Mockingbird - The title of To Kill a Mockingbird has very little literal connection to the plot, but it carries a great deal of symbolic weight in the book. In this story of innocents destroyed by evil, the "mockingbird" comes to represent the idea of innocence. Thus, to kill a mockingbird is to destroy innocence. Throughout the book, a number of characters (Jem, Tom Robinson, Dill, Boo Radley, Mr. Raymond) can be identified as mockingbirds-innocents who have been injured or destroyed through contact with evil. This connection between the novel's title and its main theme is made explicit several times in the novel: after Tom Robinson is shot, Mr. Underwood compares his death to "the senseless slaughter of songbirds," and at the end of the book Scout thinks that hurting Boo Radley would be like "shootin' a mockingbird." Most important, Miss Maudie explains to Jem: "Mockingbirds don't do one thing but ... sing their hearts out for us. That's why it's a sin to kill a mockingbird." That Jem and Scout's last name is Finch (another type of small bird) indicates that they are particularly vulnerable in the racist world of Maycomb, which often treats the fragile innocence of childhood harshly.
http://www.sparknotes.com/lit/mocking/themes.html
To Kill a Mockingbird has been a source of significant controversy since its being the subject of classroom study as early as 1963. The book's racial slurs, profanity, and frank discussion of rape have led people to challenge its appropriateness in libraries and classrooms across the United States. The American Library Association reported that To Kill a Mockingbird was number 21 of the 100 most frequently challenged books of 2000–2009.[105]
One of the first incidents of the book being challenged was in Hanover, Virginia, in 1966: a parent protested that the use of rape as a plot device was immoral. Johnson cites examples of letters to local newspapers, which ranged from amusement to fury; those letters expressing the most outrage, however, complained about Mayella Ewell's attraction to Tom Robinson over the depictions of rape.[106] Upon learning the school administrators were holding hearings to decide the book's appropriateness for the classroom, Harper Lee sent $10 to The Richmond News Leader suggesting it to be used toward the enrollment of "the Hanover County School Board in any first grade of its choice".[50] The National Education Association in 1968 placed the novel second on a list of books receiving the most complaints from private organizations—after Little Black Sambo.[107]
With a shift of attitudes about race in the 1970s, To Kill a Mockingbird faced challenges of a different sort: the treatment of racism in Maycomb was not condemned harshly enough. This has led to disparate perceptions that the novel has a generally positive impact on race relations for white readers, but a more ambiguous reception by black readers. In one high-profile case outside the U.S., school districts in the Canadian provinces of New Brunswick and Nova Scotia attempted to have the book removed from standard teaching curricula in the 1990s,[note 3] stating:
The terminology in this novel subjects students to humiliating experiences that rob them of their self-respect and the respect of their peers. The word '******' is used 48 times [in] the novel... We believe that the English Language Arts curriculum in Nova Scotia must enable all students to feel comfortable with ideas, feelings and experiences presented without fear of humiliation... To Kill a Mockingbird is clearly a book that no longer meets these goals and therefore must no longer be used for classroom instruction.[108]
Furthermore, despite the novel's thematic focus on racial injustice, its black characters are not fully examined.[71] In its use of racial epithets, stereotyped depictions of superstitious blacks, and Calpurnia, who to some critics is an updated version of the "contented slave" motif and to others simply unexplored, the book is viewed as marginalizing black characters.[109][110] One writer asserts that the use of Scout's narration serves as a convenient mechanism for readers to be innocent and detached from the racial conflict. Scout's voice "functions as the not-me which allows the rest of us—black and white, male and female—to find our relative position in society".[71] A teaching guide for the novel published by The English Journal cautions, "what seems wonderful or powerful to one group of students may seem degrading to another".[111] A Canadian language arts consultant found that the novel resonated well with white students, but that black students found it "demoralizing".[112]