When I began this book, I imagined an art book. Image, colour and memory seemed capable of carrying what I wanted to say about October 7. Reading testimony changed the project.
Names, times, places and source conditions kept interrupting the visual sequence. An image could convey loss while leaving basic evidentiary questions unanswered: who made it, when it was made, what happened outside its frame, and how later reports had used it. Those questions led me to build a documentary record.
The book reconstructs the initial attack, the captivity that followed, later testimony and the institutional reception of the evidence as one contested historical record. Documentary reconstruction, interpretation, legal analysis and moral judgement each retain their own standard, so no form of claim borrows certainty from another.
A damaged archive is not an empty archive.
Victims were murdered, scenes were burned or moved, locations remained dangerous, and some testimony emerged only after release from captivity. The surviving record is therefore tested through convergence across witness accounts, responder observations, visual material, forensic evidence, released-hostage testimony and institutional investigations.