“A Drawing Has Never Killed Anyone” – Says Charlie Hebdo’s Editor-in-Chief

The editor-in-chief of French satirical weekly Charlie Hebdo asserts that publishing caricatures of the Prophet Muhammad was never meant as provocation. Rather, he views it as an affirmation that freedom of expression endures in France. No matter the backlash, he insists the publication will continue criticizing whatever it deems fit. Yet, police protection remains a constant reality for the magazine’s offices.

At the Center of the Media Storm

Stéphane Charbonnier—widely known as “Charb” and both editor-in-chief and cartoonist—finds himself at the heart of a media whirlwind after Charlie Hebdo printed new caricatures of the Prophet Muhammad. Nestled in an unremarkable office building on the far eastern edge of Paris, the magazine’s headquarters share space with a few advertising firms and a city police bureau dedicated to traffic citations. Little about the location hints at the presence of one of the country’s most provocative weeklies: on the building’s intercom, Charlie Hebdo appears under a different name, and there is no sign bearing its logo. The only clue is the riot police van stationed outside.

It was here that the team moved after a firebombing a year earlier destroyed their previous office—an attack widely believed to be a response to an issue titled “Charia Hebdo,” which included controversial depictions referencing Islamic law. Now, Charbonnier and the magazine once again grab headlines with cartoons that many French Muslim leaders, prominent imams, and government officials have decried as deeply offensive. In response, France has bolstered security at its embassies and official institutions worldwide.

Mixed Reactions at Home and Abroad

The United States also weighed in, with White House spokesperson Jay Carney stating: “We don’t question the right to publish such material, but we do question the judgment behind it.” Charbonnier, however, remains unflustered. Seated at his desk amid a swarm of reporters from countries as varied as Japan, Qatar, Belgium, and South Africa, he maintains that he and his colleagues are simply doing their jobs.

“All this talk of us pouring oil on the flames irritates me,” he says. “After the release of that absurd film about Muhammad in the U.S., numerous newspapers covered the ensuing protests on their front pages. We’re doing the same, only in cartoon form. And a drawing has never killed anyone.”

He insists there was no intention to provoke. Charlie Hebdo publishes caricatures nearly every week, Charbonnier notes, but only those involving the Prophet or radical Islam spark accusations of “declaring war.” He warns that forbidding such content would inevitably open the door to banning far less contentious topics as well.

Defending Satire as Free Speech

This week’s edition, which sold out its 75,000-copy run, features cover art depicting an Orthodox Jew pushing a turban-clad figure in a wheelchair. Within, readers find additional portrayals of Muhammad—some nude. Many Muslims consider any visual representation of God or the Prophet inappropriate, but Charbonnier rejects claims that this is a publicity stunt.

“Extremists don’t need any special excuse,” he says. “We’re only criticizing a specific strain of radical Islam, albeit with satirical exaggeration. We’re not responsible for violent reactions elsewhere when we practice our legal right to free expression.”

His goal, he says modestly, is simple: to make readers laugh—or think—through his art.

Asked about Muslim response, Charbonnier points out that no one is obligated to buy the magazine, and peaceful protest is perfectly valid. Charlie Hebdo, however, will continue to challenge religious and societal norms in the same way it critiques other faiths and institutions. “If the government assumes Muslims lack a sense of humor, that’s insulting,” he adds. “It effectively casts them as second-class citizens.”

Unlikely Allies and Ongoing Tensions

In an unexpected turn, Charlie Hebdo has attracted support from corners of the political landscape it often skewers—conservative politicians and even Marine Le Pen of the far-right National Front. During a television appearance, Le Pen asked, “Should I allow my country to be brought to its knees because one out of nearly 9,000 French publications chooses to print a cartoon? Should we live in fear and self-censorship?” Charbonnier finds her statements “laughable,” noting that Le Pen herself is none too pleased when she becomes the subject of satire.

He says he does not fear reprisals personally. So far, the only direct retaliation has been the hacking of Charlie Hebdo’s website. “If we fretted about backlash over every cartoon in all 1,057 of our issues, we’d have quit long ago,” Charbonnier quips. He acknowledges, though, that having police on standby is reassuring: “It’s ironic that a magazine known for mocking law enforcement now benefits from its protection—but that underscores the strength of free speech in France.”

No Taboos, No Regrets

Looking ahead, Charlie Hebdo has no plans to soften its approach. “Criticizing Islam should be as normal as critiquing Judaism or Catholicism,” Charbonnier says. Despite the risk, he refuses to go into hiding: “I have no wife, no children, not even a pet. I’m not about to lock myself away.”

Another 75,000 copies are slated for publication on Friday. Just in case, the phone number for the local police station is taped to the office door, labeled “Contact in Emergencies.”