“We should therefore claim, in the name of tolerance, the right not to tolerate the intolerant.” So said the philosopher Karl Popper near the end of World War II. The recent events in the Netherlands–traditionally seen as Europe’s most open society–have exposed the difficulties of applying this paradox in twenty-first-century Europe, where competing forms of intolerance are feeding one another, to disastrous effect.
In some ways the murder of columnist and filmmaker Theo van Gogh was a very Dutch affair. Victim and assassin crossed paths by bicycle in Amsterdam, where the Dutch policy of gedogen (roughly translated as benign neglect, or looking down your nose while turning a blind eye) has allowed a relaxed, self-regulating street culture to flourish. Van Gogh used free speech as a vehicle for racism and the Dutch tradition of “killing taboos” to boost his own career. He routinely referred to Muslims as “goatfuckers”; he called Jews “fornicating yellow stars in a gas chamber”; and wrote that a Jewish woman historian who criticized him “gets wet dreams about being fucked by Dr. Mengele.” He was no outsider artist but a friend of politicians, court jester to a certain circle of the Dutch elite. Pim Fortuyn, the charismatic anti-immigrant leader assassinated two years ago by an animal-rights fanatic, wanted van Gogh on his party’s ticket. Deputy Prime Minister and Finance Minister Gerrit Zalm, now leading the call for a war on radical Islam, played a role in one of his films. Of course (it should go without saying), he didn’t deserve to die.
This poster boy for free expression found a collaborator in Ayaan Hirsi Ali, an ex-Muslim who came to the Netherlands twelve years ago as an asylum-seeker from Somalia, where she had suffered genital mutilation and faced forced marriage. Her well-researched, outspoken opposition to such practices in the Netherlands won her a place in Parliament–first for the Labor Party and then for Zalm’s free-market VVD party, which demands the deportation of thousands of refugees, some possibly to face the tortures she has fled. Submission, the film she made with van Gogh that so angered his assassin, illustrates the intimate testimony of abused Muslim women with soft-porn imagery. Some Dutch Muslim women beaten by their husbands reacted angrily when it was shown on television, saying it made a travesty of their suffering. Hirsi Ali has also received death threats; she has been in hiding since van Gogh’s murder.
The journey of van Gogh’s accused killer, Mohammed Bouyeri, is almost a mirror image of Hirsi Ali’s. Born in the Netherlands to a quiet, moderate Moroccan family, he went to an academic high school and worked as a youth counselor at a community center. After his mother’s early death he got into petty crime and was seduced by radical Islam at a local mosque; according to the Dutch police he fell in with young men who were under surveillance as suspected terrorists, possibly linked to the Casablanca bombers. The letter he pinned with his knife to van Gogh’s half-beheaded body mingled Islamic formulas with the hippest Dutch street slang. It is Bouyeri’s Dutchness that has so deeply disconcerted the security services: He is no foreign fighter but an Amsterdam homeboy.