A story within a story offering a look at the behind-the-scenes of radio broadcasting. His guest is Brace Beemer, the Lone Ranger.
The poem starts with a description of the war photographer standing alone in his dark room. All the photos that he had taken of the war are contained within the rolls which are organized into neat rows, making him feel like a priest who is about to lead a mass funeral. He thinks of all the places he has been to, places which had been torn apart by war, and remembering all the bloodshed he has witnessed he feels that everything has to in the end die and return to the earth.
The third stanza starts off mysteriously, and the half developed photograph is described. The vague features of the man seem to the photographer, like the spirit of the soldier and he remembers the moment when he took that picture.
The final stanza takes on a detached tone, as the photographer thinks of how from the hundred photos that he has taken, each telling its own chilling tale of agony and pain, his editor will randomly select a handful to print in the newspaper.
He knows that people back at home would glance at these, in the afternoons and feel sorrow for a minute before moving on with their lives.
Duffy has used a number of literary devices to describe the horror and agony of war. Also there is a paradox in how he has organized suffering, the chaos of pain and war, into neat ordered rows.
The red light is symbolic of the bloodshed that the photographer has witnessed, and also reminds him of a church, making him feel like a priest preparing for a mass funeral. This either implies that the image is vague and faint, or the fact that the photograph shows a dead man, whose spirit is somehow evoked by the developing photograph.
The persona of the war photographer is most apt as he is between these two realities: He is therefore in such a state to compare these two worlds and he at first feels disgust towards the uncaring world, and guilt at being the one to exploit the suffering of the dying soldiers, but then he too assumes an impassive attitude, knowing that no matter how he feels, he cannot change the world, nor stop the war or bloodshed from happening.
|News: Breaking stories & updates||The photos we see in Sunday supplements, embellishing headlines or posters are taken by these courageous people.|
|Automatic Bibliography Maker||Images of conflict have been around practically as long as art and conflict have co-existed.|
|Cunt: A Cultural History of the C-Word||It explores themes of despair, introspect, guilt, sorrow and suffering.|
All he can do is his job: He can make them see what he sees by capturing the pain in photos, but he cannot make them feel what he feels, for there is no way he can show them his memories.Sheikha A. is from Pakistan and United Arab Emirates. Her work appears in over literary venues, both print and online, and several anthologies by different presses.
The poem moves through a series of observations in the first three stanzas to a conclusion of sorts in the fourth. Scottish Poetry Library, 5 Crichton's Close, Canongate, Edinburgh, EH8 8DT Tel: +44 (0) © Scottish Poetry Library The Scottish Poetry Library is a registered charity (No.
SCO) Designed by Eskimo. Poems analysed from Carol Ann Duffy. Ithaca by Carol Ann Duffy Elegy by Carol Ann Duffy. Carol Ann Duffy.
Love by Carol Ann Duffy. Carol Ann Duffy. You by Carol Ann Duffy. Carol Ann Duffy. War Photographer By Carol Ann Duffy.
Carol Ann Duffy. Carol Ann Duffy. Hour by Carol Ann Duffy.
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