2. I think the best article on the Danish Mohammed controversy is this Art Spiegelman piece from Harper's: http://theremainsoftheweb.s3.amazonaws.com/wp-content/uploads/2012/08/Drawing_Blood-copy.pdf …
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Replying to @HeerJeet
3. Coming as he did out of tradition of underground comics, Spiegelman understood how/why comics can shock
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4. There are two false positions that Spiegelman avoids: "it's just lines on paper" defense & "we shouldn't show these images"
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5. "Just lines on paper" defense ignores power of cartoons to not just articulate but also create & reinforce bigotry.
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6. But the call to ban images is wrong response for variety of reasons: not just censorship but doesn't really undo underlying bigotry.
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Replying to @HeerJeet
7. Unlike virtually all other North American publications, Harper's and Spiegelman reprinted Danish Mohammed cartoons. To their credit.
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8. But Spiegelman didn't just reprint images in idiotic way of
@ezralevant. Spiegelman analyzed & critiqued those comics.3 replies 8 retweets 12 likes -
Replying to @HeerJeet
9. By combining reprinting plus critique, Spiegelman showed path out of this problem: bad speech has to be answered by more speech.
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10. Refusal to reprinting offending cartoons creates all sorts of paradoxes. Among other things, they imbue forbidden images with more power
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Replying to @HeerJeet
11. A cartoon you're not allowed to see is like the name of God you aren't allowed to pronounce. It acquires the dread of the sacred.
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12. Spiegelman's superb essay underscores something that is often forgotten: aside from being a cartoonist, he's super-smart critic.
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Replying to @HeerJeet
13. Spiegelman's essay also reminds us that there's a longstanding cross-pollination between USA underground comics & French cartooning.
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Replying to @HeerJeet
14. Underground comics emerged in USA in late 1960s but almost immediately had a trans-atlantic impact thanks to work of R. Crumb.
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End of conversation
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