What’s the difference between Palin and Muslim fundamentalists? Lipstick

A theocrat is a theocrat, whether Muslim or Christian.

Topics: 2008 Elections, Abortion, Sarah Palin

What's the difference between Palin and Muslim fundamentalists? Lipstick

John McCain announced that he was running for president to confront the “transcendent challenge” of the 21st century, “radical Islamic extremism,” contrasting it with “stability, tolerance and democracy.” But the values of his handpicked running mate, Sarah Palin, more resemble those of Muslim fundamentalists than they do those of the Founding Fathers. On censorship, the teaching of creationism in schools, reproductive rights, attributing government policy to God’s will and climate change, Palin agrees with Hamas and Saudi Arabia rather than supporting tolerance and democratic precepts. What is the difference between Palin and a Muslim fundamentalist? Lipstick.

McCain pledged to work for peace based on “the transformative ideals on which we were founded.” Tolerance and democracy require freedom of speech and the press, but while mayor of Wasilla, Alaska, Palin inquired of the local librarian how to go about banning books that some of her constituents thought contained inappropriate language. She tried to fire the librarian for defying her. Book banning is common to fundamentalisms around the world, and the mind-set Palin displayed did not differ from that of the Hamas minister of education in the Palestinian government who banned a book of Palestinian folk tales for its sexually explicit language. In contrast, Thomas Jefferson wrote, “Our liberty cannot be guarded but by the freedom of the press, nor that be limited without danger of losing it.”



Palin argued when running for governor that creationism should be taught in public schools, at taxpayers’ expense, alongside real science. Antipathy to Darwin for providing an alternative to the creation stories of the Bible and the Quran has also become a feature of Muslim fundamentalism. Saudi Arabia prohibits the study, even in universities, of evolution, Freud and Marx. Malaysia has banned a translation of “The Origin of the Species.” Likewise, fundamentalists in Turkey have pressured the government to teach creationism in the public schools. McCain has praised Turkey as an anchor of democracy in the region, but Turkey’s secular traditions are under severe pressure from fundamentalists in that country. McCain does them no favors by choosing a running mate who wishes to destroy the First Amendment’s establishment clause, which forbids the state to give official support to any particular theology. Turkish religious activists would thereby be enabled to cite an American precedent for their own quest to put religion back at the center of Ankara’s public and foreign policies.

The GOP vice-presidential pick holds that abortion should be illegal, even in cases of rape, incest or severe birth defects, making an exception only if the life of the mother is in danger. She calls abortion an “atrocity” and pledges to reshape the judiciary to fight it. Ironically, Palin’s views on the matter are to the right of those in the Muslim country of Tunisia, which allows abortion in the first trimester for a wide range of reasons. Classical Muslim jurisprudents differed among one another on the issue of abortion, but many permitted it before the “quickening” of the fetus, i.e. until the end of the fourth month. Contemporary Muslim fundamentalists, however, generally oppose abortion.

Palin’s stance is even stricter than that of the Parliament of the Islamic Republic of Iran. In 2005, the legislature in Tehran attempted to amend the country’s antiabortion statute to permit an abortion up to four months in case of a birth defect. The conservative clerical Guardianship Council, which functions as a sort of theocratic senate, however, rejected the change. Iran’s law on abortion is therefore virtually identical to the one that Palin would like to see imposed on American women, and the rationale in both cases is the same, a literalist religious impulse that resists any compromise with the realities of biology and of women’s lives. Saudi Arabia’s restrictive law on abortion likewise disallows it in the case or rape or incest, or of fetal impairment, which is also Gov. Palin’s position.

Theocrats confuse God’s will with their own mortal policies. Just as Muslim fundamentalists believe that God has given them the vast oil and gas resources in their regions, so Palin asks church workers in Alaska to pray for a $30 billion pipeline in the state because “God’s will has to get done.” Likewise, Palin maintained that her task as governor would be impeded “if the people of Alaska’s heart isn’t right with God.” Supreme Leader Ali Khamenei of Iran expresses much the same sentiment when he says “the only way to attain prosperity and progress is to rely on Islam.”

Not only does Palin not believe global warming is “man-made,” she favors massive new drilling to spew more carbon into the atmosphere. Both as a fatalist who has surrendered to God’s inscrutable will and as a politician from an oil-rich region, she thereby echoes Saudi Arabia. Riyadh has been found to have exercised inappropriate influence in watering down a report in 2007 of the Intergovernmental Panel on Climate Change.

Neither Christians nor Muslims necessarily share the beliefs detailed above. Many believers in both traditions uphold freedom of speech and the press. Indeed, in a recent poll, over 90 percent of Egyptians and Iranians said that they would build freedom of expression into any constitution they designed. Many believers find ways of reconciling the scientific theory of evolution with faith in God, not finding it necessary to believe that the world was created suddenly only 6,000 ago. Some medieval Muslim thinkers asserted that the world had existed from eternity, and others spoke of cycles of hundreds of thousands or millions of years. Mystical Muslim poets spoke of humankind traversing the stages of mineral, plant and animal. Modern Islamic fundamentalists have attempted to narrow this great, diverse tradition.

The classical Islamic legal tradition generally permitted, while frowning on, contraception and abortion, and complete opposition to them is mostly a feature of modern fundamentalist thinking. Many believers in both Islam and Christianity would see it as hubris to tie God to specific government policies or to a particular political party. As for global warming, green theology, in which Christians and Muslims appeal to Scripture in fighting global warming, is an increasing tendency in both traditions.

Palin has a right to her religious beliefs, as do fundamentalist Muslims who agree with her on so many issues of social policy. None of them has a right, however, to impose their beliefs on others by capturing and deploying the executive power of the state. The most noxious belief that Palin shares with Muslim fundamentalists is her conviction that faith is not a private affair of individuals but rather a moral imperative that believers should import into statecraft wherever they have the opportunity to do so. That is the point of her pledge to shape the judiciary. Such a theocratic impulse is incompatible with the Founding Fathers’ commitment to tolerance and democracy, which is why they forbade the government to “establish” or officially support any particular religion or denomination.

McCain once excoriated the Rev. Jerry Falwell and his ilk as “agents of intolerance.” That he took such a position gave his opposition to similar intolerance in Islam credibility. In light of his more recent disgraceful kowtowing to the Christian right, McCain’s animus against fundamentalist Muslims no longer looks consistent. It looks bigoted and invidious. You can’t say you are waging a war on religious extremism if you are trying to put a religious extremist a heartbeat away from the presidency.

Salon contributor Juan Cole is a professor of modern Middle Eastern and South Asian history at the University of Michigan and the author of "Engaging the Muslim World."

Featured Slide Shows

  • Share on Twitter
  • Share on Facebook
  • 1 of 11
  • Close
  • Fullscreen
  • Thumbnails

    Ten spectacular graphic novels from 2014

    Beautiful Darkness by Fabien Vehlmann & Kerascoët
    Kerascoët's lovely, delicate pen-and-watercolor art -- all intricate botanicals, big eyes and flowing hair -- gives this fairy story a deceptively pretty finish. You find out quickly, however, that these are the heartless and heedless fairies of folk legend, not the sentimental sprites beloved by the Victorians and Disney fans. A host of tiny hominid creatures must learn to survive in the forest after fleeing their former home -- a little girl who lies dead in the woods. The main character, Aurora, tries to organize the group into a community, but most of her cohort is too capricious, lazy and selfish to participate for long. There's no real moral to this story, which is refreshing in itself, beyond the perpetual lessons that life is hard and you have to be careful whom you trust. Never has ugly truth been given a prettier face.

    Ten spectacular graphic novels from 2014

    Climate Changed: A Personal Journey Through the Science by Philippe Squarzoni
    Squarzoni is a French cartoonist who makes nonfiction graphic novels about contemporary issues and politics. While finishing up a book about France under Jacques Chirac, he realized that when it came to environmental policy, he didn't know what he was talking about. "Climate Changed" is the result of his efforts to understand what has been happening to the planet, a striking combination of memoir and data that ruminates on a notoriously elusive, difficult and even imponderable subject. Panels of talking heads dispensing information (or Squarzoni discussing the issues with his partner) are juxtaposed with detailed and meticulous yet lyrical scenes from the author's childhood, the countryside where he takes a holiday and a visit to New York. He uses his own unreachable past as a way to grasp the imminent transformation of the Earth. The result is both enlightening and unexpectedly moving.

    Ten spectacular graphic novels from 2014

    Here by Richard McGuire
    A six-page version of this innovative work by a regular contributor to the New Yorker first appeared in RAW magazine 25 years ago. Each two-page spread depicts a single place, sometimes occupied by a corner of a room, over the course of 4 billion years. The oldest image is a blur of pink and purple gases; others depict hazmat-suited explorers from 300 years in the future. Inset images show the changing decor and inhabitants of the house throughout its existence: family photos, quarrels, kids in Halloween costumes, a woman reading a book, a cat walking across the floor. The cumulative effect is serene and ravishing, an intimation of the immensity of time and the wonder embodied in the humblest things.

    Ten spectacular graphic novels from 2014

    Kill My Mother by Jules Feiffer
    The legendary Pulitzer Prize-winning cartoonist delivers his debut graphic novel at 85, a deliriously over-the-top blend of classic movie noir and melodrama that roams from chiaroscuro Bay City to Hollywood to a USO gig in the Pacific theater of World War II. There's a burnt-out drunk of a private eye, but the story is soon commandeered by a multigenerational collection of ferocious women, including a mysterious chanteuse who never speaks, a radio comedy writer who makes a childhood friend the butt of a hit series and a ruthless dame intent on making her whiny coward of a husband into a star. There are disguises, musical numbers and plenty of gunfights, but the drawing is the main attraction. Nobody convey's bodies in motion more thrillingly than Feiffer, whether they're dancing, running or duking it out. The kid has promise.

    Ten spectacular graphic novels from 2014

    The Motherless Oven by Rob Davis
    This is a weird one, but in the nervy surreal way that word-playful novels like "A Clockwork Orange" or "Ulysses" are weird. The main character, a teenage schoolboy named Scarper Lee, lives in a world where it rains knives and people make their own parents, contraptions that can be anything from a tiny figurine stashable in a pocket to biomorphic boiler-like entities that seem to have escaped from Dr. Seuss' nightmares. Their homes are crammed with gadgets they call gods and instead of TV they watch a hulu-hoop-size wheel of repeating images that changes with the day of the week. They also know their own "death day," and Scarper's is coming up fast. Maybe that's why he runs off with the new girl at school, a real troublemaker, and the obscurely dysfunctional Castro, whose mother is a cageful of talking parakeets. A solid towline of teenage angst holds this manically inventive vision together, and proves that some graphic novels can rival the text-only kind at their own game.

    Ten spectacular graphic novels from 2014

    NOBROW 9: It's Oh So Quiet
    For each issue, the anthology magazine put out by this adventurous U.K.-based publisher of independent graphic design, illustration and comics gives 45 artists a four-color palette and a theme. In the ninth issue, the theme is silence, and the results are magnificent and full of surprises. The comics, each told in images only, range from atmospheric to trippy to jokey to melancholy to epic to creepy. But the two-page illustrations are even more powerful, even if it's not always easy to see how they pertain to the overall concept of silence. Well, except perhaps for the fact that so many of them left me utterly dumbstruck with visual delight.

    Ten spectacular graphic novels from 2014

    Over Easy by Mimi Pond
    When Pond was a broke art student in the 1970s, she took a job at a neighborhood breakfast spot in Oakland, a place with good food, splendid coffee and an endlessly entertaining crew of short-order cooks, waitresses, dishwashers and regular customers. This graphic memoir, influenced by the work of Pond's friend, Alison Bechdel, captures the funky ethos of the time, when hippies, punks and disco aficionados mingled in a Bay Area at the height of its eccentricity. The staff of the Imperial Cafe were forever swapping wisecracks and hopping in and out of each other's beds, which makes them more or less like every restaurant team in history. There's an intoxicating esprit de corps to a well-run everyday joint like the Imperial Cafe, and never has the delight in being part of it been more winningly portrayed.

    Ten spectacular graphic novels from 2014

    The Shadow Hero by Gene Luen Yang and Sonny Liew
    You don't have to be a superhero fan to be utterly charmed by Yang and Liew's revival of a little-known character created in the 1940s by the cartoonist Chu Hing. This version of the Green Turtle, however, is rich in characterization, comedy and luscious period detail from the Chinatown of "San Incendio" (a ringer for San Francisco). Hank, son of a mild-mannered grocer, would like to follow in his father's footsteps, but his restless mother (the book's best character and drawn with masterful nuance by Liew) has other ideas after her thrilling encounter with a superhero. Yang's story effortlessly folds pathos into humor without stooping to either slapstick or cheap "darkness." This is that rare tribute that far surpasses the thing it celebrates.

    Ten spectacular graphic novels from 2014

    Shoplifter by Michael Cho
    Corinna Park, former English major, works, unhappily, in a Toronto advertising agency. When the dissatisfaction of the past five years begins to oppress her, she lets off steam by pilfering magazines from a local convenience store. Cho's moody character study is as much about city life as it is about Corinna. He depicts her falling asleep in front of the TV in her condo, brooding on the subway, roaming the crowded streets after a budding romance goes awry. Like a great short story, this is a simple tale of a young woman figuring out how to get her life back, but if feels as if it contains so much of contemporary existence -- its comforts, its loneliness, its self-deceptions -- suspended in wintery amber.

    Ten spectacular graphic novels from 2014

    Through the Woods by Emily Carroll
    This collection of archetypal horror, fairy and ghost stories, all about young girls, comes lushly decked in Carroll's inky black, snowy white and blood-scarlet art. A young bride hears her predecessor's bones singing from under the floorboards, two friends make the mistake of pretending to summon the spirits of the dead, a family of orphaned siblings disappears one by one into the winter nights. Carroll's color-saturated images can be jagged, ornate and gruesome, but she also knows how to chill with absence, shadows and a single staring eye. Literary readers who cherish the work of Kelly Link or the late Angela Carter's collection, "The Bloody Chamber," will adore the violent beauty on these pages.

  • Recent Slide Shows

Comments

0 Comments

Comment Preview

Your name will appear as username ( settings | log out )

You may use these HTML tags and attributes: <a href=""> <b> <em> <strong> <i> <blockquote>