world war 3 illustrated #43 expression! repression! revolution!
Edited by Seth Tobocman, Carlo Quispe, Hilary Allison and Rebecca Migdal.
Cover art by Sue Coe; back cover by Ganzeer
Contributors: Mike Diana, Magdy El Shafee, Dario Margante, Gianluca Costantini, Sandy Jimenez, Hilary Allison, Seth Tobocman, Jordan Worley, Kenly Dillard, Rebecca Migdal, Susan Wilmarth, Carnell Hunnicutt, Peter Kuper, Jessica Wehrle, Bill Weinberg, Marina Naprushkina, Isabella Bannerman, Jenny Gonzalez-Blitz, Carlo Quispe, Scott Cunningham, Kevin Pyle, Tom Keough, Oreet Ashery, Larrissa Snsour, Ethan Heitner, Steve Brodner, Adrian James, Nidal El-Khairy, Frances Jetter, Blu, Rabi’a, Diablo, Ganzeer, Sue Coe
This issue of World War 3 was inspired first by the Smithsonian’s censorship of the work of David Wojnarowicz, then the destruction of graffiti artist Blu’s anti-war mural, then by the persecution of Wikileaks. Our concerns about growing state repression were confirmed on November 15th when simultaneous attacks were launched against Occupy camps worldwide.
As advances in communications allow people greater opportunity to speak out, the state reacts with violence. In attempting to silence their critics, regimes demonstrate their moral bankruptcy and hasten their demise.
A censorship issue begs the question: What are the limits of free speech at this magazine? To be sure, this magazine is not a chat room with open posting. It is edited. World War 3 Illustrated has always been anti-war and anti-capitalist. But under that umbrella we practice left pluralism. In this issue you will find pieces for and against Obama.
Our tolerance was put to the test when Bill Weinberg asked us to publish an article criticizing Wikileaks. Was the pursuit of total accountability worth damaging that valuable organization? We decided that our readers were intelligent enough to draw their own conclusions.
Accusations of nonconsensual sex should be taken seriously. But the sex charges leveled against Assange, be they true or false, serve a sinister state agenda. This contradiction is hard to resolve.
And what about situations where the Left engages in censorship? Is it right to destroy a work of art if the content is oppressive? Do Nazis deserve tolerance? Several artists explore these questions.
No idea should be unspeakable. No emotion can be forever repressed. No one is above criticism. But critique, speech, and expression, are only meaningful in relation to the goals of liberating humanity and preserving nature.