Consequently, once America did get into the war—an action Roosevelt knew was necessary years before Pearl Harbor, as conquest of America was one of the final phases of the Nazis’ larger plan—domestic hatred for Jewish people found expression in the lie that Americans were fighting for the Jews while Jews stayed at home and relaxed.

The New York Times was built with a very different standard in mind than the one embraced by the creators of The 1619 Project, who look at truth as a malleable substance, a “construct,”

“The greatest sports event of all times” is quite a claim to make. But the rest of the Times article went on to celebrate the Berlin Games in even more triumphant terms. In the entire article, the word “Nazi” did not appear. And needless to say, neither the writer nor the New York Times editors who approved the story felt it necessary to discuss—or

painfully clear—this time with the glaring clarity of hindsight—that just when the country and the world most needed the triumph of truth from America’s flagship newspaper, the Gray Lady provided nothing more than a deadly string of devastating failure.

Back in 1922 and 1924, the Times wrote about Hitler as if it could not decide whether he was good or bad, dangerous or harmless, a “lofty patriot” or an anti-Semitic maniac. At the end of the day, it was the notion that Hitler was a relatively harmless, if vociferously nationalist, leader that prevailed in the Gray Lady’s reporting. The same is lar

Few questions today are more salient or more vital than the ones we’re asking about truth. Who determines the truth? How do we know when it’s true? Does it even matter? Can my truth be different from your truth? And what happens if it is? These issues have arisen alongside a parallel question about lies and falsehood. Google Trends shows that the p

Any level of journalistic investigation would have, at minimum, raised some serious questions about what had actually happened at the Polish-German border. It can be argued that the lack of time and freedom of movement under the Nazi regime would have made this difficult, if not impossible, for foreign correspondents in Germany. However, in 1939, m

independent publishing is not what it was ten or fifteen years ago. No longer an anomaly, it increasingly looks like the way forward for all forms of content. Thanks to digital technologies, we now have endless new ways of reaching audiences. This is not only the case in music, film, and publishing, but in journalism itself.

Walter Duranty is now largely considered a media outlier or an anomaly, a reporter whose character flaws slipped through the editorial cracks of his institution. But the reality is that Duranty fits a prominent pattern at the Times of a star reporter whose celebrity enables him or her to commit journalistic malfeasance in plain sight of his editors