War Photographer Flashcards
“In his dark room he is finally alone
with spools of suffering set out in ordered rows.”
Duffy portrays the solitude of the war photographer as he confronts the harrowing images captured in conflict zones. The orderly rows symbolise the systematic nature of human suffering, emphasising its presence everywhere.
“The only light is red and softly glows,
as though this were a church and he
a priest …”
Duffy employs religious imagery to imbue the photographer’s task with solemnity, likening it to a sacred ritual. The analogy underscores the gravity of bearing witness to human tragedy and the photographer’s role as a mediator between the horrors of war and the public.
“Belfast. Beirut. Phnom Penh. All flesh is grass.”
Through the use of place names synonymous with war, Duffy connects specific conflicts to the transient nature of life. The phrase “All flesh is grass” poignantly conveys the fragility and impermanence of human existence amidst the brutality of war.
“He has a job to do. Solutions slop in trays
beneath his hands, which did not tremble then.”
Duffy portrays the photographer’s sense of duty juxtaposed with the emotional toll of his task. The description of “solutions slop in trays” underscores the detachment necessary for the photographer to fulfil his role, contrasting with the vulnerability hinted at by his trembling hands.
“Rural England. Home again
to ordinary pain which simple weather can dispel,”
Duffy contrasts the tranquillity of rural England with the chaos of warzones, highlighting the jarring disconnect experienced by the photographer.
“a half-formed ghost. He remembers the cries.”
Duffy vividly portrays the photographer’s anguish as he witnesses the gradual emergence of haunting images in the darkroom. The imagery of a “half-formed ghost” symbolises the spectral presence of suffering, while the memory of cries underscores the visceral impact of conflict on the photographer.
“A hundred agonies in black and white
from which his editor will pick out five or six
for Sunday’s supplement.”
The reference to “a hundred agonies” highlights the extensive impact of war.
“From the aeroplane he stares impassively at where
he earns his living and they do not care.”
Duffy concludes the poem with a stark commentary on the photographer’s detachment from his homeland and the public’s indifference to his work. The use of the third-person pronoun “they” emphasises the photographer’s isolation and alienation from society.
