Minnesota art-history faculty, as well as a Muslim organization, support fired instructor who showed her class a painting with Muhammad’s face (and a new video with the instructor)

January 14, 2023 • 10:45 am

As I’ve written about several times, Erika López Prater, an instructor at Hamline University in Minnesota, was fired by the school for showing a 14th-century image of Muhammad’s face in her art-history survey course. (She also showed a painting of the Prophet with his face veiled but rest of his body complete). The instructor warned the students, both in the syllabus and before the class, that they didn’t have to go to the class or look at the image of this famous painting (TRIGGER WARNING: MUHAMMAD FACE):

López Prater’s warning didn’t matter: some offended Muslim students (mostly black Muslims but probably not from the Nation of Islam) complained, and the instructor’s contract was not renewed. The story made the NYT and Hamline got some severely bad publicity, but their President, Fayneese S. Miller, signed a statement that prioritized student comfort over academic freedom, and argued that the instructor was not “fired”—her contract simply wasn’t renewed. That is a distinction without a difference.

FIRE reproduces Miller’s statement, which includes this (scroll down on the FIRE page to see it):

Prioritizing the well-being of our students does not in any way negate or minimize the rights and privileges assured by academic freedom. But the concepts do intersect. Faculty have the right to teach and research subjects of importance to them, and to publish their work under the purview of their peers.

At the same time, academic freedom does not operate in a vacuum. It is subject to the dictates of society and the laws governing certain types of behavior. Imara Scott, in an April 2022 article published in Inside Higher Ed, noted that “academic freedom, like so many ideological principles, can be manipulated, misunderstood, and misrepresented…academic freedom can become a weapon to be used against vulnerable populations. Why? Because on the other end of a professor claiming academic freedom may be a student — a student who lacks tenure, who must rely on that professor for a grade and who may be emotionally, intellectually, or professionally harmed by the professor’s exercise of the power they hold.”

Well, clearly López Prater was not using her academic freedom as a weapon to demonize Muslims or make fun of Islam. Miller was simply out to lunch here, trying to confect reasons for violating the instructor’s acemic freedom.

According to the NYT, Miller also said that “respect for the Muslim students ‘should have superseded academic freedom.’ ” Clearly Miller (below) has no idea what academic freedom really means, and now I do think she should be fired—for complete cluelessness. Nobody should be President of a university if they think that student complaints like the ones leveled against López Prater are grounds for dismissal.

As FIRE said, Miller has “tripled down,” refusing to reconsider her decision and making even more extreme statements defending the firing (i.e., not renewing a contract). FIRE wrote Miller asking her to reconsider (she didn’t respond), and then reported Hamline University to its accrediting agency.  Fortunately, López Prater seems to have several other job offers.

President Fayneese Miller

Another reason Miller should go is that she’s lost the confidence of the entire Art History faculty of the University of Minnesota, which issue a unanimous statement (with an emeritus signing on) supporting the right of López Prater to have taught about that painting. Here’s the statement.

You can read it for yourself, so I’ll provide just one excerpt. Note the sarcastic subtitle, as the statement shows a painting of Jonah, a big fish, and the angel that resembles the Muslim painting above:

Jonah and the Whale,” Folio from a Jami al-Tavarikh (Compendium of Chronicles), ca. 1400, Metropolitan Museum of Art (https://www.metmuseum.org/art/collection/search/453683)

The big support is here:

In its removal of Dr. López Prater from its teaching roster, Hamline’s administration took an explicit stand against higher education’s longstanding tradition of instructional prerogative, compromising the freedom of college-level instructors to make individual selections and decisions in presenting expert knowledge of all stripes (factual, theoretical, interpretive, editorial). This prerogative goes by the term “academic freedom” and it is an extraordinary privilege. As faculty, we cherish this privilege as necessary to our scholarly enterprise and earned through our pursuit of scholarly inquiry, knowledge, and insight. We take the responsibility that comes with this privilege seriously, practicing it within the social contract of the university classroom and the responsive learning communities we seek to forge there. Academic freedom, too, is a privilege we fear is currently under threat, a precarity made worse specifically by the casualization of academic labor via the underpaid adjunct gig economy and the disposability of expertise in pursuit of rising revenues.

In response to Dr. López Prater’s non-renewal, we speak strongly against Hamline’s intertwined attacks on academic freedom, on the integrity and dedication of faculty (especially those vulnerable to dismissal), and on the related enterprises of knowledge dissemination and debate. We strongly urge Hamline’s administrative leadership to examine critically its approach to this instance and its broader policies and procedures, not only regarding student complaints and controversies, but also with respect to hiring, training, setting expectations for, and listening to adjunct faculty.

And kudos to the faculty who signed it (below):

The Tenure-Stream Faculty of the UMN Department of Art History
Dr. Jane Blocker, Professor
Dr. Emily Ruth Capper, Assistant Professor
Dr. Sinem Casale, Assistant Professor
Dr. Michael Gaudio, Professor
Dr. Daniel Greenberg, Assistant Professor
Dr. Laura Kalba, Associate Professor
Dr. Jennifer Jane Marshall, Professor & Chair
Dr. Steven Ostrow, Professor
Dr. Anna Lise Seastrand, Assistant Professor
Dr. Robert Silberman, Associate Professor

Co-signed by Dr. Catherine Asher, Emerita Professor, in her capacity as an expert in Islamic art

Wouldn’t it be lovely if the HAMLINE faculty issued a statement of support? One professor in another department has spoken out, but I suspect most of the faculty are cowed and chilled.

And, if you click below, you’ll see an additional statement of support from the Muslim Public Affairs Council, which seems to be a mainstream organization advocating for tolerance and understansing of  Muslims—much like the anti-Defamation League. And it’s firmly on the side of the fired non-renewed instructor.

Brief excerpt. The message comes right at the beginning rather than at the end:

It is with great concern that the Muslim Public Affairs Council (MPAC) views the firing of an art professor, Erika López Prater, from Hamline University on the grounds of showing a fourteenth-century painting depicting the Prophet Muḥammad. We issue this statement of support for the professor and urge the university to reverse its decision and to take compensatory action to ameliorate the situation.

. . . As a Muslim organization, we recognize the validity and ubiquity of an Islamic viewpoint that discourages or forbids any depictions of the Prophet, especially if done in a distasteful or disrespectful manner. However, we also recognize the historical reality that other viewpoints have existed and that there have been some Muslims, including and especially Shīʿī Muslims,  who have felt no qualms in pictorially representing the Prophet (although often veiling his face out of respect). All this is a testament to the great internal diversity within the Islamic tradition, which should be celebrated.

This, it seems, was the exact point that Dr. Prater was trying to convey to her students. She empathetically prepared them in advance for the image, which was part of an optional exercise and prefaced with a content warning. “I am showing you this image for a reason,” stressed the professor:

. . . The painting was not Islamophobic. In fact, it was commissioned by a fourteenth-century Muslim king in order to honor the Prophet, depicting the first Quranic revelation from the angel Gabriel.

Here’s a video that was just posted involving a discussion with López Prater, Christine Gruber (a Michigan art-history professor who defended her in an eloquent statement at New Lines), and several others (Mr. Salam Al-Marayati from MPAC, and Dr. Hyder Khan) who have also defended López Prater. The moderator is Muqtedar Khan, a professor at the University of Delaware. I found the video while looking for images of López Prater, which don’t seem to appear on the Internet. In the YouTube image below, she’s on the upper right. But she talks at length below, and do listen to hear her story.

The You-Tube statement:

Dr. Erika López Prater was fired from Hamline university after she showed classical paintings of Prophet Muhammad in her Art History class. She discusses the sequence of events, her syllabus, and her pedagogy. Dr. Christine Gruber explains that Islamic tradition is diverse and sheds light on the practice of painting Prophet Muhammad specially from the 13th to the 16th century in Iran and Turkey. MPAC President Salam al-Marayati shares the concerns that prompted MPAC to make the statement in support of Dr. Prater. Dr. Hyder Khan discusses the diversity of opinion in the Muslim Community of Minnesota. He feels the issue is not over and once the internal debates are over the community will take a more deliberated position on the matter.

And the video.  López Prater acquits herself well, and it’s outrageous that she was let go. Well, Hamline’s loss is some other university’s gain.

h/t: Luana, Colin

McGill protestors shut down a talk on sex versus gender as a “transphobic” presentation

January 12, 2023 • 10:45 am

This is from the CBC (click to read), and reports how a spate of activists shut down a scheduled talk at McGill University by alumnus Robert Wintemute, a professor of human rights law at King’s College London.

Now Wintemute may bot be someone whose views I’d want to endorse wholeheartedly, as I don’t know anything about the LGB Alliance. Some of the readers below have commented that I’m wrong to characterize the LGB Alliance’s take on “conversion therapy” in the way I understood conversion therapy.  Here’s what the CBC says

Wintemute’s work inspired the foundation of the LGB Alliance, a British group that advocates against transgender rights in the United Kingdom. Several British officials and LGBTQ+ groups have publicly called the LGB Alliance a hate group.

The group has opposed progressive gender affirmation bills in the U.K., like the Scottish Gender Recognition Act, which improves the system by which transgender people can apply for legal recognition.

A Canadian chapter of the LGB Alliance lobbied against Bill C-4, which put an end to conversion therapy, demanding it remove the term “gender identity” from the offence.

I’m against conversion therapy if it’s construed as therapy with a predetermined therapeutic outcome that doesn’t really want to explore the patient’s feelings. But again, I don’t know much about the LGB Alliance’s views on this issue. On the other hand, they do assert that “sex is binary” and “sex is observed at birth” (indeed, it’s not a subjective judgment made by doctors), so I’m on board with at least some of Wintemute’s organization’s views. But I’m not passing judgement on Wintermute’s organization here, for this post is about freedom of speech, which the man didn’t get.

And Wintemute should hve freedom of speech (at least in the US, and I hope in Canada), and his talk, described with the title “Sex vs Gender (Identity)”, was worthy of being held and being heard (see more about it below).  Presumably it was about whether there’s a disparity between rights based on biological sex and rights based on declared gender: surely an issue worth debating.

Or so you would think. But it’s not worth debating to those trans activists who declare that “trans women are women” and “trans men are men”, completely conflating gender identity and biological sex. There is no room for dissent or discussion with people like that, and so the activists simply shut down Wintemute’s talk:

Trans rights advocates stormed into a talk Tuesday afternoon at McGill University led by a speaker associated with a group they say is “notoriously transphobic and trans-exclusionary.”

The talk was ultimately cancelled shortly after it started.

McGill University’s Centre for Human Rights and Legal Pluralism (CHRLP) hosted the event, titled Sex vs. Gender (Identity) Debate In the United Kingdom and the Divorce of LGB from T. It was led by McGill alumnus Robert Wintemute.

The CHRLP’s website describes the event as a conversation around whether the law should make it easier for a transgender person to change their legal sex, “and about exceptional situations, such as women-only spaces and sports, in which the individual’s birth sex should take priority over their gender identity, regardless of their legal sex.”

Regardless of whether you agree with Wintemute, is that not a conversation worth having? Apparently the activists who shut it down think that such debate is counterproductive. But how will they ever convince their opponents if their opponents don’t at least get to air their views? For it is surely correct to say that some “rights” claimed by transsexual or transgender people are indeed at odds with “rights” claimed by others, others like biological women athletes and women receiving rape counseling.

In response to that, a letter signed by McGill people simply deny it:

An open letter signed by McGill students, professors, alumni and others from the Montreal LGBTQ+ community says trans rights are not at odds with the rights of others.

“Undermining the human rights of trans people does not benefit any member of the 2SLGBTQIA+ community, nor the feminist movement,” it says.

The whole question of “rights” is a sticky one, but to assert that “trans rights are not at odds with the rights of others” simply misses the reason for a lot of pushback against trans activism by people who aren’t transphobic. (“Transphobic” is a slur often used to shut down debate by stigmatizing your opponents.)

To end, I’ll quote with permission reader Diana MacPherson, who sent me the link to this report (h/t Paul as well), and added this comment:

I really hate that the adults won’t stop this refusal to debate anything. This all would go away if everyone stood up and said “enough, free discussion of ideas is not something you shut down”.

USC progressives: you can’t say “field” any longer

January 11, 2023 • 9:40 am

Every day the language policing gets more and more ludicrous, but this example, from the School of Social Work of the University of Southern California, takes the cake.  I can no longer say that “my field is evolutionary biology” because that is racist language. The connection, as outlined in the official letter below from the USC group, is that enslaved people went “into the field” in the antebellum South. That makes the word “field” off limits. But farmers were going into the field long before that!

Now the recommended verbiage is “my practicum is evolutionary biology.” At that point people will say “Whaaaat???” And, as several readers note below, the words “field work” for biologists are also unacceptable; I suppose the alternative is “ecological labor in the great outdoors”.

I don’t think people will buy this change. Note that USC’s stated goal is not just to change language but to “acknowledge inclusion and reject white supremacy, anti-immigrant, and anti-blacknesss ideologies.” I don’t think that this aim will come to mind when someone says “practicum.”

The thing that strikes me is that someone had to see the world “field” as racist, and then take action to expunge it from USC’s language. You have to be sniffing around very hard for offense to do something like that. And I suspect that their goal, in fact, isn’t any of the ones they state, but simply to assert power.  How bizarre that these initiatives actually work in today’s America!

If you think this is fake, it’s not: it’s been reported by quite a few venues. They’re mostly right-wing sites, of course, because the mainstream media would never highlight something like this, as it makes the progressive Left, as well as academia, look too crazy. It’s stuff like this that Republicans use to tar not just the “woke”, but all Democrats and left-centrists.

There are good cases to be made for changing some language, but this isn’t one of them.

The NYT finally writes about the Hamline University/Muhammad story, and Kenan Malik offers his take

January 9, 2023 • 10:45 am

“Respect for the observant Muslim students in that classroom should have superceded academic freedom.”

—Fayneese Miller, President, Hamline University

And so Hamline University joins the Big Two of other liberal-arts schools that have embarrassed themselves via the administration’s defense of the indefensible: The Evergreen State College and Oberlin College. Evergreen defended thuggish students who were out to hunt down Bret Weinstein for saying he wouldn’t leave campus on the “Day of Absence,” while Oberlin defended three students who shoplifted wine and then beat up the store’s proprietor (Oberlin paid over $39 million for that unwise defense). Now, as I’ve written about twice, Hamline has gained the spotlight by firing an instructor who showed two pictures of Muhammed in an art class, one showing his face and the other his body with a veiled face. And the instructor, whom the NYT names below as Erika López Prater, warned the students before class about this so they didn’t have to come if they didn’t want to. But trigger warnings apparently don’t eliminate offense.

Further, as I mentioned before and as Kenan Malik notes below, it’s only a recent and more conservative strain of Islam that considers it blasphemous to show the Prophet or his face, so there’s a whole panoply of Islamic art showing Muhammad’s visage, something that art history professor Christiane Gruber, who specializes in Islamic art, pointed out while defending López Prater in New Lines Magazine. That didn’t matter, either.

Nevertheless, and even though the teacher apologized, the college President, quoted above, didn’t renew the instructor’s contract. Hamline and its administration are holding firm, even though FIRE has now reported the school to its accreditation agency and the school has been condemned by PEN America. Can a lawsuit be far behind?

Remember, you read it here first, and only now does the New York Times cover the story. Be aware, though, that the NYT’s coverage may be a good sign that it’s losing its wokeness, for it took ages for the paper to get interested in the Evergreen and Oberlin cases n. You can read the NYT story below by clicking on the screenshot:

Besides naming the victim as Erika López Prater, a name now all over the Internet, the paper gives a few facts I didn’t know (don’t expect a small website to have the investigating capacity of a huge newspaper!). Here are a few tidbits:

Officials told Dr. López Prater that her services next semester were no longer needed. In emails to students and faculty, they said that the incident was clearly Islamophobic. Hamline’s president, Fayneese S. Miller, co-signed an email that said respect for the Muslim students “should have superseded academic freedom.” At a town hall, an invited Muslim speaker compared showing the images to teaching that Hitler was good.

Remember: an invited speaker, clearly brought in to support the accusation of blasphemy. The President’s statement is beyond the pale.

This I’ve said before:

The painting shown in Dr. López Prater’s class is in one of the earliest Islamic illustrated histories of the world, “A Compendium of Chronicles,” written during the 14th century by Rashid-al-Din (1247-1318).

Shown regularly in art history classes, the painting shows a winged and crowned Angel Gabriel pointing at the Prophet Muhammad and delivering to him the first Quranic revelation. Muslims believe that the Quran comprises the words of Allah dictated to the Prophet Muhammad through the Angel Gabriel.

Note: earlier I said that the NYT didn’t show the picture at issue. I see now that it does, though you have to click on a dot to see it. (I missed that.) I’ve put the one that caused all the trouble below.

Here it is: the face that launched a thousand kvetches. You can see the picture and its painter here as well. It’s from the fourteenth century:

More from the NYT:

Omid Safi, a professor of Asian and Middle Eastern Studies at Duke University, said he regularly shows images of the Prophet Muhammad in class and without Dr. López Prater’s opt-out mechanisms. He explains to his students that these images were works of devotion created by pious artists at the behest of devout rulers.

“That’s the part I want my students to grapple with,” Dr. Safi said. “How does something that comes from the very middle of the tradition end up being received later on as something marginal or forbidden?”

I wonder if Safi is now in someone’s gunsights. More from the paper:

Dr. López Prater, who had only begun teaching at Hamline in the fall, said she felt like a bucket of ice water had been dumped over her head, but the shock soon gave way to “blistering anger at being characterized in those terms by somebody who I have never even met or spoken with.” She reached out to Dr. Gruber, who ended up writing the essay and starting the petition.

And get a load of this forum set up by the University to justify their heinous actions. (Aram Wedatalla, a student, complained about the picture-showing in the student paper and also filed a complaint with Hamline’s admnistration.)

At the Dec. 8 forum, which was attended by several dozen students, faculty and administrators, Ms. Wedatalla described, often through tears, how she felt seeing the image.

“Who do I call at 8 a.m.,” she asked, when “you see someone disrespecting and offending your religion?”

Other Muslim students on the panel, all Black women, also spoke tearfully about struggling to fit in at Hamline. Students of color in recent years had protested what they called racist incidents; the university, they said, paid lip service to diversity and did not support students with institutional resources.

The main speaker was Jaylani Hussein, the executive director of the Minnesota chapter of the Council on American-Islamic Relations, a Muslim civil rights group.

The instructor’s actions, he said, hurt Muslim students and students of color and had “absolutely no benefit.”

“If this institution wants to value those students,” he added, “it cannot have incidents like this happen. If somebody wants to teach some controversial stuff about Islam, go teach it at the local library.”

The man is a peabrain who has no notion of academic freedom, nor does he recognize that it’s only fundamentalist Muslims who have the see-no-face policy.

Here’s one more bit describing how at least one Hamline professor spoke up against the lunacy, but was shusshed by the administration:

Mark Berkson, a religion professor at Hamline, raised his hand.

“When you say ‘trust Muslims on Islamophobia,’” Dr. Berkson asked, “what does one do when the Islamic community itself is divided on an issue? Because there are many Muslim scholars and experts and art historians who do not believe that this was Islamophobic.”

Mr. Hussein responded that there were marginal and extremist voices on any issue. “You can teach a whole class about why Hitler was good,” Mr. Hussein said.

During the exchange, Ms. Baker, the department head, and Dr. Everett, the administrator, separately walked up to the religion professor, put their hands on his shoulders and said this was not the time to raise these concerns, Dr. Berkson said in an interview.

But Dr. Berkson, who said he strongly supported campus diversity, said that he felt compelled to speak up.

“We were being asked to accept, without questioning, that what our colleague did — teaching an Islamic art masterpiece in a class on art history after having given multiple warnings — was somehow equivalent to mosque vandalism and violence against Muslims and hate speech,” Dr. Berkson said. “That is what I could not stand.”

Good for Berkson, a voice of sanity in the miasma of cowardice that is Hamline University. The bolding above is mine, showing again that Hamline’s administration DOES NOT WANT A DEBATE. They want others to confirm that they did the right thing by firing López Prater. (The good news is that she says she has other job offers.)

The journalist Kenan Malik, trained in biology as well as the history of science, and now a writer who’s devoted to free speech, has an eloquent piece in the Guardian defending López-Prater’s right to show Muhammad’s face. (He doesn’t name her.) You can read it for free by clicking the headline.

It’s full of nice pull quotes; I’ll give just three. Professor Berkson shows up again (note that the student paper removed his published letter, though you can see the link below):

David Everett, Hamline’s associate vice-president of inclusive excellence, condemned the classroom exercise as “undeniably inconsiderate, disrespectful and Islamophobic”. A letter written by Mark Berkson, chair of the department of religion, defending the instructor and providing historical and religious context for her actions, was published on the website of The Oracle, the university’s student newspaper, and then taken down because it “caused harm”. The instructor was “released” from further teaching duties.

What is striking about the Hamline incident, though, is that the image at the heart of the row cannot even in the most elastic of definitions be described as Islamophobic. It is an artistic treasure that exalts Islam and has long been cherished by Muslims.

. . . Yet, to show it is now condemned as Islamophobic because… a student says so. Even to question that claim is to cause “harm”. As Berkson asked in another (unpublished) letter he sent to The Oracle, after his first had been removed: “Are you saying that disagreement with an argument is a form of ‘harm’?”

That is precisely what the university is saying. “Respect for the observant Muslim students in that classroom should have superseded academic freedom,” wrote Fayneese Miller, the university’s president, and Everett in a letter to staff and students. In what way was showing the painting “disrespecting” Muslims? Those who did not wish to view it did not have to. But others, including Muslims who desired to view the image, had every right to engage with a discussion of Islamic history.

Universities should defend all students’ right to practise their faith. They should not allow that faith to dictate the curriculum. That is to introduce blasphemy taboos into the classroom.

I think the mantra “disagreement with an argument is a form of ‘harm'” should become the official slogan of the woke. It’s the most concise characterization of the illiberal Left that I’ve seen.

And Malik’s take on the diversity angle of this issue (bolding is mine):

Too many people today demand that we respect the diversity of society, but fail to see the diversity of minority communities in those societies. As a result, progressive voices often get dismissed as not being authentic, while the most conservative figures become celebrated as the true embodiment of their communities.

Here, liberal “anti-racism” meets rightwing anti-Muslim bigotry. For bigots, all Muslims are reactionary and their values incompatible with those of liberal societies. For too many liberals, opposing bigotry means accepting reactionary ideas as authentically Muslim; that to be Muslim is to find the Danish cartoons offensive and the depiction of Muhammed “harmful”. Both bigots and liberals erase the richness and variety of Muslim communities.

The Hamline controversy shows how the concepts of diversity and tolerance have become turned on their head. Diversity used to mean the creation of a space for dissent and disagreement and tolerance the willingness to live with things that one might find offensive or distasteful. Now, diversity too often describes a space in which dissent and disagreement have to be expunged in the name of “respect” and tolerance requires one to refrain from saying or doing things that might be deemed offensive. It is time we re-grasped both diversity and tolerance in their original sense.

I fear it’s too late, as we’re educating students to be both politically correct and authoritarian, and they will grow up to run America (and perhaps England). It will be decades, I fear, before society comes back to its senses. But by that time I’ll be one with the clay.

George Will excoriates the proposed removal of a statue at Princeton

January 7, 2023 • 11:30 am

UPDATE: Here are Princeton’s standards for “honorific namings,” which I assume apply to statues as well:

  1. Honorific namings for people should recognize rare or exceptional levels of achievement, contributions to the University, and/or commitments to advance core University values.  Those so honored should have to their credit achievements or virtues that the University hopes its students would seek to emulate.
  2. Honorific namings may also recognize or memorialize historical events or milestones in the University’s history.
  3. As the University expands the portfolio of honorific namings on campus, it should take into account the University’s aspiration to be diverse and inclusive. While not every honorific naming need increase the diversity of campus names, the overall trajectory of such namings should do so.

When a conservative columnist says something I agree with on the whole, I have no reservations about highlighting it regardless of the person’s politics. And George Will has been getting more liberal these days.

Will’s latest Washington Post column, written more passionately than is his usual wont, deals with Princeton University’s discussions about removing a statue of John Witherspoon (1723-1794), considered one of the founding fathers of America, and was also the only clergyman who signed the Declaration of Independence (so much for America being founded as a Christian Nation!). This is from his Wikipedia biography:

John Witherspoon (February 5, 1723 – November 15, 1794) was a Scottish-American Presbyterian minister, educator, farmer, slaveholder, and a Founding Father of the United States. Witherspoon embraced the concepts of Scottish common sense realism, and while president of the College of New Jersey (1768–1794; now Princeton University) became an influential figure in the development of the United States’ national character. Politically active, Witherspoon was a delegate from New Jersey to the Second Continental Congress and a signatory to the July 4, 1776, Declaration of Independence. He was the only active clergyman and the only college president to sign the Declaration. Later, he signed the Articles of Confederation and supported ratification of the Constitution of the United States.

Reading on, you’ll see part of what he accomplished for Princeton during his 26-year Presidency:

At the age of 45, [Witherspoon] became the sixth president of the college, later known as Princeton University. Upon his arrival, Witherspoon found the school in debt, with weak instruction, and a library collection which clearly failed to meet student needs. He immediately began fund-raising—locally and back home in Scotland—added three hundred of his own books to the library, and began purchasing scientific equipment including the Rittenhouse orrery, many maps, and a terrestrial globe. Witherspoon instituted numerous reforms, including modeling the syllabus and university structure after that used at the University of Edinburgh and other Scottish universities. He also firmed up entrance requirements, which helped the school compete with Harvard and Yale for scholars.

He also taught belles lettres, chronology (history), and divinity, and his speciality, moral philosophy. Witherspoon was said to be very popular with faculty and students alike. But you can see what’s “problematic” in the second paragraph, and why Princeton is considering removing his statue.

Click to read Will’s column.

Yes, Witherspoon had slaves—two of them. But before you say that such an act damns him for eternity, mandating the removal of his name from everything as well as prompting us to remove his statues, note what Will says about him:

As Princeton’s president, this “animated son of liberty” (John Adams’s description of the only clergyman to sign the Declaration of Independence) ensured the precarious institution’s survival. His students included future congressmen, senators, Supreme Court justices and a president — James Madison stayed an extra year to study with Witherspoon.

Kevin DeYoung, now serving as a Presbyterian pastor in North Carolina, wrote his 2019 doctoral dissertation on Witherspoon. DeYoung’s judgment is that Witherspoon believed three things about slavery, two of them true: Slavery was wrong, immediate emancipation was impossible, but America’s moral evolution would extinguish it within two generations.

DeYoung explains, without drawing conclusions from, three facts: In Scotland, Witherspoon baptized a runaway slave claimed by a member of Witherspoon’s church. At Princeton, Witherspoon tutored free Blacks. And Witherspoon’s will listed two slaves “until they are 28.” He had proposed a New Jersey law to free slaves at that age who were born after the law’s passage.

A university site on Princeton and Slavery says this:

John Knox Witherspoon (1723-1794) served as Princeton’s sixth president from 1768 to 1794. He personally owned slaves and publicly lectured and voted against the abolition of slavery in New Jersey, yet he also tutored several African and African American students. His actions and writings illustrate his sometimes contradictory positions on slavery. Likewise, his children and their families wrestled with the complexities and moral dilemmas of slavery.

Will is exercised by this as an example of authoritarian wokeness, which he sees in those who force people to “adhere to orthodoxy”.

But Will doesn’t get into that orthodoxy. To use the language of the woke, his column lacks “nuance”, and so he just rails against wokeness. This doesn’t mean his column is worthless, but he does miss the main point of why removing Witherspoon’s statue is a perfectly debatable issue. He goes on:

Princeton’s current contretemps, however, fascinatingly illustrates how wokeness, which lacks limiting principles, limits opposition to itself.

. . .Today’s disparagement of Witherspoon is more than just another example of “presentism” — judging the past through the lens of the present. It illustrates how the woke become a suffocating, controlling minority

Princeton’s Committee on Naming has been holding “listening sessions” to ascertain what Princetonians think about the statue. But who is speaking? Princetonians for Free Speech (PFS), an alumni organization much more devoted than the university’s administration and trustees are to viewpoint diversity, notes that “the atmosphere on campus greatly inhibits students, faculty, and others from stating their true views” on “highly politicized issues,” which nowadays most issues become.

Will makes a big deal about the self-censoring of Princeton students, surely because it’s the woke political climate that demands erasure of Witherspoon, but I’m not sure how a discussion of self-censorship, with the data now well known, advances his argument. Nevertheless, Will does point out the fact that debate about Witherspoon should be allowed on campus without being chilled, and adds, which one can’t mention too often, that no, a University is not like your parent’s home where you weren’t allowed to talk back. Your school is not your home and the administration is not your parents, nor are you guaranteed four years’ of mental comfort at Princeton—although the school is doing its best to ensure that!

The data, in case you wanted it:

In the Free Speech Ranking survey by the nonpartisan Foundation for Individual Rights and Expression (FIRE), only 55 percent of Princeton students said it was never acceptable to block other students from attending a campus speech, only 25 percent said it was never acceptable to shout down a speaker, only 23 percent said they were very comfortable expressing their views during classroom discussions of political topics. There is no reason to think Princeton significantly differs from FIRE’s finding that only 14 percent of students nationwide would be very comfortable speaking freely in public settings, such as “listening sessions.”

PFS notes that the anti-Witherspoon cohort says Princeton is a “home,” therefore everyone should be protected from feeling “less at home” because of, say, unhappy thoughts occasioned by a statue. But a university is not a “home.” A university’s raison d’être, unlike a family’s, is civil but robust and unsettling questionings and disagreements. (Although a family without controversies sounds unlikely and unappealing.)

But importantly, Will does point out the seeming hypocrisy of “erasing” one Founding Father who had two slaves whom he would free, while leaving on the pedestals other Founders who not only had more slaves, but weren’t as conflicted about it as was Witherspoon—founding fathers like Washington, Jefferson, and Madison, who of course are still honored. That’s a good point, and should spark discussion about not only “presentism,” but also about where the line is that separates the damned from the honored. Why does a semi-abolitionist who had two slaves but was also a popular and accomplished President of Princeton, as well as a Founding Father, and a tutor of black people, receive more opprobrium than does Jefferson and Washington, who owned dozens of slaves and treated them poorly?

Unfortunately, although I do bring in wokeness at times, I prefer to show how it damages society rather than just rail about it. In contrast, Will seems to use the statue mainly as an excuse to harp about this new religion. I don’t disagree with him, but he’s leaving out the issues that he says are being ignored by Princeton. This is only a small bit of his jeremiad:

The fires of wokeness will soon be starved of fuel by the sterile monotony of wokeness’s achievement: enforced orthodoxy. Campuses are becoming burned-over places, sullen about the scarcity of things to deplore and cancel within their gates. Beyond those gates, society increasingly regards academia with, at best, bemusement.

Nevertheless, in their leafy quarantine, the woke will have the consolation of vanity. Wokeness has many flavors but one purpose: self-flattery. Wokeness tells its disciples how morally superior they are to almost everyone, ever. The woke have revised the Rev. Martin Luther King Jr.’s maxim about the moral universe to: “The arc of the moral universe is long and bends toward me.”

Bent by such people, a university becomes, as PFS says, “a place where orthodoxy is imposed and only a narrow version of history and knowledge is accepted.” So, not a university.

But the thing is, Will doesn’t menton what kind of argument could be had about this deplatforming. I’ve outlined it a bit above, but will expand a tad more.

If you asked a woke Princeton student who still had a brain (these are very rare), “Why do we keep Washington and Jefferson statues up but want to pull down Witherspoon’s?”, the student would probably say this. “Well, all these Founders owned slaves, but Witherspoon didn’t do enough to compensate for his enslaving two people.”

And that produces the debate we need: “Resolved: Were two slaves enough to erase a man who was not only ambiguous about slavery but did so much good for others?”

My answer to this question would be that we shouldn’t pull down Witherspoon’s statue because he adheres to Coyne’s Criteria for removing honors. Here are the criteria I use:

1.) Was the statue or honor put in place to celebrate something good that a person did rather than the bad?

and

2.) Did the good achieved by the person’s life outweigh the bad?

If the answer to both is “yes”, then you leave the person’s statue up, or keep his name on an award. If you wish to qualify the person’s life with a placard or other virtuous signal saying that NOW WE KNOW SOME OF THE STUFF WAS BAD, that’s ok; it’s just history.

In Witherspoon’s case, the answer to the first question is clearly “yes”.

Further, given what the man did at Princeton, given that he tutored free blacks, baptized a slave, and let his two slaves go free at the age of 28, and given his services in founding the country and revamping Princeton, the answer to the second question, in my view, is “yes”. If he had slaves in a time when that was universally disparaged and very rare, the answer might be different. But now we have a more enlightened view of using other people as chattel than did Witherspoon’s peers. We simply can’t ignore “presentism.” If we did, we would erase the entire history of men who lived before two centuries ago because they all held sexist views.  In sum, although Jefferson infused the founding of America with more of his ideas, and founded the University of Virginia as opposed to being its president, he also had more slaves than did Witherspoon, and therefore hurt more people.

I would say that if Witherspoon hadn’t existed at all, the world would have been a worse place (remember that the slaves he kept would have been the property of someone else, but probably not treated as well).

It is of course a debatable issue, but the hegemony of “presentism” is so strong that we forget that we ourselves will be looked upon in a few centuries as an unenlightened people. One reason, I think, is because we not only eat meat, which itself isn’t a sin, but treat our meat animals very badly and make their lives miserable. And there are other bad things we do, like executing prisoners, keeping them in horrible prison conditions, and usually don’t allow terminally ill people to end their lives with dignity when they want to. As Dr. Pinker constantly reminds us, morality improves, and that should remind us not to demonize everyone in the past who doesn’t adhere strictly to the curent form of morality espoused by the woke.

Here’s the statue that may be removed (image from flickr):

 

A disturbing tale of R. Crumb vs. fragile students, and the demonization of a professor

November 13, 2022 • 9:45 am

I usually think of the Chronicle of Higher Education (CHE) as a “woke-ish” site, but there’s nothing pro-woke about artist Phoebe Goeckner’s description of how horribly she was treated when teaching “graphic art novels” and alternative comic-book art (e.g., R. Crumb) at the University of Michigan at Ann Arbor. Click to read:

There’s nothing, it seems, that you can teach about such “alternative” comics/graphic art that isn’t offensive, particularly when you remember this stuff began in the Sixties as a reaction to anodyne comics.  R. Crumb, who, yes, sexualized women and dealt with fraught topics, was nevertheless wildly popular, especially because he was heterodox. And of course his work didn’t result in a whole generation of hippies that hated women.

Nevertheless, Glockener was repeatedly criticized by students, who complained to the administration, and was investigated by two offices involve with diversity and equity. An art exhibit she was invited to give at a local institute was canceled because of this controversy, as was a TEDx talk she was invited to give.

The article is long, and I won’t describe it in detail, but I’ll show a few images that incited student protest and got Glockner in trouble. Her comments are indented:

But in 2020, we were all “sheltering in place” because of the pandemic, and I was teaching on Zoom. The students Googled Robert Crumb before I could say much to contextualize his work. They immediately raised their voices in protest. Quoting from what they read, they insisted that Crumb was a “racist” and a “misogynist.” One student cried out that he had been accused of rape. Several insisted that showing any of his work was “hurtful.” They said I was “harming” the class.

I was taken aback. Comics are fundamentally a provocative medium, and Crumb is a provocative artist, but I didn’t think I had shown an especially offensive image. Crumb and his work have been the target of both high praise and bitter criticism for years, but before that moment, most of the students knew nothing about him — and seemed unwilling to question what they had read about him on the internet. Moreover, Crumb is a central figure in the history of comics. He can’t be written out of the books.

That’s for sure!  And if you’ve read Crumb (I have a collection of his comics) or seen the highly acclaimed movie about him and his dysfunctional family (“Crumb“, 1985, described by Gene Siskel as “the best movie of the year”), you’ll know that a lot of Crumb’s art involved working out his own psychological hangups, which happened to be a lot of readers’ psychological hangups, too. But don’t forget his greatest creation, the faux-guru Mr. Natural:

Mr. Natural, clearly a satire on the “enlightenment” that we all were seeking in the Sixties:

Below is another cover that got Glockener in trouble when she showed it:

As I searched for particular comics covers, I forgot that I was sharing my screen. The students watched as multiple images flashed by, images I planned to share later in the semester. One of them was the cover of Young Lust #5 (1977), featuring a Red Guard couple in a suggestive embrace.

The Young Lust series satirized romance comics of the 1940s-60s. This particular cover is a teaser for Jay Kinney’s Red Guard Romance, a love story set in Communist China during the Cultural Revolution. The story, dedicated to Zhou Yang, an early supporter of Mao’s who was later imprisoned, is a humorous critique of the Communist government’s oppressive methods of controlling behavior. Kinney satirizes the representations of cheering Mao supporters omnipresent in Cultural Revolution propaganda.

When the Young Lust cover came into view, one student raised the alarm: “Why are you showing us even more racist images?” The cover, the student said, “sexualized Asian women.”

Yes, if you’re determined to be offended, you can see this satire as racist (after all, there are Chinese people there), and “sexualizing Asian women” (no, it satirized Chinese culture during the Cultural Revolution). But I suspect the students didn’t know abut the Cultural Revolution, much less the red book the woman’s holding.

Gloeckner apologized, and her attempt to make amends by telling the students to watch the movie “Crumb” (95% critics’ rating on Rotten Tomatoes), “failed miserably”.  The students formed an “R. Crumb Hate Corner”, which was really a Gloeckner hate corner, and then observed her daily and carefully, looking for further missteps. There were a few—but not serious ones nor ones that stemmed from racism or transphobia. But they were enough to inspire an article in The Michigan Daily demonizing her:

One of these students sent me screenshots from the Hate Corner throughout the semester. It soon became clear that the chat was not about Robert Crumb. It was about me. The “haters” were watching me carefully, waiting for me to slip up so they could add ammo to a document they were preparing, “Complaints Against Phoebe.” One day after class, two of my confidential informants shared their screen over Zoom and scrolled through the document, which described a plan to report me to the art-school administration. There was one statement that stood out to me, which I paraphrase here because I don’t have the document, something along the lines of: Let’s get this one right. We failed with the other professor — let’s do this one by the book. I inferred that they had attempted to bring charges against another teacher, without the desired outcome. Now they would try to get me, and make it stick.

This past May, a year and a half later, I received an email from an investigative reporter for The Michigan Daily, a student-run paper. She invited me to respond to a list of allegations against me, including: failure to use trigger warnings, exposing students to racist material, misgendering students, and demonstrating that I was a racist by confounding two names. Also included was an inflammatory accusation from someone outside the university who claimed I had kissed them on the forehead and whispered in their ear, “You are a dog.”

Where did such charges come from? Some were rooted in truth, however ungenerously construed. Early in the semester, after showing the Crumb image and before learning everyone’s name, I had apparently mixed up two students with Hispanic surnames. A screenshot from the R. Crumb Hate Corner claimed that this faux pas was inexcusable and proved that I was a racist. I’ve been working on a project in Ciudad Juárez, Mexico, for 15 years. This allegation was so far from the truth that I could barely make sense of it.

Another day, I inadvertently misgendered a trans student, whom I had known the previous semester when they used a different pronoun. I immediately apologized. Screenshots followed.

I felt under siege.

The usual administrative investigation followed, involving both the Office of Institutional Equity and The Office of Diversity Equality and Inclusion (why are these separate offices?). Fortunately, these investigations were eventually dropped.  But the damage was done. All the complaints were added to her personnel file, her teaching had been permanently affected, and some opportunities were canceled. These included an invitation to give a TEDxUofM talk that was later withdrawn.

Gloeckner’s latest work was a series of miniatures based on her years of work in Ciudad Juárez, Mexico, with photos like these:

The illustrated novel I’m working on now can’t be described as traditional “comics.” Based upon fact, experience, and research, it is about several families and a neighborhood in Ciudad Juárez, directly across the U.S. border.

I’ve drawn the images in my previous books with pen and ink. For my current project, I constructed miniature scenes and photographed them. Frustrated by my physical distance from the place and the people I’m writing about, I began building parts of Ciudad Juárez in my studio. I built replicas of houses I had visited, trying faithfully to reproduce interior and exterior details. The floor of my studio was covered in sand. I constructed dolls to populate the streets and buildings. The process of making all these things made me feel closer to the story. It was something of a spiritual ritual; I was recreating a particular place as it appeared at a particular time, and I no longer felt so distant. I could walk the streets of Anapra day or night, because they lived with me.

And for that she got this:

In 2018, the University of Michigan International Institute had invited me to exhibit a work in progress in its gallery. Several weeks before the exhibit was to open, I received an email from the International Institute describing some “strong concerns” about my project expressed by a group of professors in the Latina/o-studies program, who wished to remain anonymous to me. The program had been asked to co-sponsor the exhibit, a request which it declined.

The professors had been sent a brief description of the work along with two or three images. Based on this material, they voiced concern that “the miniaturization or infantilization of the Mexican body through the use of dolls could be trivializing and upsetting to some people”; they “worry that the scenes depicted might reinscribe negative racial stereotypes.”

Other remarks in the letter focused on the “demonization of Mexicans in national rhetoric” and the potential for “retraumatization” that the work, about a violent era in Juárez, might present. These concerns led this group of anonymous faculty members to conclude that the work should not be exhibited.

Although the identity of the writers was concealed from me, I responded to the director of the Latina/o-studies program, extending an invitation to those interested to visit my studio for a discussion of the project. I never got a response.

Miniaturization or infantilization of the Mexican body my tuchas!  Did they want full-sized sculptures?

Demonization of graphic novels isn’t limited to the Left, either:

Meanwhile, off campus, right-wingers are trying to get books like Art Spiegelman’s Maus and Jerry Craft’s New Kid removed from school libraries. Although I wouldn’t say that I have faced a concerted effort to curtail free speech, I have heard one message unambiguously: Education is a safer occupation for those willing to limit their speech by excluding certain material. That would make it impossible to teach the history of comics.

Again, I’m surprised that a long plaint like this was published in the CHE, but it’s good that they did. Not that this will stop the Pecksniffs, but one lesson we learned, as we learned from the cancellation of Carole Hooven at Harvard, is that this stuff could be stopped in its tracks if college administrations had any spine, standing up for academic freedom. There is simply nothing wrong in what Gloeckner taught; the problem was the generation of fragile and easily offended students who cannot deal with anything challenging, and with the invertebrate administrators who feel they have to cater to the students because, after all, education is now a form of consumerism. Here’s Gloeckner’s ending:

I was hired because of the creative work I’ve done, and there was a time when I was happy to share my work and the work of artists I admire with my students. The art that interests me, as well as my own art, is messy. As in life, ugliness and beauty coexist. Some might feel the need for a trigger warning on nearly every page.

I now avoid talking about my work unless students ask me about it. I’m not proud of this.

Sundance and others cancel a talented filmmaker for “Islamophobia” and “white saviorism”

September 25, 2022 • 1:20 pm

This story is extremely disturbing as an exemplar of cancel culture. It’s the story about how a woman made a documentary about Muslims who, having been accused of terrorism, were sent from Guantanamo to a “terrorism rehab facility” in Saudi Arabia. The director of the film, originally called “Jihad Rehab” (now named “The UnRedacted”), found four of the “rehabilitated” willing to tell their stories on film, and, according to nearly all accounts, the film is good (it has a 75% critics’ rating on Rotten Tomatoes). It was so well done that it was invited to the 2022 Sundance Festival. That was a great honor for the young director, Meg Smaker.

But then the problems surfaced, promoted by Muslims and the Woke on social media. There were two issues:

1.) Smaker is a white woman. Being white, argued the critics, how could she possibly have the understanding needed to make a film about Muslim men? (It took her 16 months of filming.) She was accused of being a “white savior”.

2.) The film is about Muslim terrorists. Muslims and especially many “progressives” on the Left shy away from that aspect of Islamism. Palestinian terrorism, for example, is nearly always minimized by MSM on the Left.

The result, documented in this longish New York Times piece (click on screenshot below) was that Smaker was canceled in a very real sense—deprived of her livelihood. Although Sundance did show her film, the backlash soon came from social media. The film’s executive director, who had initially called the film “freaking brilliant”, apologized in the most groveling and pathetic letter you can imagine. The letter of apology was written by Abigail Disney, a grandniece of Walt Disney, and you can read it here. It is pathetic, cringe-making, reprehensible, and disgusting.  Smaker can’t get her film publicized or shown, and, after being demonized and called an “Islamophobe”, she’s nearly broke.

I recommend reading this article to understand how Progressive Authoritarianism is ruining our culture:

Indented text is from the NYT article.

Smaker’s background:

Ms. Smaker was a 21-year-old firefighter in California when airplanes struck the World Trade Center on Sept. 11. She heard firefighters cry for vengeance and wondered: How did this happen?

Looking for answers, she hitchhiked through Afghanistan and settled in the ancient city of Sana, Yemen, for half a decade, where she learned Arabic and taught firefighting. Then she obtained a master’s from Stanford University in filmmaking and turned to a place Yemeni friends had spoken of: the Mohammed bin Nayef Counseling and Care Center in Riyadh.

The Saudi monarchy brooks little dissent. This center tries to rehabilitate accused terrorists and spans an unlikely distance between prison and boutique hotel. It has a gym and pool and teachers who offer art therapy and lectures on Islam, Freud and the true meanings of “jihad,” which include personal struggle.

Hence the documentary’s original title, “Jihad Rehab,” which engendered much criticism, even from supporters, who saw it as too facile. “The film is very complex and the title is not,” said Ms. Ali, the Los Angeles Times critic.

To address such concerns, the director recently renamed the film “The UnRedacted.”

The United States sent 137 detainees from Guantánamo Bay to this center, which human rights groups cannot visit.

But reporters with The New York Times, The Washington Post, The Atlantic and others have interviewed prisoners. Most stayed a few days.

Ms. Smaker would remain more than a year exploring what leads men to embrace groups such as Al Qaeda and the Taliban.

Saudi officials let her speak to 150 detainees, most of whom waved her off. She found four men who would talk.

The film’s content:  It’s mostly interviews, I hear, with no politicizing or twisting of the narrative. The article will tell you more about it, as will the critics’ reviews (link in next line).

Some reviews:  (Read other critics’ reviews at Rotten Tomatoes.)

Film critics warned that conservatives might bridle at these human portraits, but reviews after the festival’s screening were strong.

“The absence of absolutes is what’s most enriching,” The Guardian stated, adding, “This is a movie for intelligent people looking to have their preconceived notions challenged.” Variety wrote: The film “feels like a miracle and an interrogative act of defiance.”

. . .Lawrence Wright wrote the Pulitzer Prize-winning book “The Looming Tower: Al-Qaeda and the Road to 9/11” and spent much time in Saudi Arabia. He saw the documentary.

“As a reporter, you acknowledge the constraints on prisoners, and Smaker could have acknowledged it with more emphasis,” he said. “But she was exploring a great mystery — understanding those who may have done something appalling — and this does not discredit that effort.”

To gain intimate access, he added, was a coup.

I loved Wright’s book, and I wonder why he wasn’t criticized about writing the history of the background to Al-Quaeda, beginning with the foundation of the Muslim Brotherhood. Shouldn’t Wright be criticized for portraying some Muslims as terrorists? How can a white man even tackle this subject? I needn’t respond: the answer lies in the nature of art itself.

One more, which you should consider when reading the critics below:

“What I admired about ‘Jihad Rehab’ is that it allowed a viewer to make their own decisions,” said Chris Metzler, who helps select films for San Francisco Documentary Festival. “I was not watching a piece of propaganda.”

. . . Lorraine Ali, a television critic for The Los Angeles Times who is Muslim, wrote that the film was “a humanizing journey through a complex emotional process of self-reckoning and accountability, and a look at the devastating fallout of flawed U.S. and Saudi policy.”

She is dismayed with Sundance.

There are a few negative reviews too, which you can see on the Rotten Tomatoes site, but the public criticism came largely from people who hadn’t even seen the movie. It was performative outrage:

The backlash:

But attacks would come from the left, not the right. Arab and Muslim filmmakers and their white supporters accused Ms. Smaker of Islamophobia and American propaganda. Some suggested her race was disqualifying, a white woman who presumed to tell the story of Arab men.

Sundance leaders reversed themselves and apologized.

. . . Many Arab and Muslim filmmakers — who like others in the industry struggle for money and recognition — denounced “Jihad Rehab” as offering an all too familiar take. They say Ms. Smaker is the latest white documentarian to tell the story of Muslims through a lens of the war on terror. These documentary makers, they say, take their white, Western gaze and claim to film victims with empathy.

Assia Boundaoui, a filmmaker, critiqued it for Documentary magazine.

“To see my language and the homelands of folks in my community used as backdrops for white savior tendencies is nauseating,” she wrote. “The talk is all empathy, but the energy is Indiana Jones.”

She called on festivals to allow Muslims to create “films that concern themselves not with war, but with life.”

Do you really care what color is Ms. Smaker’s epidermis given that the film portrays the four subjects talking and answering questions?  And seriously, “white savior tendencies”? In what sense is Smaker a “savior”? (Some say that interviewing anybody in a prison invalidates the film.) The response is in the piece:

“An entirely white team behind a film about Yemeni and South Arabian men,” the filmmaker Violeta Ayala wrote in a tweet.

Ms. Smaker’s film had a Yemeni-American executive producer and a Saudi co-producer.

There’s more, but this will suffice (my emphasis)

More than 230 filmmakers signed a letter denouncing the documentary. A majority had not seen it. The letter noted that over 20 years, Sundance had programmed 76 films about Muslims and the Middle East, but only 35 percent of them had been directed by Muslim or Arab filmmakers.

A parallel: most of those who rioted when Salman Rusdie published The Satanic Verses hadn’t read the book, either. You don’t go rioting, cancelling, or killing over a book or movie or film that you haven’t read or seen. When people do so, it’s clear that the offense is performative. Just read the letter from Abigail Disney!

Smaker’s cancellation: 

First, from Sundance:

Sundance officials backtracked. Tabitha Jackson, then the director of the festival, demanded to see consent forms from the detainees and Ms. Smaker’s plan to protect them once the film debuted, according to an email shown to The Times. Ms. Jackson also required an ethics review of the plans and gave Ms. Smaker four days to comply. Efforts to reach Ms. Jackson were unsuccessful.

The review concluded Ms. Smaker more than met standards of safety.

Ms. Smaker said a public relations firm recommended that she apologize. “What was I apologizing for?” she said. “For trusting my audience to make up their own mind?”

And then the inevitable:

Ms. Smaker’s film has become near untouchable, unable to reach audiences. Prominent festivals rescinded invitations, and critics in the documentary world took to social media and pressured investors, advisers and even her friends to withdraw names from the credits. She is close to broke.

“In my naïveté, I kept thinking people would get the anger out of their system and realize this film was not what they said,” Ms. Smaker said. “I’m trying to tell an authentic story that a lot of Americans might not have heard.”

. . .Ms. Disney, the former champion, wrote, “I failed, failed and absolutely failed to understand just how exhausted by and disgusted with the perpetual representation of Muslim men and women as terrorists or former terrorists or potential terrorists the Muslim people are.”

Her apology and that of Sundance shook the industry. The South by Southwest and San Francisco festivals rescinded invitations.

Jihad Turk, former imam of Los Angeles’s largest mosque, was baffled. In December, his friend Tim Disney — brother of Abigail — invited him to a screening.

“My first instinct,” he said, “was ‘Oh, not another film on jihad and Islam.’ Then I watched and it was introspective and intelligent. My hope is that there is a courageous outlet that is not intimidated by activists and their too narrow views.”
Jihad Turk (what a name!) is a brave man!

Finally,

Ms. Smaker has maxed out credit cards and, at age 42, borrowed money from her parents. This is not the Sundance debut of her dreams. “I don’t have the money or influence to fight this out,” she said, running hands back through her hair. “I’m not sure I see a way out.”

The Upshot

Yes, she was canceled to the point where, despite her clear abilities and talents, she can’t find work. Canceled by people who hadn’t seen her film. Canceled by a public who, in their zeal to appear ideologically correct, hurled accusations of “Islamophobia” and “white saviorism” without good reasons. Canceled by a gutless Abigail Disney, whose letter I can’t even bear to quote.You must read it, however: it sounds like one of those signs that the Ideologically Impure had to wear around their necks during China’s Cultural Revolution while wearing paper dunce hats. I don’t know how to help Ms. Smaker, but I suppose I should start by seeing the movie. One could write to Sundance, but that would probably be useless.

Stuff like this pours into my email inbox every day—so much of it that I can write about only a small fraction of what people tell me. And much of the stuff involves the kind of performative activism evinced by Sundance and the critics of Ms. Smaker.

Yes, the termites have dined well—so well that they’ve undermined the foundations of art, of literature, and of scholarship itself. In the end, we’ll be done in by tribalism and cowardice—exactly what happened in Nineteen Eighty-Four. Like China, and with many parallels, we’re having our own Cultural Revolution.