'Perfection' can be its own limitation, and sometimes a 'flaw' may contribute mightily to a work's ultimate power. (A work without flaws is a work without ambition.) The Roman poet Horace often inserted lines in his poetry that stuck out like a sore thumbs, forcing the reader to confront the established pattern; Horace's aims were different, and more profound, than the reader initially thought they were. Apocalypse Now functions in the same way, its makers committed to a rare and glorious vision.
This linking of pleasure and guilt is intended as an enticement, not as an admonition: reading for guilty pleasure is like letting one’s diet slide for a day—naughty but relatively harmless. The distinction partakes of a debased cultural Puritanism, which insists that the only fun to be had with a book is the frivolous kind, or that it’s necessarily a pleasure to read something accessible and easy. Associating pleasure and guilt in this way presumes an anterior, scolding authority—one which insists that reading must be work.
But there are pleasures to be had from books beyond being lightly entertained. There is the pleasure of being challenged; the pleasure of feeling one’s range and capacities expanding; the pleasure of entering into an unfamiliar world, and being led into empathy with a consciousness very different from one’s own; the pleasure of knowing what others have already thought it worth knowing, and entering a larger conversation.
If the Times was concerned about getting ahead of the legal system, how could it allow these straightforward uses of the term? Times readers somehow won’t be unfairly influenced when Andrew Sullivan does it in the book review, but they will be if the news staff tries the same thing? Doesn’t make a lot of sense. Unless you understand the production of innocence. The Times wasn’t trying to keep “Wake up, people! The U.S. did commit torture …” from readers, the way it would might keep a rape victim’s name out of the news. It was trying to avoid making the statement on its own authority. As long as others took the responsibility — outside writers, human rights groups, quoted sources in a dispute, editorial boards — the innocence requirement was met and production went forward.