Nine Eleven, 2001, with its Manhattan jolter and the “War on Terror” it unleashed was a watershed in our recent history. The “attack” on the Twin Towers seems to have afforded the Anglo-American elite a long-awaited pretext for imparting an irreversible turn of the screw in the techno-fascist regimentation of our world.
This inciting incident opened prairies for Geo-Hollywood’s producers and screenwriters, who showered us with a preposterous saga inspired by yesteryear’s bogus slogans of “civilizations clashing,” a fabricated narrative of crazed sheiks creeping out of hidden Kasbahs in the Hindu Kush followed by swaths of bigoted assassins, the Taliban, intent on blasting us all out of (western) (in-)existence.
The phantasmagoric mise-en-scène of “terror by way of Islam” was televised for the length of two decades at the end of which, in 2021, without rhyme or reason, the Americans departed, entrusting the devastated country to their former arch-enemies, the Taliban.
Behind this behind this colossal snuff-extravaganza, there lay in fact, two concurrent aims: first, draw back western subjects to the Homeland’s bosom by haunting their psyches with new, exotic phantasms; and second, preserve America’s chief means of imperial expropriation by taking military hold of the heroin traffic in Afghanistan and thereby re-conveying to Wall Street the cash dollars previously hoarded by organized crime in central Asia.
