This War is Between Islam and Mapplethorpe

For the Islamist, it is the world itself that does not deserve to exist and the war is between Mapplethorpe and Mohammed B., who killed Theo van Gogh.

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Giulio Meotti,

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giulio meott
צילום: עצמי

When Omar Bakri was four years old, he was selected by the family from among his twenty-eight brothers and sisters to devote himself to Allah and the Salafi orthodoxy. Omar was a prodigy from Aleppo, Syria, and the father wanted him to study at the great mosque of al-Azhar in Egypt,

"The radiant". Bakri would become "the imam of Londonistan" and the "Tottenham Ayatollah", the most guarded and well-known British Islamic fundamentalist who inspired the 7/7 attacks. The Islamic scholar is now based in Lebanon, where he is still preaching Jihad, martyrdom, the war against the Jews and the war against other "infidels."

Last week it was discovered that Bakri was the "curator" of the conversion to Islam of the terrorist who slaughtered a soldier in the heart of the British capital. "I saw the movie and I can say that (Adebolajo) was very brave," Bakri said from Beirut. "We consider him a hero for what he did."

On April 29, 2003, a Jihadist from Bakri's circle blew himself up in a cafe in Tel Aviv and killed Yanay Weiss, a wonderful Israeli who that night was playing the guitar.

But the famous British preacher, Omar Bakri, hides a secret, a secret which can be seen as the crux of the terror attack in London and the eloquent symbol of the current conflict between the West and political Islam. Bakri's daughter, Yasmin, after abandoning the Muslim name of Youssra, made a career as a dancer in London's clubs, where she performed without veils. Yasmin escaped an arranged marriage with an Islamist and went to live with her son in an apartment assigned her by the state in Catford.

The provocative smile of Bakri's daughter contains the secret of the fatal clash between Islam, which covers its women, and the West, which bares them.
In the curriculum vitae of this "apostate" there are also artificial breast implants and a rhinoplasty to emulate top Western models. Yasmin chose a path that is the exact opposite to that of many Muslim girls, who, though born and raised in European cities, are daughters of assimilation who rediscovered the veil to reject secularism and consumerism.

The provocative smile of Bakri's daughter contains the secret of the fatal clash between Islam, which covers its women, and the West, which bares them, between Islamic genital infibulation and Western rhinoplasty, between a culture of "honor" and one of dishonor, between Youssra and Yasmin.

Omar Bakri and the London killers aren't seeking power; they want to change society and the individual in the name of a totalitarian ideology. They divide reality into light and darkness, spirit and matter, Islamic and non-Islamic.

French philosopher Christian Godin wrote that Islamism is far more dangerous than either Nazism or Communism, since the latter, despite their genocidal follies, presupposed their own preservation. For the Hitlerists, the “inferior race” does not deserve to exist; for the Stalinist, the “enemy of the people” does not merit to continue living; for the Islamist, it is the world itself that does not deserve to exist.

It is like in Michel Houellebecq's novel "Platform", when the Western libertine licentiousness is punished by a terror attack against the symbolic Eldorador Aphrodite, a sexual village in Thailand (remember the real Bali's terror carnage in 2002).

It is not hard to understand who will win this war between those who cry "we will not give up our lifestyle" and those who sing "we desire death more than you desire life". They can't completely destroy the West, but they can transform it into an inhospitable and insecure place.

There is a famous photograph of homosexual relations by Robert Mapplethorpe, a great artist who died of Aids before the fall of the Berlin wall. A few years ago that photograph was displayed in the Italian city of Turin, funded by the municipality and with the "blessings" of the authorities. It is the "mystique" of contemporary Western promiscuity, promoted by our multicultural idiots and merchants of the "no limits".

It is clear that this war is between Mapplethorpe and Mohammed B., who murdered the Dutch filmaker Theo van Gogh.

In the West, we see excitement where there is lament and we find joy where there is solitude. Mapplethorpe, most powerfully, told us one thing through that Polaroid photo, that pleasure has become sad in the West.

Al Qaeda's black banner crying "No God but Allah" is marching over its ruins.