Cartoon Violence Bake Two

by tristero

A very interesting discussion about the previous post on the cartoon riots. Just a few quickies and then I hope the cartoon riots quickly become history for all of us.

Today, the Wall Street Journal has a very interesting article on the history of the protests. As one would expect, the story is far more complicated than the Wag the Camel scenario. In fact, the protests were encouraged first of all not by Saudis, but by secularists in Egypt who wished to shore up their pro-Islam cred as secularists have come under pressure from radical Islamists. These protests then got out of hand. One more example of how impossible it is to tame a maelstrom. And of not recognizing that you’re dealing with a maelstrom.

In comments, Michael said that I have no idea what art is for. That is absolutely true, and I’ve been thinking passionately about art, and studying it, for as long as I can remember. More to the point, however, is whether that is a question worth answering, except perhaps provisionally, through specific examples. I don’t think so.

Mona, and some others, were unequivocal in defense of the paper, in advocating that the West teach the Muslims a lesson about free speech, and in rejecting of any argument that rioters have a claim to the moral high ground. To say the least, I strongly disagree with most of this, I’m sure I’m not alone in my disagreement, and I see no reason to repeat the arguments I’ve already made. That said, Mona’s argument, combined with those who considered the cartoons “satire,” spurred an interesting angle I hadn’t considered before.

If I think of nasty satire, I think of Voltaire flaying Spinoza’s Leibniz’s optimism or of Philip Roth’s Tricky Dixon in “Our Gang.” But it’s striking: The objects of satire are often – always? – respected authority figures or ideas within the culture of the satirist. WITHIN the culture, not OUTSIDE the culture. Even in Evelyn Waugh’s Scoop, the object of satire is not really the third world country to which Bill Boot has been booted by an editor who confused two Boots. It’s the British press’s hopeless, corrupt reporting from such countries. The satire was directed directly at institutions that were part and parcel of Waugh’s upper class British Twitworld.

In contrast, as I see it, Islam is not part of mainstream Danish culture. Mohammed has no genuine cultural authority the way, say, the royal family might. To call the cartoons satire, therefore, seems to me inaccurate. It’s simply ridicule, and ridicule of a figure from a culture that, from within Denmark – the satirizing culture – is Other. Danes are heeping scorn and humiliation on someone’s religion, someone who is not Us. Someone who doesn’t look like us, doesn’t act like us, doesn’t think like us, isn’t as rich as us. And just can’t be us.

Mona and those who believe the cartoons really are satirical probably don’t see it this way, I suspect. To them, it’s pretty simple: Muslims should act like everyone else and take their knocks like everyone else. If anyone’s excluding them, making them peculiar and Other, it is Muslims themselves, by acting like jerks and failing to understand the importance of free speech. No excuses: Muslims are just like everyone else and if they don’t behave decently, we need to be teach them some lessons.

My objection to this argument starts with the firm belief that there is a utopian, mistakenly optimistic premise behind this kind of argument of equality. The playing field for Muslims is not equal in Denmark. Even if they behaved exactly the same way as their non-Muslim neighbors, they’d still be judged non-Danish. Right now, Denmark, like other Scandinavian countries, is grappling with the rapidly changing nature of Danish identity. The children of Muslim immigrants are far from being thought equally “Danish” as the children of those who can trace their ancestry back to some 12th century ancestor. Muslims in Denmark, and in the Western world in general, are not often in positions of authority, the religion is not dominant in the West, nor are Muslim citizens in many positions of power. So, if satire is an assault on authority within the satirist’s culture, as I think it traditionally has been, there’s nothing [or little] for the Danish cartoonists to satirize in Islam and Muslims. But there are some – many – who will find much to scorn and ridicule in those who they think can never be part of Danish culture. And those folks will find much to hate in the Other. (You might object: What about Satanic Verses? What about it? Yes, it satirized Muslims and the Qu’ran, but Rushdie was raised Indian and Muslim. The satire was within his own cultural milieu.)

So let me revise an earlier sentence. As I see it, Islam is not part of mainstream Danish culture yet. It will be some day. given current trends. And when it is, the ethnocentrism, the racism, that is so egregious is these cartoons (and, yes, I’ve seen them) will be muted. That’s because Danish cartoons that will actually satirize Islam will be different in kind than these cartoons. They will make less use of ethnic stereotyping, for one thing. But right now, the paper that published the cartoons was up to a lot more than simply dispensing the indisputed (to the West) moral lesson that free speech is good. The paper was also teaching a lesson – “We” know better than the Muslims. AND the paper was holding up to ridicule not authority figures within its culture, but the beliefs and authorities of the most abject members of its culture.

It’s may be laudable to imagine a time when Islam can be treated satirically and with the full viciousness Tim Robbins lavished on the rightwing in “Bob Roberts”. But it’s a serious mistake to think now is the time.

Let me add some boilerplate caveats, which should be obvious, but apparently aren’t to some folks. I do not advocate banning any kind of speech and nothing above can be construed as doing so without twisting the obvious meaning of what I wrote. I deplore what the paper did, not the publishing per se, but the whole shebang. But they had the right to do it and I wouldn’t restrict them from doing so. Being friends with the editor, now that’s a different story.

Simply because the cartoons are blatantly offensive, and intended to be, in no way excuses the utterly insane reaction in which people have senselessly died. Those deaths lie at the feet of the cynical bastards within the Muslim communities that incited people to riot (and with some, not all, of the rioters), not the paper or the cartoonists.

While many details can and should change – yeah, the art argument was off topic in post 1 – I still think my first post on this crazy mess got it right. What’s behind the cartoon riots are very deep, very troubling notions that cause perfectly sensible people to think it is the West’s job to teach the non-West lessons in how to behave, or to think that when the West behaves like a first year medical intern with no social skills, the appropriate response is a bullet or a bomb. To get out of this insane murderous dance, the first tiny step must be to put away all those gut reactions and do some serious thinking about what is going on and why.

That is why we need a far freer press than we have, or Denmark has. We simply have to know what is going on. All of it, even the ugly bits. That is why before we can even begin to understand how sensibly to deal with the any of the disparate Muslim communities in the world, we sure as hell need to find out a lot more about them and stop pretending they are an equal part of the Western world or so repellent or backwards they need us to teach them how to behave.

That’s it. No more posts on these damn cartoons, I swear!