The New Republic: An Appreciation
It is impossible to avoid the conclusion that black lives didn't matter much at all to the magazine.
Last week, Franklin Foer resigned his editorship of The New Republic. A deep, if not broad, mourning immediately commenced as a number of influential writers lamented what occurred to them as the passing of a great American institution. The mourners have something of a case. TNR had a hand in the careers of an outsized number of prominent narrative and opinion journalists. I have never quite been able to judge the effect of literature or journalism on policy, but I know that in my field, if you had dreams of having a career, you had to contend with TNR. My first editor at The Atlantic came from TNR, as did the editor of the entire magazine. More than any other writer, TNR alum Andrew Sullivan taught me how to think publicly. More than any other opinion writer, Hendrik Hertzberg taught me how to write with "thickness," as I once heard him say. A semester in my nonfiction class is never quite complete without this piece by Michael Kinsley. TNR's legacy is so significant that I could never have avoided being drawn into the magazine's orbit. Even if I had wanted to.
Earlier this year, Foer edited an anthology of TNR writings titled Insurrections of the Mind, commemorating the magazine's 100-year history. "This book hasn't been compiled in the name of definitiveness," Foer wrote. "It was put together in the spirit of the magazine that it anthologizes: it is an argument about what matters." There is only one essay in Insurrections that takes race as its subject. The volume includes only one black writer and only two writers of color. This is not an oversight. Nor does it mean that Foer is a bad human. On the contrary, if one were to attempt to capture the "spirit" of TNR, it would be impossible to avoid the conclusion that black lives don't matter much at all.
That explains why the family rows at TNR's virtual funeral look like the "Whites Only" section of a Jim Crow-era movie-house. For most of its modern history, TNR has been an entirely white publication, which published stories confirming white people's worst instincts. During the culture wars of the '80s and '90s, TNR regarded black people with an attitude ranging from removed disregard to blatant bigotry. When people discuss TNR's racism, Andrew Sullivan's publication of excerpts from Charles Murray's book The Bell Curve (and a series of dissents) gets the most attention. But this fuels the lie that one infamous issue stands apart. In fact, the Bell Curve episode is remarkable for how well it fits with the rest of TNR's history.
The personal attitude of TNR's longtime owner, the bigoted Martin Peretz, should be mentioned here. Peretz's dossier of racist hits (mostly at the expense of blacks and Arabs) is shameful, and one does not have to look hard to find evidence of it in Peretz's writing or in the sensibility of the magazine during his ownership. In 1984, long before Sullivan was tapped to helm TNR, Charles Murray was dubbing affirmative action a form of "new racism" that targeted white people.
Two years later, Washington Post writer Richard Cohen was roundly rebuked for advocating that D.C. jewelry stores discriminate against young black men—but not by TNR. The magazine took the opportunity to convene a panel to "reflect briefly" on whether it was moral for merchants to bar black men from their stores. ("Expecting a jewelry store owner to risk his life in the service of color-blind justice is expecting too much," the magazine concluded.)
TNR made a habit of "reflecting briefly" on matters that were life and death to black people but were mostly abstract thought experiments to the magazine's editors. Before, during, and after Sullivan's tenure, the magazine seemed to believe that the kind of racism that mattered most was best evidenced in the evils of Afrocentrism, the excesses of multiculturalism, and the machinations of Jesse Jackson. It's true that TNR's staff roundly objected to excerpting The Bell Curve, but I was never quite sure why. Sullivan was simply exposing the dark premise that lay beneath much of the magazine's coverage of America's ancient dilemma.
http://www.theatlantic.com/politics/archive/2014/12/the-new-republic-an-appreciation/383561/
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