By Christopher B. Daly
Like many other people, I adopted the political slogan “Je suis Charlie” last week. As with any slogan, it is a statement that is not valuable for its literal truth. It is valuable for its political message. It says that in a conflict between murderous doctrinaire literalists and peaceful free-thinking artists, I’m always going to be on the side of the artists. Of course, as a slogan, the statement “Je suis Charlie” also flattens the issue and robs it of much of its nuance. That’s too bad, but in a political crisis, some things do have to wait. Last week, the paramount issue was to defend freedom of speech, thought, and expression.
That’s why it was so disappointing that no high-ranking leader of the United States (the country that invented constitutional guarantees of free speech and press) managed to get to Paris to take part in the giant demonstration over the weekend. Shame on us. (This just in: Obama now gets why this was such a mistake. He could have at least dispatched that great avatar of press freedom Eric Holder to the march, since Holder happened to be in France anyway. Sheesh!)
In related news, “Mr. Natural” himself — pioneering underground cartoonist R. Crumb, who has lived in France for a couple of decades — holds forth on the politics of cartooning in an interview with the Observer. Unlike most people, Crumb actually knows what he’s talking about here.
Plus, there’s this. Just when you thinks can’t get any crazier, here is an example of the Saudi attitude toward free expression. A thousand lashes! Read this New Yorker piece and ask why we not only tolerate but actually support that government.
Elsewhere . . .
New York Times media columnist and BU Prof. David Carr has two items of interest to readers of this blog.
In his column today, he reports on his recent trip to CES in LV. My favorite line:
Think about it: What better place to explore the world of virtual reality than Vegas, a place where both Venice and New York are rendered as casinos?
And here’s the syllabus for Carr’s spring course at BU on media criticism. Sorry, but I think it’s too late to sign up.
Also worth reading, NYT Public Editor Margaret Sullivan on the decision all media faced last week about whether to re-print the offending cartoons.
And on a lighter note, an embarrassing screw-up at the Times last week resulted in the brief birth of a new nation: Kyrzbekistan (which perhaps ought to exist)
Favorite new flavor: The Ira Glass audio story-telling complex has just launched another subsidiary. The newest part of This American Life is a venture called “Invisibilia” — which just has to be heard to be believed. The first two shows blew me away this weekend: one about a blind guy who taught himself to echolocate (like a bat, a dolphin, or a sperm whale) and the other about the power and consequences of our own dark thoughts. Superb storytelling.
Closer to home:
The Boston Globe has re-invented its soft-news/arts section yet again. Gone is “g” — the daily tabloid insert. In its place is a free-standing regular section with different themes on different days. Enh. The print edition looks pretty dreary (because it’s printed), but the online version looks a bit snappier. Much will depend, of course, on how worthwhile the content is. Here’s the editor’s note from Brian McGrory.
And in other local developments, a hat-tip to Adam Reilly, the new regular news anchor on the evening news program produced by PBS affiliate WGBH in Boston. Reilly brings a welcome measure of intelligence, curiosity, and gravitas to a job that really screams for it. His resume includes a degree from Carleton College and one from the Harvard Divinity (!) School, as well as reporting stints at the late Boston Phoenix and WGBH radio and TV.
Keep up the good work!