Then, at fourteen, I spent a semester at a ski program in Switzerland. I found myself gazing at the Alps wondering what possessed Hannibal to attempt them with his herd of elephant! This country with four official languages, had 450 different varieties of Swiss cheese, with further “variety within the varieties”, which the locals told me was a combination of vegetation and techniques passed from one generation to the next. We studied European history, and Swiss Mountain Guides taught us how to read snow and avalanche conditions. We watched weather to predict whether we would be skiing ice or powder from the way the crystals set up on our jackets. By then, I was a reader but reading comprehension alone could not have guaranteed success in these places. Thanks to my dyslexia, I had the foundation to employ multiple paths of engagement, which helped me draw as much meaning out of these experiences as possible.
Explicit sex, violence, pain, suffering, and unusual human acts are characteristics of the human drama. Lyrical content is now censored when relating to "...explicit sex, explicit violence, or explicit substance abuse" (Baker 1989). Sexual acts, in particular, are commonly accepted in our society, but the language that denotes these acts is not. Perhaps it is the actual acts that the censors wish to curb, especially in youth, and by censoring the symbols for sex - language - they hope to censor the reality of sex. The logic is that without knowledge, there will be no corresponding action. But this logic is backwards, for it is the action that comes first, which is then symbolized through language. Regarding the censorship of the symbols, this author agrees with Goethe's view: