Art Spiegelman: Je Suis Charlie—But I’m Not Pamela Geller

Cartoonist Art Spiegelman on the differences between Charlie Hebdo and Pamela Geller. One of the best:

I think that’s when my brain short-circuited. Because superficially, it seems like, well, the same thing is happening in Texas. But it’s not. It’s the anti-matter, Bizarro World, flipside, mirror-logic version of what Charlie Hebdo is about.

The American Freedom Defense Initiative is racist organization. It’s exactly the nightmare version that the writers who were protesting the PEN award thought Charlie was. But Charlie is an anti-racist, political magazine that does not have an agenda that consists of wanting to bait or trouble Muslims.

Pam Geller’s organization is intentionally trying to start war of culture with Islam by saying that all Muslims are terrorists under the surface, and we’re going to prove it. Do the group members deserve free speech protection? Of course. But they’re hiding behind that banner with things that have very little to do with free speech and a lot to do with race hate.

Je suis Charlie, mais je ne suis pas Pam Geller. She and her dim-witted, ugly organization deserve the protection of the free speech mantle that they wrap themselves in. But would I ever give them a courage award? Hardly. Would I ever want to be in the same room with them? No. Do I wish they would stop? Yes.

The PEN writers who protested the event were projecting similar motives and attitudes onto Charlie Hebdo. Dismissing it as French arrogance is quite arrogant. Dismissing it as crude and vulgar is something that makes me suspicious of how cartoons are viewed by the writers who didn’t have enough respect for these images to understand them on their own.

…. I’m stuck having to agree with my bête noir friend Pam Geller that it would be better going forward for newspapers and magazines to take on the responsibility for showing these images. When the Danish Muhammad cartoons appeared in 2006, and when the Mohammad cartoons from Charlie Hebdo appeared, newspapers should have shown these images and talked about them. Many dismissed them as banal and treated them as, “Nothing to see here, move along.”

If it were taken as a matter of course for newspapers and magazines to show these images, they could be normalized, so the many Muslims not offended to the point of grabbing a machine gun could understand that this is how our culture functions with images and issues. It would create a better-informed population dealing with whatever comes next. It would also be useful to have other voices on newspaper and magazine staffs.

What’s the mistake in not publishing images that could be deemed offensive?

There’s no stopping it. What would it be based on? Would it be based on when someone takes up arms against the image? Would it be based on when someone thinks it’s offensive? God knows where the line would be drawn. It can’t be drawn that way. There is an incredible efficiency cartoons have, once you learn to read them, in clarifying the issues at hand, making them memorable.

There’s something basic about cartoons. They work they way the brain works. We think in small, iconic images. An infant can recognize a smiley face before it can recognize its mother’s smile. We think in little bursts of language. This is how cartoons are structured. They’re structured to talk to something deep inside our brains. A cartoon becomes a new kind of word that didn’t exist before.

It’s interesting how little respect they get. “Oh, anyone could draw that crude, vulgar scrawl,” said a number of critics of Charlie Hedbo. That’s not quite true. They’re not totally dismissible. If a writer had made some of the points that Charlie Hebdo had made, I don’t think the writers protesting PEN would have been so condescending and dismissive.

Art Spiegelman: Je Suis Charlie—But I’m Not Pamela Geller | TIME.