Horror of war, the increasing indifference towards other's suffering.
1 of 20
STYLE
Third person.
2 of 20
STRUCTURE
Constant rhyme scheme and strict stanzas to show the war photographers attempt to regain control and to show that Duffy doesn't think that the current attitudes will change.
3 of 20
finally alone
The war photographer is relieved to be alone as he can now privately deal with the war horrors he has witnessed. He lives in two worlds, but doesn't belong in either: the war zones and rural England.
4 of 20
spools of suffering
The spools contain so much suffering and horror that they become suffering which highlights the horror of the images.
5 of 20
ordered rows
The war photographer must regain some control. The photos are organised like gravestones to pay respect to the people in them.
6 of 20
As though this were a church and he /a priest preparing to intone a Mass.
Duffy uses a comparison. Like a priest, the war photographer is respectful, sombre, ritualistic, takes his job seriously and wants to better mankind.
7 of 20
Belfast. Beruit. Phnom Penh.
List of minor sentences shows he feels guilty about taking photos but not helping. Switching the words used in a Mass to war zones makes us feel like something revered has become something horrific.
8 of 20
All flesh is grass.
This bible quote shows that he thinks that life is fragile because when people die they return to the Earth and it means little to some people. The lack of mention of a higher power makes the tone dark.
9 of 20
solutions slop into trays
Can be seen literally and metaphorically as the photos can be used as a solution to end the wars. Alliteration and onomatopoeia mimics that sound and imply he is unsteady and shaky.
10 of 20
hands, which did not tremble then /though seem to now
Stark contrast between dangerous war zone and comfortable life at home. He must be professional while taking photos but can feel the natural guilt and fear now.
11 of 20
Rural England. Home again /to ordinary pain which simple weather can dispel, /to fields which don't explode beneath the feet /of running children in a nightmare heat.
His life at home is easy as sunshine can cheer people up which contrasts with the war zone were innocent children are suffering. The reader must imagine the seen for themselves which makes the war seem more horrendous.
12 of 20
a half-formed ghost
The image looks ghostly because it isn't fully developed. The man in the photo is dead so is thus a ghost. These show that the image haunts him.
13 of 20
he sought approval /without words to do what someone must
His need for approval shows he feels awful for seeing suffering but being unable to help apart from documenting the pain.
14 of 20
blood stained foreign dust
The gory image is left to the readers imagination which is done so that Duffy can allow us to reflect on her words.
15 of 20
a hundred agonies in black and white
The images contain so much human suffering that they become agony itself.
16 of 20
his editor will pick five or six
"Pick" implies that the editor doesn't really care about the people's suffering as he is just casually choosing a few images without thinking about them.
17 of 20
Sunday's supplement.
Although the photographer has risked his life for the images, they don't make it into the actual newspaper so people can choose not to look at them. Alliteration shows Duffy's anger at people's lack of care.
18 of 20
the reader's eyeballs ***** /with tears between the bath and pre-lunch beers.
The quick pace and word choice of dismissive words such as "*****" conveys his and Duffy's anger that people are so removed from other's suffering that they only feel temporary compassion for them.
19 of 20
From the aeroplane he stares impassively at where /he earns his living and they do not care.
Like the people in England, the war photographer must also distance himself from the pain in order to take the photos which is ironic as to make other's be less uncaring, he must become detached himself.
20 of 20
Other cards in this set
Card 2
Front
Third person.
Back
STYLE
Card 3
Front
Constant rhyme scheme and strict stanzas to show the war photographers attempt to regain control and to show that Duffy doesn't think that the current attitudes will change.
Back
Card 4
Front
The war photographer is relieved to be alone as he can now privately deal with the war horrors he has witnessed. He lives in two worlds, but doesn't belong in either: the war zones and rural England.
Back
Card 5
Front
The spools contain so much suffering and horror that they become suffering which highlights the horror of the images.
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