Last week, researchers from the Columbia University Graduate School of Journalism released some 13,000 unflinching words dissecting "What Went Wrong" at Rolling Stone last year when the venerable anti-establishment muckraking magazine published a now-retracted horror story about a gang rape at a University of Virginia fraternity.
But you don't need to read past the long report's first paragraph to understand the essence of "what went wrong."
Citing reporter Sabrina Rubin Erdely's own notes, the Columbia investigators say Rolling Stone's story "A Rape on Campus" began with Erdely "searching for a single, emblematic college rape case that would show 'what it's like to be on campus now … where not only is rape so prevalent but also that there's this pervasive culture of sexual harassment/rape culture.' "
Every inquiry — be it journalistic, criminal, scientific, whatever — involves a hypothesis being tested. But it sounds as if Erdely began not with a hypothesis but with an unshakable ideological conviction about today's college culture. The actual truth about the specific events and people she wrote about became less important than a "larger truth" — what's often called a "master narrative" — for which she merely required a sufficiently vivid "emblem."
Every journalist has felt the temptation to overlook or minimize contradictions or ambiguities or factual holes that threaten to weaken or derail a big story. Prosecutors, scientists and other fact-finders also have been known to cut corners to serve their own ambitions, or (often even more corrupting) a "higher truth" or a "greater good."
Seldom, we like to think — among what political scholar Kathleen Hall Jamieson calls the "custodians of fact" — does the overriding loyalty owed to the plain, concrete truth break down so completely as it did in this instance at Rolling Stone.
Yet the absence so far of dismissals or other serious consequences at Rolling Stone suggests an unnerving casualness about, at best, reckless endangerment of the truth.
What's frankly more worrying, though, is the possibility that it's Rolling Stone that is merely "emblematic." Could the errant magazine be an emblem of a "pervasive culture" of looseness about the truth in our time? A pervasive culture of mendacity, and tolerance of mendacity?