Yale University Press announced last week that it would go ahead with the publication of the book, but it would remove from it the 12 caricatures that originated the controversy. Not content with this, it is also removing other historic illustrations of the likeness of the Prophet, including one by Gustave Doré of the passage in Dante's Inferno that shows Mohammed being disemboweled in hell. (These same Dantean stanzas have also been depicted by William Blake, Sandro Botticelli, Salvador Dalí, and Auguste Rodin, so there's a lot of artistic censorship in our future if this sort of thing is allowed to set a precedent.)
Now, the original intention of limiting the representation of Mohammed by Muslims (and Islamic fatwas, before we forget, have no force whatever when applied to people outside the faith) was the rather admirable one of preventing idolatry. It was feared that people might start to worship the man and not the god of whom he was believed to be the messenger. This is why it is crass to refer to Muslims as Mohammedans. Nonetheless, Islamic art contains many examples—especially in Iran—of paintings of the Prophet, and even though the Dante example is really quite an upsetting one, exemplifying a sort of Christian sadism and sectarianism, there has never been any Muslim protest about its pictorial representation in Western art.
Yale's capitulation to the muslim-mollycoddlers should offend any authentic creatives (even the marxist-hipster sorts).