Author: Ophelia Benson

Johann Hari talks to the stand-up comic Shazia Mirza.

Shazia used to be a teacher in Tower Hamlets, where I live, and she would see Muslim girls rebelling against the chafing medieval codes of their fathers every day…Come 3.30 they put the hijab back on and they’re carted off to the mosque to rote-learn the Koran for three hours. They would come in the next day exhausted, having not done their homework, and they would say, ‘My parents say the Koran comes before homework.’” Shazia understands this better than most: her parents are, she says, “fanatics.” She was forbidden to leave the house throughout her teenage years except to go to school. “I’m a woman, and I couldn’t stand the repression. I wanted to go swimming, do ballet, ride horses, tell jokes. I was allowed to do all those things until I went through puberty and then it was all taken away from me, and I couldn’t stand it. I looked at the beautiful, intelligent women like my mother and my aunties who were basically turned into prisoners in their own homes, and I thought – I can’t live that life.” Her mother had been a university lecturer until, at the age of 22, she was married off and turned into a housebound baby-machine.

No comment necessary.

Eric Alterman looks at what happens when people don’t think truth matters.

It’s a truism that once an accusation is leveled, it’s impossible to erase entirely from the public memory. This is doubly true when it comes to the deceased, and doubly dangerous in our political world, in which debate is driven by cable news networks that show little interest in quaint questions involving what’s actually true…Given the fact that most casual news consumers cannot be expected to sift through competing claims of evidence and the like, the media’s disregard for traditional standards of verification is one of the right wing’s most potent weapons.

Alterman cites a story (originally based on a mistake) that I F Stone was a Soviet spy, and the fact that it keeps being trotted out despite the lack of any evidence to support it.

Stone died in 1989 at age 81, but the smear never has. The leaders of this campaign have been the professionally paranoid red-hunter Herbert Romerstein, the comically misnamed “Accuracy in Media,” wind-up shrieking doll Ann Coulter and, most tellingly, Robert Novak…Novak has been peddling the phony Stone story for more than a decade now. When I appeared on CNN’s Crossfire with him fourteen years ago, he raised it in order to smear my work and my reputation (Stone was my friend and journalistic mentor during his last decade). Following the show, I wrote a letter to then-CNN president Tom Johnson asking for the record to be corrected but received no response. I’ve tried a few more times to force the issue with Novak, but he has run away from every appearance. And the slander continues. When John Edwards spoke of Stone’s Trial of Socrates during the 2004 presidential campaign, Novak fulminated on CNN that this was an outrage, as “Stone received secret payments from the Kremlin.” Again, CNN did not bother with a rebuttal, much less a correction.

Which is bad, because it ought to be an important part of CNN’s job not to get things wrong. It’s bad that the CNN president didn’t even answer Alterman. It’s bad that PBS has yet to respond to Allen Esterson’s complaint ‘complaint about the numerous errors and misconceptions that permeate the PBS Einstein’s Wife website material and associated Lesson Plans.’

False information circulating and the gatekeepers refusing to do anything about it; bad, bad, very bad.

Further update on Birmingham museum story. A commenter pointed out the statement by Artists Circle. It seems fairly reasonable, actually. Debatable, but reasonable – not a mere taboo-invocation or shut up woman incident.

The individual was concerned by an image entitled: ‘Waiting’ which showed a couple of male bystanders looking at a partially dressed woman lying on the ground. The information available regarding the picture read along the lines of ‘This photograph was taken at the bus point.’ There was no other contextual information accompanying the photograph[,] which caused further concern.

The museum also mentioned the lack of contextual information in its email to Andy Gilmour. Miah said in the Guardian article, however:

The partially dressed figure in the image was actually a mentally ill woman who had made a home of a bus shelter. She was looked after by locals who made sure she was out of danger and fed. I think this shows a compassionate view of Islamic society.

But without contextual information (which the museum says Miah specifically did not want included), viewers have no way to know that the woman was mentally ill or that she was looked after by locals who made sure she was out of danger and fed, so they are not in a position to tell whether or not it’s a compassionate view of Islamic society. It could, from the description, look like the exact opposite. Pictures very often require background knowledge in order to understand their meaning, even their basic content (are those people playing? fighting? performing?). I pointed that out once in a discussion of pictures and language, and an opponent (so to speak) said nonsense and cited the famous picture of the children running down a road after a napalm attack during the Vietnam war. But of course that makes my point, not the opponent’s; he’d simply forgotten (apparently) that we already know what the picture is about, we have the background knowledge, but if we didn’t, we would have no idea what was going on in that picture except that the children were in anguish and probably fleeing.

Pictures can be enigmatic, of course; there’s no law that says they all have to be put in context; but it’s not self-evidently absurd to want a context for certain pictures in particular exhibitions. And in any case, if Miah’s argument is the one quoted, it’s not compatible with refusing to supply a context. She’s offering a substantive claim about the meaning of the picture, while at the same time making sure viewers won’t be able to discern that meaning. Those two things don’t mesh very well.

Andy has emailed Miah, and the museum again; it will be interesting to learn what, if anything, they say.

Update of update: the photograph in question and more discussion here; thanks to Don.

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Dan at Muscular Liberals cites Why Truth.

Considering the response of some to what can only only be described as Hezbollah propaganda dressed up as reporting called to mind a passage in Ophelia Benson and Jeremy Stangroom’s “Why Truth Matters”, a great book I read whilst on my travels a couple of weeks ago.

Well – that’s pleasing, because I suppose that was the idea. That generally is the idea in books of the ‘let’s all try to think just a little bit carefully’ variety: the hope is that things will link up that way, so that the abundant examples of propaganda dressed up as reporting the world is blessed with will seem not like bizarre one-offs but like examples of a nameable phenomenon such as propaganda dressed up as reporting. Sometimes patterns are illusory but other times they’re very useful; sometimes connections are merely paranoiac imaginings but other times they make sense of apparently random mistakes.

This is the passage he quotes (emphasis his):

There is a frivolity, a lack of responsibility, an indifference to canons of coherence, logic, rationality and relevance – which are reminiscent not of the Left or progressivism, but, as Richard Wolin argues, of counter-Enlightenment and reaction.

That is not an accidental association, it is what counter-Enlightenment and reaction are all about: the rejection of reason, enquiry, logic and evidence, in favour of tradition, religion, instinct, blood and soil, The Nation, The Fatherland. That is the sort of thing that remains standing once canons of coherence and relevance are stripped away. The Left is not well-advised to discredit or undermine reason and respect for truth, because those are ultimately the only tools the Left has against the irrationalist appeals of the Right.

Well, thanks, Dan. I quite like that passage myself.

And it’s pleasantly revelvant to the running argument over cultural relativism and rational argument that’s been going on here lately.

Another museum caves.

A Bangladeshi-British photographer is complaining that her work has been censored by the Birmingham Museum and Art Gallery. A documentary work made in Bangladesh by Syra Miah and shown as part of the museum’s Art and Islam exhibitions was removed because it contained an image of a semi-naked woman.

Update: See these comments at Mediawatchwatch for more. A reader wrote to the museum, and the museum replied with a different take. It explains the decision, which sounds less loopy than the Guardian account did, and adds “The gallery discussed the matter with Syra Miah, and the photograph was
removed on 18 July with her full agreement. Our understanding following
these discussions was that Syra Miah said that she understood the reasons
for the removal and accepted the decision. Birmingham Museum & Art Gallery
had not heard from the artist about this matter since the time the work was
removed 7 weeks ago in July.”

I had amused myself composing a good old fulimination, but since it may have been inaccurate and hence unfair, I snarled gently and then decided that truth matters, so it’s gone.

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