IDEAS HAVE CONSEQUENCES:

The satire that Charlie Hebdo exemplified was more blasphemous than political, and its roots lie deep in European history, dating from a time when in order to challenge authority, one had to confront divinity itself. In that one respect, the fanatics are not wrong: Charlie Hebdo was out to undermine the sacred as such. 

In the wake of the tragedy, many publications across the West have rushed to print reproductions of Charlie Hebdo covers as proof that terrorist violence cannot dampen free expression. Such homage to the magazine in its agony is in one sense fitting and proper, but in another sense it is the precise opposite of what the living Charlie was about.

Reproducing the imagery created by the murdered artists tends to sacralize them as embodiments of some abstract ideal of free speech. But many of the publications that today honor the dead as martyrs would yesterday have rejected their work as tasteless and obscene, as indeed it often was.

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