“Journalist” Mona Eltahawy, who took pink spray paint to our AFDI pro-freedom ads because they labeled jihadists as “savages,” although she had nary a word of complaint when the New York Times and Hillary Clinton also labeled jihadists as “savages,” has written a poem in which she obscurely links her fascist vandalism of our ads to the savage sexual assault she endured in Cairo’s Tahrir Square, when her assailants, whom she characterized at the time as “beasts,” broke her arms.
Be forewarned: the poem is laughably and luridly obscene, calling to mind a twelve-year-old being deliberately naughty and obsessively repeating dirty words she has just learned; it can be found in its entirety here. It is not noteworthy for being horrid poetry, although that it assuredly is; what is striking about it is that this much-lauded pundit and commentator evidently thinks that in both Tahrir Square and the New York subways vandalizing our ad she was standing for freedom. She refers to the vandalism in this passage (in which I have bowdlerized her adolescent obscenities):
Pink is the colour of my p***y,
You want to f**k me in my pink coat.
I don’t know who the unfortunate “you” is in the third line, but it most assuredly ain’t me, babe. In any case, I have previously praised Eltahawy for speaking out against the Muslim oppression of women, and suggested that she spray-painted our ad in order to get back into the good graces of her Leftist and Muslim friends and colleagues who had harshly criticized her for standing up for Muslim women.
This odd, lurid, embarrassing and barely coherent poem, although it parades in the dress of feminist sexual liberation, is actually another attempt to regain those good graces. For by portraying herself as standing up against both those who “broke my f***king arms” in Tahrir Square and against us who are standing against jihad savagery, Eltahawy is echoing the very common propaganda line that Islamic supremacists are employing today. They claim they are standing against “extremists on both sides,” as if committing acts of violent jihad and resisting that violent jihad were two sides of the same coin, and they’re standing in the tolerant middle, resisting both “extremisms.”
It’s an Orwellian sleight of hand, designed to enable the jihad by stigmatizing resistance to it. When Mona Eltahawy took pink spray paint to our ad, she wasn’t standing up against any kind of oppression; she was enabling the very same oppression that she had spoken out against earlier. In her poem, when she equates her spray-painting with her getting her arms broken in Tahrir Square, she is enabling that oppression again. Our ads are actually in defense of the freedom she so luridly and obscenely claims for herself in this poem -- and in it, Mona Eltahawy has once again aligned herself with the forces of oppression she professes to oppose.
