Penguin to Publish ‘Classic’ Roald Dahl Books after Backlash

A cake decorated in the style of the Roald Dahl children's book "Matilda" is displayed at the Cake and Bake show in London, Britain October 3, 2015. (Reuters)
A cake decorated in the style of the Roald Dahl children's book "Matilda" is displayed at the Cake and Bake show in London, Britain October 3, 2015. (Reuters)
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Penguin to Publish ‘Classic’ Roald Dahl Books after Backlash

A cake decorated in the style of the Roald Dahl children's book "Matilda" is displayed at the Cake and Bake show in London, Britain October 3, 2015. (Reuters)
A cake decorated in the style of the Roald Dahl children's book "Matilda" is displayed at the Cake and Bake show in London, Britain October 3, 2015. (Reuters)

Publisher Penguin Random House announced Friday it will publish “classic” unexpurgated versions of Roald Dahl’s children’s novels after it received criticism for cuts and rewrites that were intended to make the books suitable for modern readers.

Along with the new editions, the company said 17 of Dahl’s books would be published in their original form later this year as “The Roald Dahl Classic Collection” so “readers will be free to choose which version of Dahl’s stories they prefer.”

The move comes after criticism of scores of changes made to “Charlie and the Chocolate Factory” and other much-loved classics for recent editions published under the company’s Puffin children’s label, in which passages relating to weight, mental health, gender and race were altered.

Augustus Gloop, Charlie’s gluttonous antagonist in “Charlie and the Chocolate Factory” — originally published in 1964 — became “enormous” rather than “enormously fat.” In “Witches,” an “old hag” became an “old crow,” and a supernatural female posing as an ordinary woman may be a “top scientist or running a business” instead of a “cashier in a supermarket or typing letters for a businessman.”

In “Fantastic Mr. Fox," the word “black” was removed from a description of the “murderous, brutal-looking” tractors.

The Roald Dahl Story Company, which controls the rights to the books, said it had worked with Puffin to review and revise the texts because it wanted to ensure that “Dahl’s wonderful stories and characters continue to be enjoyed by all children today.”

While tweaking old books for modern sensibilities is not a new phenomenon in publishing, the scale of the edits drew strong criticism from free-speech groups such as writers’ organization PEN America.

PEN America chief executive Suzanne Nossel wrote on Twitter: “I applaud Penguin for hearing out critics, taking the time to rethink this, and coming to the right place.”

Camilla, Britain's queen consort, appeared to offer her view at a literary reception on Thursday. She urged writers to “remain true to your calling, unimpeded by those who may wish to curb the freedom of your expression or impose limits on your imagination.”

Dahl’s books, with their mischievous children, strange beasts and often beastly adults, have sold more than 300 million copies and continue to be read by children around the world. Their multiple stage and screen adaptations include “Matilda the Musical” and two “Willy Wonka” films based on “Charlie and the Chocolate Factory,” with a third in the works.

But Dahl, who died in 1990, is also a controversial figure because of antisemitic comments made throughout his life. His family apologized in 2020.

In 2021, Dahl's estate sold the rights to the books to Netflix, which plans to produce a new generation of films based on the stories.

Francesca Dow, managing director of Penguin Random House Children’s, said the publisher had “listened to the debate over the past week which has reaffirmed the extraordinary power of Roald Dahl’s books and the very real questions around how stories from another era can be kept relevant for each new generation.”

“Roald Dahl’s fantastic books are often the first stories young children will read independently, and taking care for the imaginations and fast-developing minds of young readers is both a privilege and a responsibility," she said.

“We also recognize the importance of keeping Dahl’s classic texts in print,” Dow said. “By making both Puffin and Penguin versions available, we are offering readers the choice to decide how they experience Roald Dahl’s magical, marvelous stories.”



Koshary, Egypt's Spicy Staple, Wins UNESCO Recognition 

A worker prepares koshary at a shop in Cairo, January 17, 2015. (Reuters)
A worker prepares koshary at a shop in Cairo, January 17, 2015. (Reuters)
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Koshary, Egypt's Spicy Staple, Wins UNESCO Recognition 

A worker prepares koshary at a shop in Cairo, January 17, 2015. (Reuters)
A worker prepares koshary at a shop in Cairo, January 17, 2015. (Reuters)

Koshary – a spicy dish of lentils, rice and pasta available at countless Egyptian food stalls – won recognition as a cultural treasure from the UN's cultural agency on Wednesday, as Cairo makes a broad push to promote its cultural and historical identity abroad.

Egypt's nomination of koshary for UNESCO's "Intangible Cultural Heritage" list comes a little over a month after its opening of a sprawling new antiquities museum – another move officials hope will highlight the country's rich history and lure more tourists.

One popular legend claims koshary originated in northern India and was brought to Egypt by soldiers during the British occupation. But the dish's origins can in fact be traced through a farther-flung, millennia-old lineage of migration, trade and conquest, food researcher and archaeobotanist Hala Barakat said.

EGYPTIAN DISH, WITH GLOBAL INFLUENCES

Lentils arrived from the Fertile Crescent more than 5,800 years ago, and rice was introduced from East Asia. Tomatoes and chili peppers were brought from the Americas centuries later, while pasta noodles were a more modern addition.

"These components came together over thousands of years," Barakat said. "Its name may be Indian, but the Egyptian dish has its own form – and even that varies from Alexandria to Aswan."

"Koshary in its current form is the koshary Egyptians made their own," she added.

Egypt's nomination makes note of this diversity, highlighting the fact that yellow lentils are used on the coast, compared with black lentils in Cairo and Upper Egypt. Some households add boiled eggs, while in Sinai a similar dish called ma'dous is common.

Each of these variations is united by "the special flavor provided by condiments such as vinegar, garlic, and hot sauce, which are added according to preference," the nomination says.

COUSCOUS, CEVICHE ALSO ON LIST

Making the intangible heritage list is mostly symbolic, and does not bring any direct financial benefit. Other dishes such as couscous – common across the Maghreb region – and the South American dish ceviche are on the list. Italian cuisine was also set to be inscribed this year.

Koshary's popularity surged in the 20th century as restaurants and brightly decorated street carts proliferated near schools and stations. The absence of animal products has also made it a staple among fasting Coptic Christians and younger Egyptians who are going vegetarian.

Today, the dish is one of Egypt's most recognizable features, according to Ahmed Shaker, the public relations officer at Abou Tarek Koshary, a popular Cairo restaurant that dates back to 1963.

"Any foreigner or visitor who comes to Egypt visits the Pyramids, visits the museum, and comes to Abou Tarek to eat koshary," Shaker said.

The dish joins Egypt's 10 previous "inscriptions", which include tahteeb, an ancient martial art using sticks, and the Sirat Bani Hilal, an epic oral poem.

UNESCO’s new director-general, Khaled El-Enany, previously served as Egypt's minister of tourism and antiquities, and has vowed to use his tenure to safeguard cultural traditions.


More Glittering Royal Jewels Displayed While Paris Is Still Uneasy Over the Louvre Robbery 

The Queen Victoria's emerald tiara, designed by Prince Albert and crafted by Joseph Kitching, London, 1845, emeralds and diamonds set in gold and silver, displayed at the exhibition "Dynastic Jewels" organized by The Al Thani Collection Foundation at the Hôtel de la Marine museum in Paris, France, Monday, Dec. 8, 2025. (AP) 
The Queen Victoria's emerald tiara, designed by Prince Albert and crafted by Joseph Kitching, London, 1845, emeralds and diamonds set in gold and silver, displayed at the exhibition "Dynastic Jewels" organized by The Al Thani Collection Foundation at the Hôtel de la Marine museum in Paris, France, Monday, Dec. 8, 2025. (AP) 
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More Glittering Royal Jewels Displayed While Paris Is Still Uneasy Over the Louvre Robbery 

The Queen Victoria's emerald tiara, designed by Prince Albert and crafted by Joseph Kitching, London, 1845, emeralds and diamonds set in gold and silver, displayed at the exhibition "Dynastic Jewels" organized by The Al Thani Collection Foundation at the Hôtel de la Marine museum in Paris, France, Monday, Dec. 8, 2025. (AP) 
The Queen Victoria's emerald tiara, designed by Prince Albert and crafted by Joseph Kitching, London, 1845, emeralds and diamonds set in gold and silver, displayed at the exhibition "Dynastic Jewels" organized by The Al Thani Collection Foundation at the Hôtel de la Marine museum in Paris, France, Monday, Dec. 8, 2025. (AP) 

A glittering exhibition of royal jewels is opening Wednesday in Paris even as the city still reels from the brazen crown-jewel heist at the nearby Louvre Museum.

The four-minute operation in October emptied cases in the Louvre's Apollo Gallery, forced its closure and rattled public confidence in France’s cultural security.

With the plundered gallery still sealed off, another museum nearby is showcasing diamonds and tiaras that endured revolutions, exile and empire: treasures that have managed to escape the type of plunder now afflicting the Louvre’s own jewels.

A loaded location The "Dynastic Jewels" exhibition at the Hôtel de la Marine — itself the site of an infamous 1792 crown-jewel theft — opens at a moment of national sensitivity.

Spread across four galleries, the exhibit unfurls more than a hundred pieces that dazzle in both sparkle and scale. Its objects are drawn from the Al Thani Collection, the Victoria and Albert Museum, and major lenders including King Charles III, the Duke of Fife, Cartier, Chaumet and France’s own national collections.

Some of the most striking loans include the giant 57-carat Star of Golconda diamond; a sapphire coronet and emerald tiara designed by Prince Albert for Queen Victoria, reunited here for the first time in more than 150 years; and Catherine the Great’s diamond-encrusted dress ornaments. A Cartier necklace created for an Indian ruler blends European platinum-age design with centuries-old gems.

Curators didn’t comment on details of operational security. But the Hôtel de la Marine stresses that it was rebuilt with modern, high-grade security when it reopened in 2021, and that its galleries were conceived with robust protections in mind. The museum did not say whether any measures had been strengthened in response to the Louvre heist.

Still, the latest exhibition unfolds at a moment when Paris is urgently tightening museum protections.

Last month, Louvre director Laurence des Cars announced that roughly 100 new surveillance cameras and upgraded anti-intrusion systems will be installed, with the first measures rolled out in weeks and the full network expected by the end of next year. The Louvre investigation remains active; meanwhile, none of the stolen pieces have been recovered.

Arthur Brand, an Amsterdam-based art detective, said the Louvre heist will have sharpened vigilance at institutions like the Hôtel de la Marine.

"Authorities have learned from the Louvre’s lacking security," he said. "The thieves know that the security people here aren’t going to be sloppy. They will have learned their lesson. It’s a good thing this exhibit is going on. Life goes on. You should not give in to thieves. Show these precious items!"

With the Apollo Gallery closed, the Hôtel de la Marine is suddenly poised to become a prime stop for jewel-lovers — an unfortunate coincidence, or unexpected advantage — a place where visitors shut out of the Louvre’s Crown Jewels displays may naturally gravitate.

"We show how great gemstones, tiaras and objects of virtuosity reflected identity in the 18th, 19th and 20th centuries," said Amin Jaffer, director of the Al Thani Collection and one of the exhibition’s curators. "They were expressions of power, reflections of prestige and markers of passion."

Before the Revolution, what was then known as the Hôtel du Garde-Meuble housed the Crown Jewels and royal collections — a history the exhibition directly invokes. That the building’s 18th-century jewels were stolen in 1792 only deepens the irony: this stretch of Paris has witnessed such crimes before.

Despite the charged backdrop, curators say they want visitors to marvel, to dream and to explore the layers of "affection, love, relationships, gift-giving" embedded in the objects.

"Every object here tells a story," Jaffer told AP. "They’ve changed hands ever since they were made, and they continue to survive."


Scientists Discover Secrets of Ancient Roman Concrete at Pompeii

The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)
The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)
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Scientists Discover Secrets of Ancient Roman Concrete at Pompeii

The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)
The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)

Scientists excavating the ruins of Pompeii have discovered a construction site left frozen in time by the eruption of Italy's Mount Vesuvius volcano in 79 AD, clarifying the ingredients and methods behind the durable self-healing concrete the ancient Romans used to revolutionize architecture.

The site represents a building project that was underway when the eruption buried Pompeii under volcanic ash and rock. The researchers came across rooms where the walls were unfinished and piles of premixed dry material and tools for weighing and measuring were in place for preparing concrete.

"Studying it truly felt as if I had traveled back in time and was standing beside the workers as they mixed and placed their concrete," said Admir Masic, a Massachusetts Institute of Technology professor of civil and environmental engineering and leader of the study published on Tuesday in the journal Nature Communications.

An indispensable building material, concrete helped the Romans erect structures including stadiums like the Colosseum, domed temples like the Pantheon, public baths and other big buildings, aqueducts and bridges unlike any fashioned to that point in history. Because the concrete could harden underwater, it also was vital for constructing harbors and breakwaters.

The precise method they used to make their concrete has been a matter of debate, with recent archaeological discoveries appearing to contradict accounts given in a 1st century BC treatise by Roman architect and engineer Vitruvius.

The Pompeii discovery showed the Romans used a technique called "hot mixing" in which a material called quicklime - dry limestone that was previously heated - is combined directly with water and a blend of volcanic rock and ash, producing a chemical reaction that naturally heats the mixture. That differs from the method described by Vitruvius, who wrote about a century earlier.

"Pompeii preserves buildings, materials and even work in progress in the precise state they were in when the eruption occurred. Unlike finished structures that have undergone centuries of repair or weathering, this site captures construction processes as they happened," Masic said.

"For studying ancient technologies, there is simply no parallel," Masic said. "Its exceptional preservation offers a true 'snapshot' of Roman building practice in action."

The building under construction combined domestic rooms with a working bakery with ovens, grain-washing basins and storage. The evidence there indicated that the technique outlined by Vitruvius, known as slaked lime, was not used for building walls.

That method may have been outdated by the time of the project in Pompeii.

"Imagine what 100 years of difference could mean for the building technology. A good analogy could be the early telephones. In the 1920s-30s: rotary dialing, long-distance copper lines. In the 2020s: smartphones using packet-switched digital signals and wireless networks," Masic said.

The hot-mixing technique contributed to the self-healing properties of the concrete, chemically repairing cracks. The concrete contains white remnants of the lime used to make it, called "lime clasts," which can dissolve and recrystallize, healing cracks that may form with the infiltration of water.

The Romans industrialized concrete, beginning in the 1st centuries BC and AD.

"This allowed builders to construct massive monolithic structures, complex vaults and domes, and harbors with concrete that cured underwater. Concrete fundamentally expanded what could be built and how cities and infrastructures were conceived," Masic said.

The new understanding of Roman concrete may have relevance for modern architects.

"Modern concretes generally lack intrinsic self-healing capability, which is increasingly important as we seek longer-lasting, lower-maintenance infrastructure," Masic said. "So while the ancient process itself is not a direct replacement for modern standards, the principles revealed can inform the design of next-generation durable, low-carbon concretes."