Consider the following paragraph: A central part of disgust’s pathology is the bifurcation of the world into the “pure” and the “impure”—the construction of a “we” who are without flaw and a “they” who are dirty, evil, and contaminating. Much bad thinking about international politics shows the traces of this pathology, as people prove all too ready to think about some group of others as black and sullied, while they themselves are on the side of the angels. We now notice that this very deep-seated human tendency is nourished by many time-honored modes of storytelling to children, which suggest that the world will be set right when some ugly and disgusting witch or monster is killed, or even cooked in her own oven. Many contemporary stories for children purvey the same worldview. We should be grateful for artists who suggest to children the world’s real complexity: the Japanese filmmaker Hayao Miyazaki, for example, whose wild and fantastic films contain a view of good and evil that is both gentler and more nuanced, in which dangers may come from such real and complex sources as decent humans’ relation to the environment; or Maurice Sendak, whose Max, in Where the Wild Things Are—which has now become an impressive film— romps with monsters that represent his own inner world and the dangerous aggression that lurks there. Nor are the monsters even entirely hideous; for the hatred of one’s own internal demons is a frequent source of the need to project them outward onto others. Stories learned in childhood become powerful constituents of the world we inhabit as adults. Which of the following statements is/are TRUE of the paragraph above?