When I was 20 years old and no paragon of intellectual maturity, I drew a weekly comic strip for my university paper. The strip had its smarter moments, but more often it served as a vehicle for what I deluded myself into believing was provocation. I advocated seal clubbing, and I called for all campus disputes, however minor, to be settled with firearms. I graduated no longer convinced that most cartoonists are brave tellers of truth, because honestly, nobody cared. My biggest critic was a jerk who called me at home to tell me I’d misstated the number of people in the Rolling Stones. He called me “buddy,” in the snidest possible way.
One strip did cause a problem. A single panel depicted a haloed, self-satisfied Jesus handing Mary a souvenir. It read: “My Son Went to Hell and All I Got Was This Lousy T-Shirt.” When I asked a Christian friend if he thought the comic was appropriate for Easter week, he shot me a look of deep parental disappointment. He also let it pass.
The editor-in-chief of the newspaper did not. Because his letters page had recently hosted a contentious debate about religion, he told me he planned to end the discussion of religion in the newspaper for a while. Therefore, any depiction of Jesus on the comics page was out. “But I don’t want you to be Bil Keane,” he assured me. “I want you to be edgy!”—a weirdly confident lie from a young man holding his first position of authority. We spoke by phone for an hour. When we were done, he confessed that he didn’t understand my comic anyway.
Citing time constraints, I declined to draw a replacement. That week, the newspaper ran 20 square inches of blank space. A year later, I left cartooning behind. The editor-in-chief joined the New York Times. I didn’t really know him, but Google tells me he’s still climbing the career ladder at the paper while teaching journalism nearby.
These days, I have zero interest in provoking or offending, and I find most attempts to tweak the religious to be lazy at best. Even so, my cartoonist years seemed all the more idyllic when I read this morning, with horror and nausea, that Molly Norris of the Seattle Weekly has ceased to exist:
The talented cartoonist who launched the “Everybody Draw Mohammed Day” on Facebook, and then regretted and withdrew her proposal, has nevertheless had to go into hiding — moving, changing her name, washing out her identity — at the suggestion of the FBI. It’s just like the witness protection program. The government, however, will not be picking up the tab. She will.
Norris viewed the situation with characteristic humor: “When FBI agents, on a recent visit, instructed her to always keep watch for anyone following her, she responded, ‘Well, at least it’ll keep me from being so self-involved!’”
Some quick background: when someone on the “Revolution Muslim” Web site threatened to kill the South Park guys for a segment that included a depiction of Muhammad, Comedy Central caved, and Norris responded by drawing a cartoon. Someone other than Norris started an “‘Everybody Draw Muhammad’ Day” Facebook page based on her drawing, and she became the obvious target.
How permanent is Norris’s identity wipe? The Seattle Weekly explains:
She likens the situation to cancer—it might basically be nothing, it might be urgent and serious, it might go away and never return, or it might pop up again when she least expects it.
In my own speech, I choose reticence, but I take a very liberal position otherwise: As far as I’m concerned, if you’re breaking no other laws, then you can say whatever you want, draw whatever you want, and deface or defile anything that’s your own property, be it a flag, a holy symbol, an effigy, you name it. However, in return, I reserve the right to judge you, denounce you, lobby against you, tell others how wrong you are, and speak vociferously in reply. Speech invites consequences, and I’m open to arguments about responsible, voluntary limits. That said, I’ll always put threats and violence on the far side of that line, and I’ll never suggest that in a free society, an artist or writer was asking to be forced to erase herself from existence.
So yes, despite being a pretty inoffensive writer, I took the news about Molly Norris personally, just as I did in 2008 when I read that Sherry Jones’s publisher was firebombed. I’ve written a book in which Muslims guzzle wine, Jews own slaves, and Christians kill in the name of religion. While nothing about my take on the early Middle Ages is all that wild, what’s to stop some hateful, publicity-seeking pastor from hagriding me, or some Islamic fanatic from registering his disapproval via DaggerGram? If doodles can incite worldwide riots, how can I know that my 20-page depiction of a liberal, even libertine, Baghdad won’t light a madman’s fuse?
In a few days, Banned Books Week will roll back around. Writers and teachers and academics and librarians will wear “I read banned books!” buttons, trumpet the cause on blogs and Facebook, and assert their superiority to the withered River City shrews who object to the dandelion-sniffing scenes in Naked Came I. Like many religious practices, it’s a liturgy everyone recites but few really live. On the day a woman begins erasing herself—for how long, no one knows—for drawing pictures and writing words, the National Cartoonists Society is spotlighting Li’l Abner, while the day’s offerings on the Association of American Editorial Cartoonists website take inconsequential stands against Newt Gingrich, Barack Obama, Fidel Castro, and that dingus pastor in Florida.
And my former editor? He’s tweeting about a fabulous new café. We should totally go. We’ll call our book club and talk about the new Franzen novel. Big news: Oprah likes it! What’s it called again?