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576 pages, Kindle Edition
First published September 3, 2024
I don't believe that seeing fake violence on screens desensitizes people to experiencing real violence in life, but I know for certain that seeing fake violence on screens desensitizes people to seeing real violence on screens.
George H. W. Bush's secretary of state, a man with the magnificently American name Lawrence Eagleburger...
But the photograph wasn’t taken on September 11—it was from the aftermath of the Oklahoma City bombing in 1995. It wasn’t as though Newsweek lacked for actual photographs of September 11 to choose from, but contemporary images didn’t tell the kind of story that Americans had been conditioned by their own mythology to want: a story about women and children being rescued by men. September 11 couldn’t provide images of firefighters pulling little girls out of the flames, though, because in addition to the fact that very few people survived to be pulled out of the rubble, a majority of the workers at the financial firms that dominated the upper floors at the Twin Towers, as well as those working for the military at the Pentagon, were men, and almost all of the victims of September 11 were adults.
Dick Cheney, in his inimitably unfeeling way, expressed the hope that Americans wouldn’t let the [September 11th] attacks “in any way throw off their normal level of [economic] activity.”
“We, the undersigned,” they wrote, “believe that the World Trade Center Memorial should stand as a solemn remembrance of those who died on September 11th, 2001... Political discussions have no place at the World Trade Center September 11th Memorial.”
Drawing from various parts of American mythology, from the militia- driven rebelliousness of the Revolution to the flinty- eyed determination of the frontier days, the Minuteman Project made for compelling and effective political theater, which was good, because it wasn’t terribly effective at anything else.
Mass shooters operate at a higher pitch of desperation than bank robbers and hijackers—they generally don’t expect to get away with their crimes—but in other respects they follow in their predecessors’ footsteps. Their crimes are engineered for maximum media coverage and spectacular resonance, and as the bank robbers of the 1930s tailored their performances to audiences struggling through the Great Depression, twenty-first-century mass shooters perform spectacular suicide missions for a country that is drowning in endless war.