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"What will survive of us is love."

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The most important, if distressing, images to emerge from those hours are not of the raging towers, or of the vacuum where they once stood; it is the shots of people falling from the ledges, and, in particular, of two people jumping in tandem. It is impossible to tell, from the blur, what age or sex these two are, nor does that matter. What matters is the one thing we can see for sure: they are falling hand in hand. Think of Philip Larkin's poem about the stone figures carved on an English tomb, and the "sharp tender shock" of noticing that they are holding hands. The final line of the poem has become a celebrated condolence, and last Tuesday—in uncounted ways, in final phone calls, in the joined hands of that couple, in circumstances that Hollywood should no longer try to match—it was proved true all over again, and, in so doing, it calmly conquered the loathing and rage in which the crime was conceived. "What will survive of us is love."

Anthony Lane in The New Yorker, September 24, 2001
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