Censored

Seductive: Gibbons 'Nightingale Wood' (1938)

Censored

Show Notes

This is the first banned book I’ve read that features both a foot fetish and communism. Gibbons writes satire so entrancing it’s can be hard to spot the filth but if the censors could do it, so could we. Or maybe the bewitching Englishness of the novel was too dangerous? With Dr Laura Ludtke.

The novel induced that certain sweet boredom you get from reading a slow book where you look up and realize the world has moved on. Aoife Bhreatnach The names are so indicative in a very Dickensian and maybe even Austenian way. Laura Ludtke It's written from a very self-conscious readerly perspective. Aoife Bhreatnach You don’t call someone you’re trying to seduce, or maybe you do, Dad. Laura Ludtke I think the whole novel is driving the conflict between occlusion and transparency. Laura Ludtke

Dr Laura Ludtke’s LitSci podcast

Previous Censored episodes that link to this novel: Gibbons Cold Comfort Farm (1932), Powys, 'Mr Weston's Good Wine' (1927)

Fancy supporting the show? Do so here https://www.patreon.com/censoredpod

Or buy stickers here: https://censoredpod.bigcartel.com/

Hosted on Acast. See acast.com/privacy for more information.

More from Censored

Jun 26, 2024

In our last (for now) episode, we chat to John Kelleher who was appointed Irish film censor in 2003. When he left in 2009, the Irish Film Censor's Office had been renamed the Irish Film Classification Office, a reform that reflected how it had become, as John says 'more guide dog than guard dog'.

Jun 6, 2024

Censors have been replaced by classifiers, opaque silence by annual reports. We read recent annual reports from the British Board of Film Classification (BBFC) and the Irish Film Classification Office (IFCO) to see how those offices work in a digital media age, and to see what the (complaining) public thinks of their role.

May 23, 2024

This remarkable neo-noir, directed by Abel Ferrara, has never been certified by the Irish Film Classification Office (the new name for the censor’s office). Aoife and Lloyd Meadhbh are joined by author Rob Doyle to discuss how Abel Ferrara and Zoe Lund, with backgrounds in porno sleaze, made a sincere film about redemption, and forgiveness.

May 2, 2024

In Sam Peckinpah’s film, standard Western tropes – outlaws, heroes, beautiful landscape – are used to interrogate an exhausted genre. He knows spectacular gunfights are problematic but did the cut version shown in Ireland convey Peckinpah’s intent?

Apr 18, 2024

One of Martin Scorsese’s favourite films and guess what? We agree, it’s brilliant. Contemporary audiences detested it, preferring to ignore why they derived pleasure from realistic, filmed torture and terror. This film has everything from Freudianism to a Hitchcock doppelganger. Cuts made by censors might be lost forever but it still shocks and gives us a perfect amount of ick.

See all episodes →