New Atheism should be able to criticise Islam without being accused of Islamophobia

The atheist community is right to pursue rational, civilised debate, and should be able to do so without being tarred as bigots.

For a community that is often portrayed as aggressive and pugitive, New Atheism has recently been on the backfoot, defending itself from claims dreamt up by those who should – and, surely, in many cases do – know better.

This time round, the scientific and intellectual elite of Sam Harris, Richard Dawkins and the late Christopher Hitchens have found themselves accused of Islamophobia. The whole sorry saga was conveniently summarised in last Friday’s Independent. In short, recent pieces at salon.com and on Al Jazeera’s website have argued, in the words of columnist Murtaza Hussain, that the likes of these prominent atheists are giving a veneer of scientific respectability to today’s Islamophobic bigotry.

Sam Harris is accused of advocating pre-emptive nuclear strikes on Muslims and the profiling of those who merely look like Muslims. Richard Dawkins has come under attack from calling Islam “the greatest force for evil today” and the late Christopher Hitchens has been described as having a bloodlust towards Muslims.

But, sadly, nuance and allegations of bigotry make strange bedfellows. Take Sam Harris. His 2003 book End of Faith catalogues the Qur’an’s long list of orders to murder and exhortations to avenge. He imagines a radical Islamist state acquiring long range nuclear weaponry, thus able to vent its rage against the west. Add in the possibility that it’s headed by an avowedly suicidal regime and nuclear deterrence becomes a worthless currency. Harris anticipates the possibility that in that situation the US may find itself having to press the button first. But it’s a scenario he hardly welcomes.

Surely, rational discourse should be permitted to tiptoe cautiously along the hallowed corridors of the house of Islam without the guards frogmarching it out, bellowing allegations of racism and bigotry. Cannot we not agree that the real issue is whether the critiques of Islam proffered by today’s prominent atheists are correct? For instance, does Islam fall short when it comes to women’s rights? Does it trample free speech while enforcing its own precepts, by the sword if necessary? By all means, apologists may disagree with the likes of Harris and biologist Jerry Coyne. But what signal is sent by a refusal to permit the issues to be even debated?

One can dream up allegations about any religion that are so obscene that no beliver should be expected to respond. But take the suggestion that Islam has some way to go before it promotes gay rights beyond the level of a misnomer. Or that its holy book, taken literally, demands an embrace of violence and reprisals that wouldn’t be tolerated by any humanist ethos.

These allegations, on their face, are wholly consistent with observation. What’s more, its tenets and precepts have real consequences and repercussions for all of us. What is it that leads apologists and liberal writers to nevertheless consider that Islam shouldn’t have to answer these charges, and that those who bring them are merely dressing their bigotry in a cloak of intellectualism? Biologist Jerry Coyne puts it this way:

“Critics of the New Atheists are free to take issue with their tone, but to dismiss them without addressing the substance of their arguments constitutes an implicit admission that they just might have a point.” You can see his point. Plenty of Catholics, Jehovah’s Witnesses and Anglicans surely feel aggrieved when their god is put under the microscope and found to be the product of unintelligent design. They challenge both what is said and, increasingly these days, the way it’s said. But they hardly consider that their faith is immune from suitable criticism. For Islam to claim special treatment is to imply that it’s unable to withstand such analysis.

We are used to seeing Muslim spokespersons choosing the aftermath of a terrorist attack carried out in the Prophet’s name to practise mealy-mouthed equivocation at the price of heartfelt sympathy. Then again, many moderate Muslims are at the front of the queue deploring much that is done in the name of their faith.

We are under no compunction to pretend that the terrorist doesn’t exist any more than to deny the abundance of moderate Muslims. But the atheist community will not be bullied by lazy allegations of bigotry leveled against those who point that a religion that harbours such extremes has some explaining to do. Nor, thankfully, is Sam Harris. Within the last few days he has defended himself, explaining that religions that pose the greatest threat deserve to be analysed more carefully than others.

Of course, part of the difficulty here is a definitional one. Islam isn’t a race, so to accuse its detractors of racism should appeal to no-one bar those in need of an cheap jibe. Indeed, today’s New Atheism is no less critical of white Muslim converts than their Middle Eastern brethren.

And to resort to the tag “Islamophobia” is justified only if you adapt a bizarre definition of the word that is satisfied merely if the religion is held up to scrutiny, rather than its people being held up to prejudice.

But perhaps there’s another word for what today’s New Atheists have been saying. Maybe they’re just plain wrong.

Maybe.

But until civilised debate is permitted, perhaps we’ll never know.

 

Author Sam Harris, whose work is central to the Islamophobia allegations.
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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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