During the period 1900-1940 novels and poems in the UK and US were subject to strict forms of censorship and control because of their representation of sex and sexuality. At the same time, however, writers were more interested than ever before in writing about sex and excrement, incorporating obscene slang words into literary texts, and exploring previously uncharted elements of the modern psyche. This book explores the far-reaching literary, legal and philosophical consequences of this historical conflict between law and literature. Alongside the famous prosecutions of D. H. Lawrence's The Rainbow and James Joyce's Ulysses huge numbers of novels and poems were altered by publishers and printers because of concerns about prosecution. Far from curtailing the writing of obscenity, however, censorship seemed to stimulate writers to explore it further. During the period covered by this book novels and poems became more experimentally obscene, and writers were intensely interested in discussing the author's rights to free speech, the nature of obscenity and the proper parameters of literature. Literature, seen as a dangerous form of corruption by some, was identified with sexual liberation by others. While legislators tried to protect UK and US borders from obscene literature, modernist publishers and writers gravitated abroad, a development that prompted writers to defend the international rights of banned authors and books. While the period 1900-1940 was one of the most heavily policed in the history of literature, it was also the time when the parameters of literature opened up and writers seriously questioned the rights of nation states to control the production and dissemination of literature.

This book analyses the censorship of literature for obscenity in the period 1900-1940. It considers why writers were so interested in writing about obscenity as well as attempts by lawyers, writers and publishers to define literature as a special area of free speech.

The Novel and the Obscene challenges our vision of early twentieth-century America as sexually progressive by identifying a resonant silence at the heart of the modernist American novel—a narrative mode that renders censorship symbolic at the very moment of its legal demise.

How did explicit sexual representation become acceptable in the twentieth century as art rather than pornography? Allison Pease answers this question by tracing the relationship between aesthetics and obscenity from the 1700s onwards, highlighting the way in which early twentieth-century writers incorporated a sexually explicit discourse into their work. Pease explores how artists such as Swinburne, Aubrey Beardsley, James Joyce and D. H. Lawrence were responsible for shifting the boundaries between aesthetics and pornography that first became of intellectual interest in the eighteenth century and reinforced class distinctions. Her analysis of canonical works, such as Joyce's Ulysses and Lawrence's Lady Chatterley's Lover, is framed by a wide-ranging examination of the changing conceptions of aesthetics from Shaftesbury, Hutcheson and Kant to F. R. Leavis, I. A. Richards and T. S. Eliot. Based on extensive archival work, the book includes examples of period art and illustrations which eloquently demonstrate the shift in public taste and tolerance.

This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law’s crisis of legitimation and modernism’s crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior. Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges. Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity’s subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.

This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law’s crisis of legitimation and modernism’s crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior. Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges. Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity’s subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.

With Reading the Obscene, Jordan Carroll reveals new insights about the editors who fought the most famous anti-censorship battles of the twentieth century. While many critics have interpreted obscenity as a form of populist protest, Reading the Obscene shows that the editors who worked to dismantle censorship often catered to elite audiences composed primarily of white men in the professional-managerial class. As Carroll argues, transgressive editors, such as H. L. Mencken at the Smart Set and the American Mercury, William Gaines and Al Feldstein at EC Comics, Hugh Hefner at Playboy, Lawrence Ferlinghetti at City Lights Books, and Barney Rosset at Grove Press, taught their readers to approach even the most scandalizing texts with the same cold calculation and professional reserve they employed in their occupations. Along the way, these editors kicked off a middle-class sexual revolution in which white-collar professionals imagined they could control sexuality through management science. Obscenity is often presented as self-shattering and subversive, but with this provocative work Carroll calls into question some of the most sensational claims about obscenity, suggesting that when transgression becomes a sign of class distinction, we must abandon the idea that obscenity always overturns hierarchies and disrupts social order. Winner of the 2022 MLA Prize for Independent Scholars, sponsored by the Modern Language Association