The recent decision by the French Ministry of National Education to annul the printing of a modernized edition of "La Belle et la Bête," crafted by renowned cartoonist Jul, has stirred up significant controversy. With the cancellation impacting a distribution of 800,000 illustrated books intended for CM2 students, this sparked heated discussions around censorship and the appropriateness of themes in children's literature.
On March 19, 2025, the Ministry announced the cancellation of the project, just a day before the commencement of printing. Jul's version was initially part of an annual initiative, "Un livre pour les vacances," which provides elementary students with revised classics of French literature. The operation has been active since 2018 and includes notable works tailored for young readers.
According to a letter from Caroline Pascal, the General Director of School Education, the rationale behind the cancellation was that the book did not suit the comprehension levels of 10 to 11-year-olds. Pascal stated, "The finalized work does not allow for autonomous reading, at home, with the family and without the support of teachers for students aged 10 to 11." She argued the themes present in the book, including references to alcohol, social media, and complex social realities, made it inappropriate for the target demographic.
Jul, whose real name is Julien Berjeaut, vehemently denounced this decision as a significant act of censorship. In various interviews, he characterized the excuses provided by the Ministry as "fallacious and partly mendacious," asserting, "The fallacious and partly mendacious pretexts invoked to justify the censorship do not hold up for a second before examining the book in question, which is mischievous, tender and magical." He insisted that such themes could resonate with today’s youth and reflect their realities.
Adding fuel to the fire, the author remarked that the decision seemed rooted in a deeper cultural resistance within the educational establishment, questioning, "Is the great replacement of blonde princesses by Mediterranean girls a limit that Versailles administration cannot cross?" His comments hinted at possible underlying biases influencing the decision-making process.
Elisabeth Borne, the Minister of Education, remarked that Jul is undoubtedly talented, stating, "Without pedagogical support, I think it's not suitable. But it's a very beautiful book that can be used in another setting." Her remarks, aired on CNews/Europe 1, further confused the public, especially since she recognized the book's artistic merit yet expressed doubts about its appropriateness in classroom settings.
The Ministry announced that instead of Jul's modernized tale, students would receive a re-edition of "L'Odyssée" by Murielle Szac, an established title already crafted for educational contexts. The announcement brought mixed reactions, with some praising the decision for maintaining educational integrity, while others criticized it for stifling creative expressions that could engage children and relate to their experiences.
This entire episode highlights the ongoing tensions between educational authorities and artists in France as they navigate the murky waters of censorship and age-appropriateness in literature. Jul’s experience underscores the precarious nature of publishing in a politically sensitive environment, reflecting larger societal debates about representation, culture, and youth engagement.
As discussions continue to unfold, many are left wondering how these dynamics will shape the landscape of children's literature in France. Will the future see a greater openness to revising classics to resonate with modern values, or will caution prevail, stifling creativity in favor of traditional narratives? One thing is certain: this incident has ignited a dialogue about what children read and who gets to decide.
