REACHING FOR A MORAL HIGH GROUND LONG SINCE CROWDED

Today’s Premiership clash between Chelsea and Liverpool provides a good opportunity for me to write about something about which I have been thinking for a long time – the controversy over racism in English football. Chelsea and Liverpool are the two clubs at the heart of that controversy. Earlier this year, Luis Suarez, Liverpool’s Uruguayan forward, was banned for eight matches for calling Manchester United’s Patrice Evra a ‘negrito’. Suarez insisted that this was colloquial Spanish for ‘mate’. An FA disciplinary board found him guilty of racism. More recently Chelsea (and former England) captain John Terry was accused of racially abusing Queen’s Park Rangers defender Anton Ferdinand during a match. This time the police got involved. Terry was charged under the criminal law with using ‘abusive language’ but was acquitted in court. After that acquittal the FA charged him with the same offence and, with a lower burden of proof, found him guilty.  Then last month, Chelsea accused a referee, Mark Clattenburg, of using ‘inappropriate’, and reportedly racist, language towards two of its players, a claim currently being investigated by both the police and the FA.

ALL THAT IS BANNED IS DESIRED

It’s an old Arab proverb. It is also the great title of an international conference in Oslo this week on free speech and artistic expression which will bring together artists, writers and activists from across the globe – from America to Pakistan, from Burma to Britain – to discuss and debate censorship and ways of combating it. From the introduction to the conference:

Over the two days of All That is Banned is Desired, artists, journalists, activists, scholars, curators and others will respond to censorship of the arts around the world. We will discuss and investigate why, where, and how artistic expressions is condemned, banned and persecuted. In particular, we will focus on the three principal agents of censorship — religion, state and market.

Although the effects of censorship can be easily identified in cases where artists are imprisoned or killed, the social and economic repercussions of censorship are more difficult to measure…

Censorship is characterized by the contradictory fact that by imposing limits it provokes reactions to those limits. By limiting freedom it helps fuels the desire for even greater freedom, as the title of the conference evokes: ‘All that is banned is desired’.

THE MYTHS OF MUSLIM RAGE

Salman Rushdie’s memoir, Joseph Anton, has hit the bookshelves just as the world has become embroiled in a new controversy over Islamic sensibilities. The extraordinary violence unleashed across the Muslim world by Innocence of Muslims, an obscure US-made video, has left many bewildered and perplexed.

Rushdie was, of course, at the centre of the most famous confrontation over the depiction of the Prophet Muhammad. The publication in 1988 of his fourth novel, The Satanic Verses, launched a worldwide campaign against the supposed blasphemies in the book, culminating in the Ayatollah Khomeini’s fatwa on 14 February 1989 condemning Rushdie to death, and forcing him into hiding for a decade.

Joseph Anton is Rushdie’s account of the fatwa and the years that followed. So, what does the battle over The Satanic Verses tell us about the current controversy over The Innocence of Muslims?

‘OF DEBATE, OF DISPUTE, OF DISSENT’

When he was a child Salman Rushdie’s father read to him ‘the great wonder tales of the East’ – the stories of Scheherazade from the Thousand and One Nights, the animal fables of the ancient Indian Panchatantra, ‘the marvels that poured like a waterfall from the Kathasaritsagara’, the famous 11th-century Sanskrit collection of myths, the ‘tales of the mighty heroes collected in the Hamzanama’, that tell of the legendary exploits of Amir Hamza, uncle to the Prophet Mohammed, and the ancient Persian classic, The Adventures of Hatim Tai. Rushdie’s father ‘told them and retold them and remade them and reinvented them in his own way’.

To grow up ‘steeped in these tellings’, Rushdie writes, ‘was to learn two unforgettable lessons’. First, that ‘stories were not true… but by being untrue they could make him feel and know truths that the truth could not tell him’.  And, second, that all stories ‘belonged to him, just as they belonged to his father, Anis, and to everyone else’.  Most of all, the young Rushdie learnt that ‘Man was a storytelling animal, the only creature on earth that told itself stories to understand what kind of creature it was. The story was his birthright, and nobody could take it away’.

Except that by the time Rushdie was old enough to read these stories to his own son that was exactly what many people wanted to do. And to take away not just his birthright but his life too. When the Ayotollah Khomeini issued his fatwa on Valentine’s Day 1989, for the ‘blasphemies’ of his fourth novel, The Satanic Verses, Rushdie was in effect sentenced to death for writing a story. Many were to be killed for translating and publishing that story. Bookshops were bombed for stocking it. It is a measure of the strangeness of the world in which we now live that storytelling can be such a hazardous craft. It is a world far stranger than any imagined in Rushdie’s tales. ’It would be absurd to think that books can cause riots’, Rushdie told an Indian journalist shortly before the publication of The Satanic Verses.  In today’s world, we know that not just books but films, plays, cartoons, ideas, images – all can cause riots. Joseph Anton, Salman Rushdie’s memoir, is the story of how that world came to be.

GHOSTS OF JOSEPH ANTON’S PAST

Salman Rushdie’s Joseph Anton is published tomorrow. (Joseph Anton, for those who don’t know, was the name that Rushdie adopted during his years in hiding, a name borrowed from two of his favourite writers, Joseph Conrad and Anton Chekov.)  Joseph Anton is not simply a memoir; it is a vital piece of social history. It is Rushdie’s first real account of the years under the shadow of the fatwa, the story  from the inside of a changing world.

I will review the book next week. In the meantime, here are four interviews from my book From Fatwa to Jihad which explored the Rushdie affair and its legacy, and in that sense treads across some of the same ground as Joseph Anton, though peering in from the outside, as it were, rather than narrating from the inside. (And, yes, I know, this is the second batch this week of extracts from the book; think of these interviews as complementing the previous extracts.) The interviews (some of them slightly shortened from the original) are with four people intimately involved in the life of Joseph Anton: Peter Mayer, CEO of Penguin at the time of the fatwa; Sher Azam, chairman of the Bradford Council of Mosques at the time, in an interview I conducted shortly after he helped torch Rushdie’s novel in an infamous demonstration in Bradford in January 1989; William Nygaard, the Norwegian publisher of The Satanic Verses, who was shot and left for dead; and Rushdie’s close friend, the novelist Hanif Kureishi.

HERE WE GO AGAIN

One thing should be clear. The violence across the Muslim world in response to an American anti-Islamic film has nothing to do with that film. Yes, The Innocence of Muslims is a risibly crude diatribe against Islam. But this obscure film that barely anyone had seen till last week is no more the source of the current violence than God is the source of the Qur’an.

The details of the rioting in Benghazi that killed the US ambassador and sparked the current crisis still remain unclear. What is clear, however, is that the violence is being driven less by religious fury than by political calculation. In Libya, Egypt and elsewhere, the crisis is being fostered by hardline Islamists in an attempt to seize the political initiative in a period of transition and turmoil. The film is almost incidental to this process. The real struggle is not between Muslims and non-Muslims, but between different shades of Islamists, between hardline factions and more mainstream ones. The insurrections that transformed much the Arab world over the past year have created a new terrain for the battle between Muslim factions for political supremacy. But the struggle itself is nothing new. The same tensions fuelled the confrontations over The Satanic Verses and the Danish cartoons. I have long argued that both were primarily political rather than religious conflicts. I am publishing here two edited extracts from my book From Fatwa to Jihad: The Rushdie Affair and its Legacy which describes the development of both conflicts.

INTELLECTUAL CHARLATANS & ACADEMIC WITCH-HUNTERS

Judith Butler is a queen, perhaps the queen, of poststructuralist philosophy. A pioneer of queer theory and one of the world’s leading feminist philosophers, she made her name with her 1990 book, Gender Trouble, which dismisses the idea of sex and gender as fixed categories, viewing them instead as forms of social artifice. Butler introduced in the book the concept of gender as ‘performativity’: by behaving as if there were male and female ‘natures’ we create the social fiction that these natures exist.

Next week Butler is due to receive the prestigious Adorno Prize. Awarded by the city of Frankfurt to honour its most celebrated philosophical son, Theodor Adorno, the triennial award is given for ‘outstanding work in the fields of philosophy, music, theatre and film’. Previous winners have included such luminaries as Jurgen Habermas, Zygmunt Bauman, Norbert Elias, Pierre Boulez, Jean-Luc Goddard and György Ligeti.

This year’s award has caused a major controversy. Critics have described the award of the prize to Butler as ‘monstrous’, a ‘scandal’, and ‘morally corrupt’.