Over on International Socialism,
Mark Brown makes a comprehensive attempt to address the tensions
beneath the Je Suis Charlie campaign.
Coming from a determinedly socialist perspective, Brown recognises
the horror of the shootings, but finds the subsequent protests
problematic.
He is
very clear that there is no place for supporting the actions of the
men who killed the French cartoonists, yet he is reluctant to follow
the popular narrative that condemned them. Seeing an Islamophobia in
both the cartoons that led to the murders and the subsequent
protests, Brown carefully draws a line between the honest responses
(held by the many people who came out to claim Je Suis
Charlie in solidarity with the
cartoonists) and the manipulation of this popular movement by
establishment powers.
The article is a
challenge to simplistic interpretations of the events. A dualism was
quickly set up, between 'Western Values' – including freedom of
speech – and 'Extremist Islam'. The attack, described as an assault
not on a specific magazine but on the concept of free speech, became
a focus for anti-Muslim sentiment, and reinforced France's secular
antagonism to religious activity.
The emphasis on a
socialist response – he is hard on leftists who embrace the
establisment line – lends the article a distinctive perspective.
There are references to familiar socialist themes (Israel's behaviour,
the French Revolution), but the argument is located within a
historical context, and spots a worrying continuity in French
attitudes to minorities from 1789 onward.
Freedom of speech,
he argues, is not simply the right to say anything. By referencing
Norman Finklestein, Brown suggests a comparison between the offending
cartoons and Nazi propaganda against Jews. With plenty of caveats –
including a rejection of the notion that Islam in 2015 is in the same
position as Judaism in 1935 – Brown wonders whether cartoons that
mock a minority group are less satirical than bullying.
His
argument is not that the murders ought to be condoned, but that
Charlie Hebdo's
history of Islamophobic cartoons is not a bright beacon of freedom,
but an expression of French secular prejudice against Islam that also
deserves critique. He presents Chris Morris as an example of a
satirist who has mocked power, and upset the establishment. This,
Brown says, is a more bracing and even socialist use of humour.
The publication of
the cartoons is characterised not as freedom of expression, but an
expression of a dominant ideology. The ease with which European
governments sided with the artists, and the media's representation of
the crime, added to this dominant ideology, co-opting both popular
revulsion and the ideal of freedom within the democratic, capitalist
structure.
Freedom
of speech, in the case of Charlie Hebdo,
was not upheld by the pronouncements of heads of states, or the
French government's decision to financially support the magazine's
subsequent issue. Rather, they incorporated the idea of freedom into
its own agenda, which Brown suggests is the maintenance of a
dualistic vision, of an open 'us' and a tyrannical 'them'.
While
this argument does not remove the right of cartoonists to be
offensive, or offer sympathy to murderous rampages, it does encourage
a complex view of how 'freedom of speech' can be used to remove
freedom of speech: all right thinking people were Je Suis
Charlie, and any protest against
the conduct of the state (which included people being arrested in
France for, funnily enough, making anti-Charlie cartoons) was
heretical.
At one
point, Brown dismisses the comparisons between Hebdo
and the British Private Eye.
And it is noticeable that when Private Eye responded
to the murders, they kept a balance between outrage and respect for
victims and Islam alike, with a series of cartoons that revealed
(mostly) a more sophisticated grasp of the medium than Hebdo's
often crude caricatures. If Charlie Hebdo provoked
a mass enthusiasm for freedom of speech, it is articles like Mark
Brown's Socialism, Satire and Charlie Hebdo
that are reminders of the need for vigilance.
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