Jelani Cobb writes at the New Yorker that that the most damning component of George Zimmerman’s acquittal is the painful knowledge that Trayvon Martin was essentially found guilty of being a young black male.
The not-guilty verdict in the George Zimmerman trial came down moments after I left a screening of “Fruitvale Station,” a film about the police-shooting death of Oscar Grant four years ago in Oakland. Much of the audience sat quietly sobbing as the closing credits rolled, moved by the narrative of a young black man, unarmed and senselessly gone. Words were not needed to express a common understanding: to Zimmerman, Trayvon Martin, the seventeen-year-old he shot, fit the description; for black America, the circumstances of his death did.
The familiarity dulled the sharp edges of the tragedy. The decision the six jurors reached on Saturday evening will inspire anger, frustration, and despair, but little surprise, and this is the most deeply saddening aspect of the entire affair. From the outset— throughout the forty-four days it took for there to be an arrest, and then in the sixteen months it took to for the case to come to trial—there was a nagging suspicion that it would culminate in disappointment. Call this historical profiling.
The most damning element here is not that George Zimmerman was found not guilty: it’s the bitter knowledge that Trayvon Martin was found guilty. During his cross examination of Martin’s mother, Sybrina Fulton, the defense attorney Mark O’Mara asked if she was avoiding the idea that her son had done something to cause his own death. During closing arguments, the defense informed the jury that Martin was armed because he weaponized a sidewalk and used it to bludgeon Zimmerman. During his post-verdict press conference, O’Mara said that, were his client black, he would never have been charged. At the defense’s table, and in the precincts far beyond it where donors have stepped forward to contribute funds to underwrite their efforts, there is a sense that Zimmerman was the victim.
Read Jelani Cobb’s entire piece at the New Yorker.
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