The censor labels the work immoral, or blasphemous, or pornographic, or controversial, and those words are forever hung like albatrosses around the necks of those cursed mariners, the censored works. The attack on the work does more than define the work; in a sense, for the general public, it becomes the work. For every reader of “Lady Chatterley’s Lover” or “Tropic of Capricorn,” every viewer of “Last Tango in Paris” or “A Clockwork Orange,” there will be ten, a hundred, a thousand people who “know” those works as excessively filthy, or excessively violent, or both.
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