Crazy, blood-curdling, infidel-hating, bearded dudes are clearly very funny, as anyone who has watched the film “Four Lions” knows. Released in 2010, Chris Morris’ dark satire follows five wannabe jihadists on their quest to strike a blow against the unbelievers of Britain. In the tradition of Chaplin sending up Hitler, Morris portrays these characters as more clueless idiots than fearsome fanatics, more morons than masterminds.
In his edited collection on “suicide missions,” the sociologist Diego Gambetta described his childhood admiration for Pietro Micca, a solider in the artillery regiment of the Duke of Savoy in what is now northern Italy.
“In 1706, as the French were besieging Turin,” Gambetta wrote, Micca “realized that a party of the besiegers had succeeded in penetrating the network of tunnels that were part of the city citadel, and would have no doubt been able to take it.”
Tuesday's terrorist attacks in Brussels raise two key questions: Were they related to Salah Abdeslam's arrest last week and, if so, how? It seems unlikely that the attacks were revenge for the capture of Abdeslam, the top suspect in last year's Paris attacks, because not only was he a relative nonentity in Islamic State circles but also a symbolic liability to the brand: Here is a man who reportedly walked away from a martyrdom operation, leaving his colleagues to do all the dirty work, so to speak. In other words, he isn't someone whom any other militant is likely to have sacrificed himself for. In fact, it is probable that, after Abdeslam's arrest, he would have been regarded as a threat to the wider network of terrorists in Belgium.
Flemming Rose is a marked man. To his liberal-left detractors, he is a bigoted Islamophobe, stirring up racial and religious hatred against an already embattled minority. To his defenders, he is a brave and unflinching advocate of Enlightenment values. To his jihadist persecutors, he is a blaspheming infidel fit for slaughter.
In 2014, Abdelhamid Abaaoud, the organizer of the November 2015 Paris attacks, appeared in a video, driving a pickup truck with a mound of corpses in tow. Speaking to the camera before driving off, he said: “Before we towed jet skis, motorcycles, quad bikes, big trailers filled with gifts for vacation in Morocco. Now, thank God, following God’s path, we’re towing apostates.” This was a derogatory reference to his victims, who, in his mind, were renegades from the Muslim faith and thus legitimate targets for slaughter. But it was also a telling allusion to his own irreligious past, before he found God and joined ISIS and started murdering people.
By the Islamic State’s (ISIL) customary gonzo standards, a recent video depicting the execution of five men accused of spying for the British government was relatively tame, and the gore quotient minimal. No one’s head was cut off and ceremoniously placed on their contorted and ravaged torso. Nobody was subjected to the horror of being set on fire in a cage; or drowned in a cage; or being run over by a tank; or being tied to the back of a speeding car; or having their heads literally ripped off. For ISIL, the video was, indeed, positively muted.
On Tuesday, in issue 13 of its online magazine Dabiq, ISIS confirmed the death of Mohammed Emwazi (a.k.a “Jihad John”), the group’s notorious British-accented, ninja-suited, knife-wielding executioner in HD—and poster boy of the jihadist jet set. This isn’t exactly news: Emwazi’s death was widely reported last November, after the Pentagon announced that it had targeted him in an air strike in Raqqa, Syria on November 12. “It’s still a little early, but we are reasonably certain we killed the target that we intended to kill, which is Jihadi John,” said Colonel Steve Warren.
Who is the woman in black brandishing an AK-47? She goes by the nom de guerre Umm Muthanna al-Britannia – Umm being an honorific Arabic word for mother, despite the fact it seems Umm Muthanna herself is childless.
I have been tracing her online footprint for almost a year, and it is fascinating for the light it casts on the strange and violent subculture of the approximately 600 women who have abandoned their lives and loved ones in the west for the so-called "Islamic State".
If you want to get a sense of what attracts westernized Muslims to ISIS, you could do worse than listen to one of its sympathizers, as opposed to its legion of opponents, who are liable to pathologize the group’s appeal as an ideological contagion that infects the weak, instead of taking it seriously as a revolutionary movement that speaks to the young and the strong-minded.
In a recent Atlantic article, J.M. Berger challenges the notion, as he frames it, that “the U.S. is losing a war of ideas or narratives to ISIS.”
'ISIS and the Pornography of Violence' is a collection of iconoclastic essays on ISIS, spanning the four-year period from its ascendancy in late 2014 to its demise in early 2018. From a trenchant critique of the infantilisation of jihadists to a probing examination of the parallels between gonzo porn and ISIS beheading videos, the pieces collected in this volume challenge conventional ways of thinking about ISIS and the roots of its appeal. Simon Cottee's core argument is that Western ISIS recruits, far from being brainwashed or 'vulnerable' dupes, actively responded to the group's promise of redemptive violence and self-sacrifice to a total cause.
The Apostates is the first major study of apostasy from Islam in the western secular context. Drawing on life-history interviews with ex-Muslims from the UK and Canada, Simon Cottee explores how and with what consequences Muslims leave Islam and become irreligious.
‘Free people should be able to abandon their religion without being punished. Simon Cottee brings us the stories of British and Canadian ex-Muslims who live in the shadow of stigma and with the threat of ostracism. Wider society has ignored them, and the most disgraceful elements of the Left have denounced them, but here they can speak for themselves. Books are too often described as “important” or “original” when they are neither. The Apostates is both.’ — Nick Cohen, columnist and author of You Can’t Read This Book: Censorship in an Age of Freedom