sell new copies of an original book in any medium or format.
Hugh Loftingโs The Story of Doctor Dolittle (1920), for example, entered the US public domain in the 1990s. Today, both the updated and the original versions (including its racial caricatures and story line about a black prince dreaming of becoming white) are available to purchase.
Dr. Seussโs first childrenโs book, And to Think That I Saw It On Mulberry Street (1937), will enter the US public domain in 2033. At that time, regardless of Dr. Seuss Enterprisesโ efforts to retire that book, anyone will be able to reproduce and sell new copies, complete with its original bright yellow faced โChinaman who eats with sticksโ.
Roald Dahlโs original Charlie and The Chocolate Factory will enter the US public domain in 2060. Children will once more have the opportunity to read about the African โpygmiesโ that Willy Wonka โdiscoveredโ and shipped to work in his factory, โfatโ children like Augustus Goop and โuglyโ girls who chew gum.
In the meantime, copyright holders can update and revitalise their books to broaden their readerships, protect authorsโ legacies and maintain the worksโ relevance. In exchange, teachers and guardians can access various versions of classic books and decide for themselves which versions their children should read.
Cathay Smith does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.