Between 1949 and 1989, during the Communist era, Canadian literature in Hungary was predominantly known as a source of adventure stories, YA literature, humour, and environmental fiction by authors such as Grey Owl, Stephen Leacock, and Farley Mowat. Cultural production and consumption were heavily influenced by the Hungarian General Directorate of Publishers (indirectly by the Communist regime) through the categories of the ‘three Ps’ (Kontler 1999: 445), that is, cultural products were either promoted, or permitted, or prohibited (Czigány 1990, Bart 2002). Mostly those titles were chosen for translation that met two conditions: they either supported the Communist humanistic ideal of the regime or presented a critical view on capitalism and Western societies. Those books that met these expectations were often sold at a low price and printed in an exceedingly high print run. In the case of Grey Owl, over 190,000 copies were printed of the book Két kicsi hód in 1976 (original title: The Adventures of Sajo and her Beaver People) which show the popularity of the author in Hungary (Kürtösi 1987: Annex). As a comparison, we can note the large print runs of Canadian adventure stories of Grey Owl (Szürke Bagoly in Hungarian), Louis Vaczek, or Farley Mowat1 ranging from 25,000 to 81,000 copies or even higher (Kürtösi 1987: Annex). Regarding the selection tools available for publishers, the reviewing document was one of the instruments of control built into the publishing process. The 2–5 page long typed expert opinions had a set form, and described the books considered for publishing from a professional as well as an ideological point of view. The reviewer suggested or not suggested the translation of a specific book. An official translation policy did not exist, but it took effect informally through the practice and process of publishing. The publishers asked both in-house and external reviewers with foreign language skills to review world literature. It was an activity that the publisher paid for (Czigányik 2013: 17).