"But when 9/11 struck, I had a change of heart. I knew the story had to be told because what happened at 9/11 is a direct result of what the economic hit men are doing"
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Perkins frames 9/11 as a moral accelerant: not just a national trauma, but the event that finally made silence feel like complicity. The phrase "change of heart" is doing heavy lifting. It signals that whatever hesitations he once had - fear of blowback, career risk, doubts about being believed - were overridden by a catastrophe big enough to reorder his personal calculus. He’s not claiming new information so much as a new threshold for responsibility.
The sharper move is causal language: "a direct result". That’s courtroom phrasing, not memoir. It collapses the messy, many-authored history behind 9/11 into an indictment of systems Perkins says he knows from the inside: debt diplomacy, engineered dependence, regime-friendly development projects. By tying the attacks to "economic hit men", he shifts the story away from a clash-of-civilizations narrative and toward a boomerang theory of empire: what looks like foreign hatred is, in his telling, feedback from coercive policy.
Subtext: this is also a credibility play. Perkins positions himself as reluctant witness turned necessary whistleblower, a classic redemption arc that asks readers to trust him precisely because he claims he once benefited from the machine. And the context matters: post-9/11 America was hungry for explanations that felt deeper than "they hate our freedoms". Perkins offers one that’s morally legible and politically bracing - it turns grief into an argument, and an argument into a mandate to listen.
The sharper move is causal language: "a direct result". That’s courtroom phrasing, not memoir. It collapses the messy, many-authored history behind 9/11 into an indictment of systems Perkins says he knows from the inside: debt diplomacy, engineered dependence, regime-friendly development projects. By tying the attacks to "economic hit men", he shifts the story away from a clash-of-civilizations narrative and toward a boomerang theory of empire: what looks like foreign hatred is, in his telling, feedback from coercive policy.
Subtext: this is also a credibility play. Perkins positions himself as reluctant witness turned necessary whistleblower, a classic redemption arc that asks readers to trust him precisely because he claims he once benefited from the machine. And the context matters: post-9/11 America was hungry for explanations that felt deeper than "they hate our freedoms". Perkins offers one that’s morally legible and politically bracing - it turns grief into an argument, and an argument into a mandate to listen.
Quote Details
| Topic | War |
|---|---|
| Source | Help us find the source |
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