17 Dec 24 | News and features
What do rainbow-coloured hair extensions, Friedrich Nietzsche’s The Gay Science and Sex Addiction: A Survival Guide have in common? They have all allegedly been swept up in broad censorship measures by retail giant Amazon, according to a new report by The Citizen Lab, an interdisciplinary laboratory based at the University of Toronto.
The Citizen Lab, which studies openness and transparency on the internet, analysed the US storefront Amazon.com to uncover restrictions on certain products being ordered from specific regions. They found that the most common product category that is restricted is books, often with themes of LGBTQ+ lives, the occult, erotica, Christianity or health and wellness. These are censored in the UAE, Saudi Arabia and other Middle Eastern countries, as well as Brunei Darussalam, Papua New Guinea, Seychelles and Zambia.
But it isn’t just products actually banned in these countries that are restricted. The Citizen Lab uncovered a raft of “collateral censorship” where items were miscategorised (for example, because they contained the word “gay” in their title or description), hence the banning of rainbow-coloured hair extensions due to the word “rainbow”.
When potential consumers from these regions try to purchase various products from Amazon.com, they are given various error messages, such as an announcement that a product is out of stock. But, according to The Citizen Lab’s methodology, these items are not out of stock. The organisation’s research can distinguish between products being genuinely unavailable for delivery in a region, and being restricted.
Noura Al-Jizawi, senior researcher at The Citizen Lab and co-author of the report, told Index that this sheds light on a potential broader strategy around censorship.
“Rather than taking responsibility or openly acknowledging its role in restricting certain content, Amazon masks these decisions as stock or availability issues,” she said. “This tactic allows the company to evade accountability and makes it difficult for stakeholders — customers, authors and publishers — to challenge or appeal such practices.”
She claimed that this helps Amazon to maintain its reputation and avoid accusations of censorship, as restrictions are framed as logistical problems rather than deliberate decisions. But transparency, she explained, is crucial.
“If a book has been miscategorised or unfairly censored, users have the right to appeal such decisions,” she said. “Similarly, authors and publishers deserve the opportunity to request Amazon to reconsider its decision to restrict their work. Without transparency, these stakeholders are left in the dark, unable to understand or address the reasons behind such restrictions.”
Jeffrey Knockel, senior research associate at The Citizen Lab and another of the report’s co-authors, told Index that his organisation had previously identified censorship on the Saudi Arabia and UAE Amazon storefronts, and were trying to systematically measure which products were blocked when they realised that the same censorship existed on Amazon.com.
The Citizen Lab has written to Amazon to inquire about the pressure the conglomerate might be under from various governments. They have also made recommendations, including that Amazon should “provide transparent and accurate notifications to customers when products are unavailable due to legal restrictions of the destination region” along with details on the relevant law and a mechanism for customers to flag improperly classified items. At the time of publishing, Amazon has not replied to The Citizen Lab.
Yuri Guaiana, senior campaigns manager at All Out, a global movement campaigning for LGBTQ+ rights, spoke to Index in response to the report. He believes Amazon should implement The Citizen Lab’s recommendations as a first step, but should then go even further.
“As a global leader, Amazon has the power to influence norms. It should take a stand against oppressive laws that force censorship, actively working with human rights organisations to advocate for change in restrictive regions,” he said.
All Out has launched a petition demanding that Amazon stops censoring LGBTQ+ books. “For businesses like Amazon, complying with oppressive local demands may seem like a pragmatic choice, but it risks reinforcing systemic discrimination,” he said.
He echoes The Citizen Lab’s concerns around lack of transparency around censorship, which he says shields “both Amazon and oppressive governments from scrutiny”.
If there was better transparency, he explained, customers and human rights campaigners would be more equipped to push back against unjust restrictions and oppressive laws.
He also shared concerns about the issue of “collateral censorship”. “We’ve seen this pattern escalate in places like Russia,” he said. “After Putin’s regime implemented laws censoring so-called ‘LGBT+ propaganda’, enforcement spiralled beyond media and literature. People have been arrested for as little as wearing rainbow [earrings], showing how quickly such policies can expand into every facet of life,” he said.
Index approached Amazon for a right of reply but Amazon did not respond to Index’s request for comment.
21 Feb 23 | FEATURED: Jemimah Steinfield, Index Arts, News and features, United Kingdom
As a child I used to dream about the day I would go to Willy Wonka’s chocolate factory. I’d watch the movie on repeat, always captivated by the moment when Charlie enters that room, the one with the marshmallow trees and the chocolate river. In other words, the room of childhood dreams. Flash forward to a year ago. My son was having a tantrum, refusing to leave the house (he was three, it happens). I was trying the normal tricks to calm and cajole him. Nothing was working. Eventually I told him about the Willy Wonka room. As if by magic he calmed instantly, put on his coat and we left.
I didn’t mention Augustus Gloop in my retelling. If I had I might have missed out the fact he was “fat” because, well, I try to avoid that word in my house. I don’t want my son to grow up body conscious or to fat shame others. That is my prerogative as a parent; I can filter and rewrite as I see fit. It is not, though, the prerogative of the publishing house, or a streaming service. But that’s exactly the role they have given themselves. As was recently announced in The Daily Telegraph, Roald Dahl’s children’s books are being rewritten to remove language deemed offensive by the publisher Puffin. Sensitivity readers have been hired, their job to bring the books up to the 21st Century. So Augustus Gloop is now “enormous” not “fat” and, amongst other issues that I’ll get to shortly, I’m curious as to whether that is even any better?
Ditto references to “female” characters like Miss Trunchbull in Matilda, who has gone from a “most formidable female” to a now “most formidable woman”. Shouldn’t that be “person”? Or do we have to wait for the 2024 edition?
This sets a really bad precedent. I hate to be the cliché – work at Index on Censorship, talk about slippery slopes – but this really is a slippery slope. The library shelf that Dahl’s books sit on is full of works that teeter on the edge of PC. Take just one example, Judith Kerr’s beloved The Tiger Who Came to Tea. In this it’s Sophie’s mother who is at home looking after Sophie while it’s Sophie’s father who is at work, and it’s Sophie’s father who has the great idea to go out for sausages and chips (and presumably has all the capital to pay for it). Of course Daddy bloody saves the day! Shall we rewrite that?
I don’t like the traditional gender roles of Kerr’s book, nor do I like some of the language and descriptions in Dahl’s. But these books are products of our uncomfortable past and no amount of editing can change that past. Editing can, however, gloss over it as if it never happened, which is far more concerning. How are we supposed to understand who we are today if we don’t have the context of where we’ve come from? It even denies us our victories. “Look! Mummy and Daddy both work today!” I can tell my kids proudly if they question the dynamics in Kerr’s Tiger.
Another troubling aspect concerns author consent. In the journalism industry, once something has been published it’s considered bad practise to make any changes, certainly without the permission of the author. With Dahl, not only have words been changed, passages have been added. According to the Roald Dahl Story Company “it’s not unusual to review the language” during a new print run and any changes were “small and carefully considered”. Are these small? In The Witches, when it first introduces the witches as bald beneath their wigs a new line follows: “There are plenty of other reasons why women might wear wigs and there is certainly nothing wrong with that.” That’s very well-meaning, it’s just that Dahl didn’t write that. I fear the power we are giving to publishers and estates to reword as they see fit. Ultimately in the wrong hands good intentions easily turn bad.
My final irritation is more personal. My son’s bookshelf is spilling over with stories, a glorious catalogue of old and new. I’m amazed by the number of fantastic children’s writers out there today and a little overwhelmed. Justification for the Dahl modifications seems to be along the lines of a commitment to diversity and inclusivity, something we can all get behind. If Puffin and Netflix are so committed to these values why don’t they instead invest in and support authors from other backgrounds? After all, Roald Dahl was a white male with an anti-Semitic track record. He’s hardly the poster boy of 2023.
As much as they have their problems, I like some of Dahl’s characters and plots both from a place of nostalgia and from a place of good story-telling. I look forward to the day when my son progresses from tales of golden tickets to giants outside windows (way too scary for now). But he shouldn’t need to watch Charlie and the Chocolate Factory on repeat like me because there are many other brilliant books out there, waiting to be turned into film. What we need is money channelled to new stories, not new, redacted versions of Matilda.
This article originally appeared in The Bookseller here.
05 Oct 22 | Afghanistan, Africa, Americas, Asia and Pacific, Brazil, Bulgaria, China, Europe and Central Asia, India, Israel, Kenya, Magazine, Magazine Contents, Middle East and North Africa, North Korea, Palestine, Poland, Qatar, Romania, Saudi Arabia, United States, Volume 51.03 Autumn 2022, Volume 51.03 Autumn 2022 Extras
The autumn issue of Index takes as its central theme the FIFA World Cup that will take place in Qatar in November and December 2022.
A country where human rights are constantly under threat, Qatar is under the spotlight and many are calling for a boycott of the tournament.
Index spoke to journalists, human rights activists and philosophers for the latest issue to understand their view on the tangled relationship between football and human rights. Is football really the beautiful game?
Upfront
The Qatar conundrum, by Jemimah Steinfeld: The World Cup is throwing up questions.
The Index, by Mark Frary: The latest in the world of freedom of expression, with internet shutdowns and Salman Rushdie’s attack in the spotlight. Plus George M Johnson on being banned.
Features
An unholy war on speech, by Sarah Myers: A woman sits on death row in Pakistan. Her crime? Saying she was a prophet.
Perfecting the art of oppression, by Martha Otwinowski: Poland’s art scene is the latest victim of nasty politics.
Poland’s redemption songs, by Martin Bright: In anti-apartheid solidarity, reggae rode with revolution in Europe.
Fighting back against vendetta politics, by Hanan Zaffar and Hamaad Habibullah: In India, tackling fake news can land you in a cell.
The mafia state that is putty in Putin’s hands, by Mark Seacombe: The truth behind the spread of pro-Russian propaganda in Bulgaria.
Bodies of evidence, by Sarah Sands: A new frontier of journalism with echoes of a crime scene investigator.
Chasing after rights, by Ben Rogers: The activist on being followed by Chinese police.
The double closet, by Flo Marks: Exploring the rampant biphobia that pushes many to silence their sexuality.
Is there a (real) doctor in the house? By John Lloyd: One journalist uncovers the secret of Romania’s doctored doctorates.
The mice hear the words of the night, by Jihyun Park: A schooling in free expression, where the classroom is North Korea.
The most dangerous man in Guantanamo, by Katie Dancey-Downs: After years in Guantanamo, a journalist dedicates himself to protecting others.
America’s coolest members club, by Olivia Sklenka: Meet the people fighting against the surge in book bans.
Special report: The beautiful game?
Victim of its own success? By Simon Barnes: Blame the populists, not the game.
Stadiums built on suffering, by Abdullah Al-Maliki: Underneath the suds of Qatar’s sportswashing, fear and terror remain.
Football’s leaving home, by Katie Dancey-Downs: Khalida Popal put women on the pitch in Afghanistan, before leading their evacuation.
Exposing Saudi’s nasty tactics, by Adam Crafton: A sports journalist is forced into defence after tackling Saudi Arabia’s homophobia.
It’s foul play in Kashmir, by Bilal Ahmad Pandow: Protest and politically motivated matches are entwined in Kashmir’s football history.
How ‘industrial football’ was used to silence protests, by Kaya Genç: Political football: how to bend it like Erdoğan.
Xi’s real China dream, by Jonathan Sullivan: While freedoms are squeezed, China’s leader has a World Cup-sized dream.
Tackling Israel’s thorny politics, by Daniella Peled: Can Palestinians de-facto national team carve out a space for free expression?
The stench of white elephants, by Jamil Chade: Brazil’s World Cup swung open Pandora’s Box.
The real game is politics, by Issa Sikiti da Silva: Is politics welcome on the pitch in Kenya?
Comment
Refereeing rights, by Julian Baggini: Why we shouldn’t expect footballers to hand out human rights red cards.
The other half, by Permi Jhooti: The real-life inspiration behind Bend it like Beckham holds up a mirror to her experience.
We don’t like it – no one cares, by Mark Glanville: English football has moved away from listening to its fans argues this Millwall supporter.
Much ado about critics, by Lyn Gardner: A theatre objects to an offensive Legally Blonde review.
On reputation laundering, by Ruth Smeeth: Beware those who want to control their own narrative.
Culture
The soul of Sudan, by Stella Gaitano and Katie Dancey-Downs: What does it mean for deep-running connections when you’re forced to leave? Censored writer Stella Gaitano introduces a new translation of her work.
Moving the goalposts, by Kaya Genç and Guilherme Osinski: Football and politics are a match made in Turkey. Kaya Genç fictionalises an unforgettable game.
Away from the satanic, by Malise Ruthven: A leading expert on Salman Rushdie writes about an emerging liberalism in Islamic discourse.
22 Mar 18 | Awards, Fellowship 2018, News and features
[vc_row][vc_column][vc_video link=”https://youtu.be/WzJkJikmYe8″][vc_column_text]Abbad Yahya is a 29-year-old Palestinian novelist whose fourth novel Crime in Ramallah was banned by the Palestinian authority in the West Bank in 2017. The novel includes depictions of gay sex, as well as political commentary about fanaticism and religious extremism — subjects largely considered taboo in the region. All copies of the book were confiscated by the attorney general in February this year, on the grounds it contained texts that threatened public decency.
When the controversy arose, Yahya was abroad in Qatar. He was so afraid for his life that he did not to go back to his native Ramallah and spent time in other countries in the Middle East and Europe. Threats were issued to him and his family via social media and copies of the book burnt on the Gaza strip. The Public Prosecutor issued a summons for questioning against Yahya and detained the distributor of the novel.
Despite this, Yahya has spent the last year giving interviews to the international and Arab press and raising awareness of freedom of expression and the lives of young people in the West Bank and Gaza, particularly in relation to their sexuality.
“In my point of view, the most important impact of all of this, was raising the awareness amongst the youth and their decisions that are related to their sexual lives, as well as making a public discussion about the issue,” says Yahya.
Crime in Ramallah follows the lives of three young Palestinian men and the different ways they cope with living in the claustrophobic society of Ramallah. The passage in the novel most cited as causing outrage is when one of the characters sees a picture of the Palestinian leader Yasser Arafat with a gun and imagines it as a penis.
The novel was criticised by some of Yahya’s own colleagues. According to AP, the head of the Palestinian Writers Union, Murad Sudani, said it was a: “silly novel that violates the national and religious values of the society in order to appease the West and win prizes.”
“The job of the writer in our occupied country is to raise the hope and enlighten people — not to break the national and religious symbols,” Sudani added. “My freedom as a writer ends when the freedom of the country begins.”
But Yahya does not agree. “Censors proclaim themselves to be the representatives of the public and their opinion, while present us as an obscure minority, insignificant in its voice and influence,” Yahya tells Index on Censorship. “This nomination proves the exact opposite, as it comes as a recognition of what we do and the things we stand for, and a proof that our voice is indeed heard. Freedom is contagious, and being one of the nominees strengthens my unshakable conviction in the ideals of freedom and freedom of expression.
See the full shortlist for Index on Censorship’s Freedom of Expression Awards 2018 here.[/vc_column_text][/vc_column][/vc_row][vc_row full_width=”stretch_row_content” equal_height=”yes” el_class=”text_white” css=”.vc_custom_1490258749071{background-color: #cb3000 !important;}”][vc_column width=”1/2″][vc_custom_heading text=”Support the Index Fellowship.” font_container=”tag:p|font_size:28|text_align:center” use_theme_fonts=”yes” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsupport-the-freedom-of-expression-awards%2F|||”][vc_column_text]
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individuals and groups at the forefront of tackling censorship.
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