Christopher Hitchens on Salman Rushdie, The Satanic Verses and media self-censorship:
I nonetheless maintain that language and not politics was the crucial question here. Salman Rushdie, raised a Muslim, concluded that the Koran was a book made by the hands of men and was thus a fit subject for literary criticism and fictional borrowing. (Almost every historic battle for free expression, from Socrates to Galileo, has begun as a struggle over what is and is not “blasphemy.”) In contrast, the very definition of a “fundamentalist” is someone who believes that “holy writ” is instead the fixed and unalterable word of god. For our time and generation, the great conflict between the ironic mind and the literal mind, the experimental and the dogmatic, the tolerant and the fanatical, is the argument that was kindled by The Satanic Verses.
[…] So there is now a hidden partner in our cultural and academic and publishing and broadcasting world: a shadowy figure that has, uninvited, drawn up a chair to the table. He never speaks. He doesn’t have to. But he is very well understood. The late playwright Simon Gray was alluding to him when he said that Nicholas Hytner, the head of London’s National Theatre, might put on a play mocking Christianity but never one that questioned Islam. I brushed up against the unacknowledged censor myself when I went on CNN to defend the Danish cartoons and found that, though the network would show the relevant page of the newspaper, it had pixelated the cartoons themselves. And this in an age when the image is everything. The lady anchor did not blush to tell me that the network was obliterating its very stock-in-trade (newsworthy pictures) out of sheer fear.
Continue reading in Vanity Fair. And read here & there posts on the recent controversy surrounding the publication of The Jewel of Medina here, here and here.