It is Impossible to Avoid the Conclusion that Black Lives Didn't Matter Much at all to the Magazine.

This is an Actual TNR Cover

In case you haven't heard, there has been a kerfluffle at that bastion for white Ivy League affirmative action The New Republic, with the firing of  Franklin Foer as editor.

A significant portion of the deadwood on their masthead, along with other staff, resigned in protest.

While they consider it to be drawing an ethical line in the sand, it is, in fact, a mark of their missing ethics.

The fact that they were still on that masthead after years of racism and disregard for the minority community at TNR is how their stand should be viewed, as Ta-Nehisi Coates so ably states:

………

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.

(emphasis mine)

I just need to note here, as I always do, that, in his late teens, the co-author of The Bell Curve, Charles Murray, burned a cross next to the local police station.

This event in his early life provides necessary context for the fact that most of his professional career has been about putting an academic gloss on racism.

Coates makes the point that the genteel racism of the magazine is not limited to the actions, and tenure, of the contemptible Marty Peretz:

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.

Read the rest.

BTW, after you read this, you might want to read Wonkette's Rebecca Schoenkopf's take on this.

While Coates' analysis is trenchant and thoughtful, Wonkette is just delightfully snarky and very funny.