Duffy was inspired to write this poem by her
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Duffy was inspired to write this poem by her friendship with a war photographer. She was especially intrigued by the peculiar challenge faced by these people whose job requires them to record terrible, horrific events without being able to
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01
Duffy was inspired to write this poem by her friendship with a war photographer.
She was especially intrigued by the peculiar challenge faced by these people whose job requires them to record terrible, horrific events without being able to directly help their subjects.
Duffy perhaps shares an affinity with these photo journalists - while they use the medium of photography to convey certain truths about the human condition, she uses words and language to do the same job.
Throughout the poem, Duffy provokes us to consider our own response when confronted with the photographs that we regularly see in our newspaper supplements, and why so many of us have become desensitised to these images.
By viewing this issue from the perspective of the photographer, she also reveals the difficulties of such an occupation.
By the end of the poem, it is clear her subject straddles two vastly different worlds yet increasingly feels he belongs to neither.<br>
She was especially intrigued by the peculiar challenge faced by these people whose job requires them to record terrible, horrific events without being able to directly help their subjects.
Duffy perhaps shares an affinity with these photo journalists - while they use the medium of photography to convey certain truths about the human condition, she uses words and language to do the same job.
Throughout the poem, Duffy provokes us to consider our own response when confronted with the photographs that we regularly see in our newspaper supplements, and why so many of us have become desensitised to these images.
By viewing this issue from the perspective of the photographer, she also reveals the difficulties of such an occupation.
By the end of the poem, it is clear her subject straddles two vastly different worlds yet increasingly feels he belongs to neither.<br>
02
Form and structure
The poem is laid out in four regular six-line stanzas, with each stanza ending in a rhyming couplet.
This structure is interesting since its very rigid order contrasts with the chaotic, disturbing images described in the poem.
This organisation mirrors the actions of the photographer, who lays out his films in ordered rows, as though in doing so he can in some way help to restore order to this chaotic world.
The poem moves through a series of observations in the first three stanzas to a conclusion of sorts in the fourth.
The style is almost clinical and matter of fact, perhaps to imitate the detached approach required by people in this line of work to allow them to do their jobs under extreme pressure.
Unlike the readers of the newspaper he works for, this sense of distance is a necessary requirement for the photographer.
Unsurprisingly, in a poem that is so focused on images of human suffering, Duffy concentrates on the sense of sight throughout the poem and the final image is almost like a photograph itself, depicting the journalist surveying the landscape and its inhabitants below impassively as he travels to his next assignment.<br>
The poem is laid out in four regular six-line stanzas, with each stanza ending in a rhyming couplet.
This structure is interesting since its very rigid order contrasts with the chaotic, disturbing images described in the poem.
This organisation mirrors the actions of the photographer, who lays out his films in ordered rows, as though in doing so he can in some way help to restore order to this chaotic world.
The poem moves through a series of observations in the first three stanzas to a conclusion of sorts in the fourth.
The style is almost clinical and matter of fact, perhaps to imitate the detached approach required by people in this line of work to allow them to do their jobs under extreme pressure.
Unlike the readers of the newspaper he works for, this sense of distance is a necessary requirement for the photographer.
Unsurprisingly, in a poem that is so focused on images of human suffering, Duffy concentrates on the sense of sight throughout the poem and the final image is almost like a photograph itself, depicting the journalist surveying the landscape and its inhabitants below impassively as he travels to his next assignment.<br>
03
In his dark room he is finally alone
with spools of suffering set out in ordered rows.
The only light is red and softly glows, Metaphor - comparing actual dark room for developing photos with his state of mind intimate, dark, tranquil setting Alone at the end of the line conveys his relief along with the word finally – which has connotations of longing for this solitude Metaphor - “Spools” are long, strips of film which are cyclical in a camera. Suggesting that this man’s pain is long and never ending. The word “suffering” reinforces his distress.
“Ordered rows” suggest he is attempting to restore order to the chaotic images. This is mirrored in structure – poem is set out in distinct stanzas. Word choice of “Red” connotations of the light that burns continuously in Catholic churches to symbolise the presence of Christ and also of blood– a sight that the photographer must be all too familiar with.<br>
with spools of suffering set out in ordered rows.
The only light is red and softly glows, Metaphor - comparing actual dark room for developing photos with his state of mind intimate, dark, tranquil setting Alone at the end of the line conveys his relief along with the word finally – which has connotations of longing for this solitude Metaphor - “Spools” are long, strips of film which are cyclical in a camera. Suggesting that this man’s pain is long and never ending. The word “suffering” reinforces his distress.
“Ordered rows” suggest he is attempting to restore order to the chaotic images. This is mirrored in structure – poem is set out in distinct stanzas. Word choice of “Red” connotations of the light that burns continuously in Catholic churches to symbolise the presence of Christ and also of blood– a sight that the photographer must be all too familiar with.<br>
04
as though this were a church and he
a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is grass Just as a religious or spiritual person may look for the same kind of solace in a church had they been confronted with the same horrors that the photographer must endure. A mass also has deeper meaning. A priest tries to get an important message across, so does the photographer through his vocation. They are also linked with their associations with death. Sentence structure – short, single word sentences - emphasising the varied areas of contrast, its widespread nature. Biblical allusion – “ all flesh is grass” comes from the scriptures and reinforces the religious imagery as well as emphasizing the fragility and transient nature of life. we all return to the same earth when we die.<br>
a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is grass Just as a religious or spiritual person may look for the same kind of solace in a church had they been confronted with the same horrors that the photographer must endure. A mass also has deeper meaning. A priest tries to get an important message across, so does the photographer through his vocation. They are also linked with their associations with death. Sentence structure – short, single word sentences - emphasising the varied areas of contrast, its widespread nature. Biblical allusion – “ all flesh is grass” comes from the scriptures and reinforces the religious imagery as well as emphasizing the fragility and transient nature of life. we all return to the same earth when we die.<br>
05
He has a job to do. Solutions slop in trays
beneath his hands, which did not tremble then
though seem to now. Rural England. Home again Blunt Statement – makes a clear point, no argument. The business like, professional attitude is what he brings to his job. Literal chemical solutions used to develop the photos. Metaphorical – The photos themselves are possible solutions. They might open people’s eyes and stop war. *(soft sound created by sibilance/ assonance) Word choice –
‘then’ when he was taking the photos his hands tremble because of adrenaline, his sense of duty takes over. He is detached. Now – he is reflecting on what he has actually witnessed. Means countryside. The connotations are of fields, peacefulness, tranquillity. This creates a clear Contrast between home and the warzone<br>
beneath his hands, which did not tremble then
though seem to now. Rural England. Home again Blunt Statement – makes a clear point, no argument. The business like, professional attitude is what he brings to his job. Literal chemical solutions used to develop the photos. Metaphorical – The photos themselves are possible solutions. They might open people’s eyes and stop war. *(soft sound created by sibilance/ assonance) Word choice –
‘then’ when he was taking the photos his hands tremble because of adrenaline, his sense of duty takes over. He is detached. Now – he is reflecting on what he has actually witnessed. Means countryside. The connotations are of fields, peacefulness, tranquillity. This creates a clear Contrast between home and the warzone<br>
06
to ordinary pain which simple weather can dispel,
to fields which don’t explode beneath the feet
of running children in a nightmare heat. The juxtaposition of these 2 words suggests just how trivial and insignificant the problems of British people are compared to those in war zones. British people's problems can be solved by the weather being nice and sunny – again emphasizing the contrast between their lives and those in life in constant conflict. Word choice – ‘don’t’ is a deliberate attempt by Duffy to highlight that there are many places where this does happen.
The effect is that it almost seems a rarity when children are safe in the fields in which they play. This is how he sees it. Contrast and double meaning of Running – in warzone due to fear, here they are playing. Children are innocent that makes it more emotive. Warzones are arid, dusty, exotic contrast with rural England. Nightmare also literal nightmare of bad dream, waking up in a sweat – has this happened to photographer?<br>
to fields which don’t explode beneath the feet
of running children in a nightmare heat. The juxtaposition of these 2 words suggests just how trivial and insignificant the problems of British people are compared to those in war zones. British people's problems can be solved by the weather being nice and sunny – again emphasizing the contrast between their lives and those in life in constant conflict. Word choice – ‘don’t’ is a deliberate attempt by Duffy to highlight that there are many places where this does happen.
The effect is that it almost seems a rarity when children are safe in the fields in which they play. This is how he sees it. Contrast and double meaning of Running – in warzone due to fear, here they are playing. Children are innocent that makes it more emotive. Warzones are arid, dusty, exotic contrast with rural England. Nightmare also literal nightmare of bad dream, waking up in a sweat – has this happened to photographer?<br>
07
Something is happening. A stranger’s features
faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries Word choice – ‘something’ makes it a mysterious, blank statement intrigues the reader.
It also shows us the photographer is not fully in control of the development process . Duffy allows us to see the horrific image develop in front of our eyes. Also adds to mystery. Conveys the mass nature of death in war -nobody is known intimately, everyone is anonymous. Metaphor – Literal – slowly developing photo, not fully developed, gradually appearing – Metaphorical – the subject is now dead, are they dying as the picture is being taken. Is this why they are a “half formed” ghost? Even after the event the sound lingers with him, permanently remembered, distresses the photographer. Memory haunts the war photographer.<br>
faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries Word choice – ‘something’ makes it a mysterious, blank statement intrigues the reader.
It also shows us the photographer is not fully in control of the development process . Duffy allows us to see the horrific image develop in front of our eyes. Also adds to mystery. Conveys the mass nature of death in war -nobody is known intimately, everyone is anonymous. Metaphor – Literal – slowly developing photo, not fully developed, gradually appearing – Metaphorical – the subject is now dead, are they dying as the picture is being taken. Is this why they are a “half formed” ghost? Even after the event the sound lingers with him, permanently remembered, distresses the photographer. Memory haunts the war photographer.<br>
08
of this man’s wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust. Word choice - implies trying to do the right thing, sought doesn’t necessarily mean he got the approval but he has a job to do. Language barrier but also to emotional/upset Word choice – literally bleeding, metaphorically stains don’t come out – the events will stay with photographer and wife forever. Foreign dust – setting here from abroad, an exotic place.<br>
without words to do what someone must
and how the blood stained into foreign dust. Word choice - implies trying to do the right thing, sought doesn’t necessarily mean he got the approval but he has a job to do. Language barrier but also to emotional/upset Word choice – literally bleeding, metaphorically stains don’t come out – the events will stay with photographer and wife forever. Foreign dust – setting here from abroad, an exotic place.<br>
09
A hundred agonies in black and white
from which his editor will pick out five or six
for Sunday’s supplement. The reader’s eyeballs prick Contrast between hundred and five or six – so what people see is only a small fraction. Literally black-and-white, metaphorically good and evil? The careless indifference in the way the editor selects the images reinforces how little regard we have for the subjects in the pictures. Not the main news, an additional thing. Just as a “prick” would be a brief, forgettable pain, this is the same feeling with which these citizens sympathise/ care for the casualties of war.<br>
from which his editor will pick out five or six
for Sunday’s supplement. The reader’s eyeballs prick Contrast between hundred and five or six – so what people see is only a small fraction. Literally black-and-white, metaphorically good and evil? The careless indifference in the way the editor selects the images reinforces how little regard we have for the subjects in the pictures. Not the main news, an additional thing. Just as a “prick” would be a brief, forgettable pain, this is the same feeling with which these citizens sympathise/ care for the casualties of war.<br>
10
with tears between the bath and pre-lunch beers.
From the aeroplane he stares impassively at where
he earns his living and they do not care. The Rhyme of tears beers, and alliterative “B” sound emphasises the minimal effect, their sorrow is sandwiched between two leisure activities.
The use of Bathos - an effect of anticlimax created by a lapse in mood from the sublime to the trivial or ridiculous – is effective "they", emphasising how little he identifies with British lives and values. As he surveys the landscape of rural England from the aeroplane, there is a growing acceptance that, despite his best efforts, his photographs will ultimately make no real difference Numb, given up, emotionless.<br>
From the aeroplane he stares impassively at where
he earns his living and they do not care. The Rhyme of tears beers, and alliterative “B” sound emphasises the minimal effect, their sorrow is sandwiched between two leisure activities.
The use of Bathos - an effect of anticlimax created by a lapse in mood from the sublime to the trivial or ridiculous – is effective "they", emphasising how little he identifies with British lives and values. As he surveys the landscape of rural England from the aeroplane, there is a growing acceptance that, despite his best efforts, his photographs will ultimately make no real difference Numb, given up, emotionless.<br>
11
The poem focuses on two main themes:
the horror of war
our increasing indifference to the victims of conflict
These themes are revealed not only through Duffy’s word choice and imagery, but also through the central paradox that while the imagery of war is more widespread and prevalent than at any other time in history, its impact upon those of us exposed to it is rapidly declining.
.<br>
the horror of war
our increasing indifference to the victims of conflict
These themes are revealed not only through Duffy’s word choice and imagery, but also through the central paradox that while the imagery of war is more widespread and prevalent than at any other time in history, its impact upon those of us exposed to it is rapidly declining.
.<br>
12
The horror of war
Duffy’s skilful yet understated imagery helps to convey the terrible personal stories that lie behind every conflict.
Perhaps almost in an attempt to counter the graphic imagery that we have become so used to seeing, her depictions are subtle and understated and she often leaves the reader to compose their own images.
For example, in the line to fields which don’t explode beneath the feet /of running children, she takes an image that we would usually associate with something innocent and happy and subverts it into something much more sinister.
Similarly, her description of the dying man contains almost no visual imagery and instead focuses on the sense of sound through the word choice cries and the unspoken communication between the photographer and the victim’s wife
By focusing on just one image rather than the countless others that were taken, Duffy forces us to confront the personal cost of war.
In doing so, Duffy again exposes another paradox inherent in the coverage of modern conflict, implying that we have lost the capacity to view the subjects of war as real human beings, each with unique, individual stories and tragedies<br>
Duffy’s skilful yet understated imagery helps to convey the terrible personal stories that lie behind every conflict.
Perhaps almost in an attempt to counter the graphic imagery that we have become so used to seeing, her depictions are subtle and understated and she often leaves the reader to compose their own images.
For example, in the line to fields which don’t explode beneath the feet /of running children, she takes an image that we would usually associate with something innocent and happy and subverts it into something much more sinister.
Similarly, her description of the dying man contains almost no visual imagery and instead focuses on the sense of sound through the word choice cries and the unspoken communication between the photographer and the victim’s wife
By focusing on just one image rather than the countless others that were taken, Duffy forces us to confront the personal cost of war.
In doing so, Duffy again exposes another paradox inherent in the coverage of modern conflict, implying that we have lost the capacity to view the subjects of war as real human beings, each with unique, individual stories and tragedies<br>
13
Our increasing indifference to the victims of conflict
Throughout the poem, Duffy conveys the increasing separateness and isolation the photographer feels both towards his own country and the newspaper he works for.
Unlike us and his editor, he is unable to protect himself from the horror of the subjects he photographs and there is a sense of growing bitterness as he continues to feed the voracious need for news in the knowledge that we are increasingly unmoved and unaffected by the images.
Our disingenuous response is recorded most clearly in the line The reader’s eyeballs prick/with tears between the bath and pre-lunch beers.
His contempt for his editor is revealed in the careless, thoughtless way he notes how he chooses photographs for the paper, picking out five or six/for Sunday’s supplement.
Ironically, in an almost parallel response to our desensitisation, the photographer too feels increasingly indifferent towards his homeland and fellow countrymen as he stares impassively at where/he earns his living and they do not care.<br>
Throughout the poem, Duffy conveys the increasing separateness and isolation the photographer feels both towards his own country and the newspaper he works for.
Unlike us and his editor, he is unable to protect himself from the horror of the subjects he photographs and there is a sense of growing bitterness as he continues to feed the voracious need for news in the knowledge that we are increasingly unmoved and unaffected by the images.
Our disingenuous response is recorded most clearly in the line The reader’s eyeballs prick/with tears between the bath and pre-lunch beers.
His contempt for his editor is revealed in the careless, thoughtless way he notes how he chooses photographs for the paper, picking out five or six/for Sunday’s supplement.
Ironically, in an almost parallel response to our desensitisation, the photographer too feels increasingly indifferent towards his homeland and fellow countrymen as he stares impassively at where/he earns his living and they do not care.<br>
14
War Photographer by Carol Ann Duffy Learning Intentions
- To examine the effect of different examples of war photography
To examine Carol Ann Duffy’s message behind her poem War Photographer<br>
- To examine the effect of different examples of war photography
To examine Carol Ann Duffy’s message behind her poem War Photographer<br>
15
War Photographer by Carol Ann Duffy Starter:
In groups, discuss the following questions and be prepared to share your ideas with the class. What do we often see in images from war zones?
Why do you think those in charge of newspapers/TV decide to show images from war zones?
What do you think it would feel like to be a ‘war photographer’?
How might a war photographer feel about the value of the job they are doing?<br>
In groups, discuss the following questions and be prepared to share your ideas with the class. What do we often see in images from war zones?
Why do you think those in charge of newspapers/TV decide to show images from war zones?
What do you think it would feel like to be a ‘war photographer’?
How might a war photographer feel about the value of the job they are doing?<br>
16
Examples On the next few slides you will see some examples of images from different war zones.
We shall discuss the focus of each photograph – what are we drawn to?
For each photograph, you should think about how you are made to feel.
You should then think about what the photographer would have been going through as they took the photo. War Photographer by Carol Ann Duffy<br>
We shall discuss the focus of each photograph – what are we drawn to?
For each photograph, you should think about how you are made to feel.
You should then think about what the photographer would have been going through as they took the photo. War Photographer by Carol Ann Duffy<br>
17
War Photographer by Carol Ann Duffy Do you think Duffy’s poem is pro or anti-war photography?
How do you think this photographer feels about their job? Pride or guilt?
How do you think Duffy feels towards the newspaper editors?
What does Duffy seem to be suggesting about the way the readers react to seeing these images?
What is Duffy trying to point out about life in Britain compared to Beirut etc? After Reading - Discussion:<br>
How do you think this photographer feels about their job? Pride or guilt?
How do you think Duffy feels towards the newspaper editors?
What does Duffy seem to be suggesting about the way the readers react to seeing these images?
What is Duffy trying to point out about life in Britain compared to Beirut etc? After Reading - Discussion:<br>
18
War Photographer by Carol Ann Duffy Learning Intentions
To understand the background of the different conflicts alluded to in the poem ‘War Photographer’
To identify a range of techniques used by Carol Ann Duffy in ‘War Photographer’
To identify the tone(s) in ‘War Photographer’
To begin a more detailed analysis of techniques
used in ‘War Photographer’<br>
To understand the background of the different conflicts alluded to in the poem ‘War Photographer’
To identify a range of techniques used by Carol Ann Duffy in ‘War Photographer’
To identify the tone(s) in ‘War Photographer’
To begin a more detailed analysis of techniques
used in ‘War Photographer’<br>
19
War Photographer by Carol Ann Duffy Poem Analysis – First Step Underline the words/phrases which you think are important.
If you identify any techniques, write the term in pencil at the end of the line.
Once complete, think about the overall tone of this poem. You might use a few words to describe the tone at different points in the poem. Make sure that you have highlighted all the words which help establish this tone.<br>
If you identify any techniques, write the term in pencil at the end of the line.
Once complete, think about the overall tone of this poem. You might use a few words to describe the tone at different points in the poem. Make sure that you have highlighted all the words which help establish this tone.<br>
20
Developing Analysis When you are writing about this poem you will have to explain why you think each technique has been used.
Think – what does it suggest or show.
You may wish to record your ideas in a table… War Photographer by Carol Ann Duffy<br>
Think – what does it suggest or show.
You may wish to record your ideas in a table… War Photographer by Carol Ann Duffy<br>
21
War Photographer by Carol Ann Duffy Learning Intentions
To understand the techniques for answering
different type of textual analysis questions on poetry<br>
To understand the techniques for answering
different type of textual analysis questions on poetry<br>
22
War Photographer by Carol Ann Duffy Critical Reading Questions
The following slides have example answers for the Critical Reading questions you have completed.
The answers are not the ONLY ones available. But hopefully they will give you an idea of what will be expected in the exam.<br>
The following slides have example answers for the Critical Reading questions you have completed.
The answers are not the ONLY ones available. But hopefully they will give you an idea of what will be expected in the exam.<br>
23
War Photographer by Carol Ann Duffy Critical Reading Questions<br>
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War Photographer by Carol Ann Duffy<br>
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War Photographer by Carol Ann Duffy<br>
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War Photographer by Carol Ann Duffy<br>
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War Photographer by Carol Ann Duffy<br>
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War Photographer by Carol Ann Duffy<br>