By Bill Wasik, from the December 2001 issue
Hatred hopes to perceive hatred in its object, but what satisfaction can we find in this face? Guileless, affable, serene, the face confronts us—as did the footage of his apparent deeds, those eerily cinematic collisions of airplanes and buildings—with a peculiar disjunction: an image of evil that attracts our eyes despite our minds’ protestations.
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