“Heresies About The Hebdo Headache” is the current column, now on WND:
WINNING IN THE WEST. A French “documentary maker”—a title everyone with a camera assumes these days—told CNN’s Anderson Cooper that the West was winning. The docu-dude felt that the people of Europe were displaying a winning resistance to the imposition of Islamic blasphemy laws.
How was the West vanquishing the enemies of free speech? In response to the craven, yet characteristic, massacre of staff at the French satirical newspaper Charlie Hebdo, hundreds of thousands of Europeans—in Barcelona, Brussels, London, Paris, Nice, Lyon—came out en masse to plonk teddy bears on sidewalks and point pens and pencils to the heavens.
“Winning,” as Charlie Sheen would say.
The winners also flaunted their feelings with placards that read: “Je Suis Charlie” and “Not Afraid.” The CNN signatories to the dhimma “pact of surrender” celebrated the triumphant “outpouring of art in response” to the executions in Paris. Meek, wishy-washy drawings popped up everywhere. An example: Patrick Chappatte’s New York Times cartoon, in which a sunken-chested white male sheds a tear, holds a flower. The caption: “Without humor we are all dead.” Fierce.
The terrorists in the midst of the winners were in for more blows. A plural option was added to the rallying cry “Je Suis Charlie”: We are Charlie Hebdo—Nous Sommes Charlie. “Say no to terrorism” was another winning slogan.
Then there was the showy and meaningless parade of parasites in Paris, from which Onan No. 1 was absent:
The world’s leaders united against murder, an insight that was already well within the ken of leaders of the ancient world (Ten Commandments?). The charade of charlatans featured the very people responsible for legislation that authorized the round up, around them, of “54 people … for hate speech or other acts insulting religious faiths, or for cheering the men who carried out the attacks.”
THE SWORD IS MIGHTIER THAN THE PEN. No wonder author Martin Amis spoke of clichés of the mind and the heart. The orgy of sentimentality and helplessness came with its share of clichés. Particularly enveloping in its preposterousness was “the pen is mightier than the sword.”
Remember the iconic scene in the film “Raiders of the Lost Ark”? Challenged to a duel by a scimitar-wielding, keffiyeh-clad Arab, Indiana Jones draws a pistol and dispatches the swordsman without further ado.
In my (allegorical) more accurate adaption, the roles are reversed. The Prophet Mohammad’s avenger faces his somersaulting Western offender, who comes at him with a pen, convoluting about freedom of expression, inquiry and conscience. How does Mohammad’s mercenary respond to the penman’s lofty ululations? As Indiana Jones did: He aims his automatic weapon and drops the prophet’s offender.
Before Charlie Hebdo came the 12 Danish Jyllands-Posten cartoons. In 2005, JP drew cartoons that joined Muhammad to the violence that disfigures the Muslim world. While clucking about the sanctity of free speech, countless commentators climbed into the Danes. The illustrators were called juvenile, obnoxious, Islamophobic, even immoral. They were accosted for doing nothing to advance enlightened argument; of acting in “terrifically bad taste”; and indulging in “gratuitous provocation, not worthy of publication,” to quote some of the pieties disgorged by politicians and pundits.
Having been where Charlie Hebdo finds itself today—a catalyst for eruptions across the Islamic Ummah (now innervating the West)—Flemming Rose, JP’s cultural editor and publisher, knows of what he speaks. He informed BBC’s HARDTalk that the sword is mightier than the pen. “Violence works.” The great Danes of JP will not reprint “Charlie Hedbo’s post-attack front cover.”
The complete column is “Heresies About The Hebdo Headache”, now on WND.