As an FBI agent overseeing undercover work in online chat rooms, Stacey Bradley must venture into what she calls “the beast of the Internet” and view images on the computer that turn her stomach, even make her cry: screen after screen of sexually explicit photographs and video clips of children, some even depicting torture. Away from the computer, Bradley decorates the walls of her Calverton office with her own children’s art — a traced hand, a crudely painted turkey — that are antidotes to the sordid world of child exploitation in which she immerses herself. Full Story
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