'War Photographer' (Edexcel IGCSE English Literature)
Revision Note
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‘War Photographer’
Below you will find a guide to Carol Ann Duffy’s poem titled ‘War Photographer’ from the Edexcel International GCSE English Anthology (part 3: unit 1, section B). This guide includes:
Overview: a line-by-line breakdown of the poem, including its possible meanings and interpretations
Form, structure and language: an exploration of the techniques and poetic choices that Carol Ann Duffy has used
Themes: an exploration of the themes and ideas in the poem
Comparing poems: suggestions on which poems to compare it to
Overview
Find out more about the poem to confidently answer an essay question in your exam by reading:
A summary of the poem
A “translation” of the poem, section-by-section
A commentary of each of these sections, outlining Duffy’s intention and message
A summary of the poem ‘War Photographer’
'War Photographer' was written by the poet Carol Ann Duffy, Poet Laureate from 2009 to 2019. Published in 1985, 'War Photographer' depicts the solitary experience of a photographer at home in England developing photographs taken in conflicts around the world. The poem comments on the personal distress of the photographer at what they have seen in warzones, and how people back home respond.
‘War Photographer’ analysis
Lines 1-2
“In his dark room he is finally alone
with spools of suffering set out in ordered rows.”
Translation
The poem narrates the moment a 'War Photographer' begins to develop the photographs taken in warzones
A dark room is a room with low lighting designed for processing film
The narrator describes the spools of film containing images which display the tragedies of those in conflict
Duffy’s intention
Duffy alerts readers to a moment of relief for the photographer when he is alone in his dark room
This implies the photographer’s distress in the external world
Duffy highlights the many painful images the photographer has taken in conflict which he is about to process
Lines 3-5
“The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass.”
Translation
Duffy sets the scene with soft red light and religious imagery
She compares the photographer’s task with a religious ceremony
Taking Mass or taking the sacrament is a ritual in Catholicism which represents sacrifice
Duffy’s intention
Duffy evokes a solemn mood to present the significance of his work
She compares the processing of photographs of war with a religious ritual of sacrifice
The allusion to sacrifice highlights the sacrifice of those in the photographs
Line 6
“Belfast. Beirut. Phnom Penh. All flesh is grass.”
Translation
The poet lists several places of conflict, referring to Ireland’s troubles and civil wars in Lebanon and Cambodia
The line, “All flesh is grass”, is a biblical reference which suggests life is temporary
Duffy’s intention
Duffy’s list of warzones connects the photographer’s “spools of suffering” to particular places, highlighting the reality of the persona’s job
Duffy refers to a famous photograph, “The Terrors of War”, to remind readers of the power photography can have
The biblical line alludes to the fleeting lives of those in the photographer’s photos
Lines 7-8
“He has a job to do. Solutions slop in trays
beneath his hands, which did not tremble then”
Translation
Here, the narrator tells us the photographer sees his work as a job which must be completed, a duty
The photographer, now developing the photographs, feels the impact of his memories where before he had to keep a steady hand
Duffy's intention
The narrator begins to explain the photographer’s feelings to his task to convey the perspective of a 'War Photographer'
The narrator explains that he finds it emotionally painful to remember the conflicts he has witnessed
Whereas before he had to stay in control, here, the photographer begins to weaken
Lines 9-12
“though seem to now. 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.”
Translation
The narrator comments on how life in England is ordinary compared to warzones
Duffy refers to the weather as something that causes people pain but can easily change
The narrator refers to a warzone filled with landmines and bombs
The reference to children running through “nightmare heat” alludes to a famous photograph of a child running from a bomb in Phnom Penh
Duffy’s intention
These lines present a contrast between life in the English countryside and life in warzones to show the photographer’s displacement
The phrase “ordinary pain” contrasts the violent action of “children running” to show the problems in England as trivial compared to those in areas of conflict
Duffy’s contrast of bad weather and “nightmare heat” shows how different things are in England compared with war torn areas
She highlights the devastation of conflict on vulnerable children
Lines 13-15
“Something is happening. A stranger’s features
faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries”
Translation
The persona describes the moment the photograph begins to develop and the image of a man caught up in conflict begins to form on the film
This reminds him of the moment he took the photograph
Duffy’s intention
These lines depict the slow-forming image reminding the photographer of the horrors of conflict
The “half-formed ghost” implies the person in the photo was killed in conflict
Duffy depicts the agony of the man and how vividly clear the memory is to the photographer, conveying the suffering experienced by all involved in conflict
Lines 16-18
“of this man’s wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust.”
Translation
The persona refers back to the moment he asked if he could take the photograph
He refers to the man’s death in vivid description
Duffy’s intention
Duffy depicts the difficult moment the photographer intruded into others’ tragedy
The speaker implies a sense of duty to take the photograph
The modal verb “must” shows his sense of moral obligation to try to change things
The vivid description implies the photographer is haunted by the images and highlights again the distance between England and the war zones
Lines 19-22
“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
with tears between the bath and pre-lunch beers.”
Translation
The narrator represents the tragedies in the photographs as numerous and with much suffering
Referring back to the photographer’s job, the narrator tells readers that of all the images developed, only a few will make it into the newspaper
Duffy describes how the readers respond to the photographs: a temporary sadness that is quickly replaced by daily activities
Duffy’s intention
Referring to the many photographs, Duffy emphasises the death toll and impact of war
to evoke sympathy from the reader
Indirectly taking on the voice of the photographer, the narrator suggests the response from the readers, despite the sacrifices of those involved, is brief and temporary
Duffy implies the English public are desensitised to war and the individual suffering of those involved
Lines 23-24
“From the aeroplane he stares impassively at where
he earns his living and they do not care.”
Translation
The poem ends with the photographer back on the aeroplane going to his next job
The description of the photographer, looking down “impassively” on England, tells us he feels numb towards his homeland
The third-person reference “they” refers to the public below
Duffy’s intention
Duffy’s poem ends without resolution to show the futility of the photographer’s job and the continuous and unrelenting nature of war
Duffy’s cynical tone comments on how the public have become numb and desensitised to tragedy in war
She suggests the photographer does not feel similar to his compatriots at home and is therefore left isolated and frustrated
Form, language and structure
When you consider how Carol Ann Duffy uses form, structure and language, try to link your analysis of these elements to focus on how she presents her ideas and why she has made these choices in ‘War Photographer’. You will gain more marks if you focus on Duffy’s themes rather than on individual poetic techniques.
Here are some suggestions for key aspects of the poem you might want to consider:
Form
The poem is a rigid, third-person narration depicting a war photographer’s complex emotions as he processes the photographs he has taken in warzones.
Theme | Evidence | Poet’s intention |
The wide-reaching impact of conflict | Duffy shows a third-person perspective of a 'War Photographer' haunted by the photographs and memories of conflict | The perspective is detached and distant to present the photographer’s isolation, showing how conflict isolates individuals even after war |
This offers a different perspective on conflict, presenting the quiet suffering of those who report on war | ||
Duffy’s poem represents the photographer’s personal grief through the photographer’s disjointed reflections: Free-flowing reflective enjambment is disrupted by caesurae | The persona’s tone changes from emotional to cynical to convey the complex pain of the photographer |
Structure
The poem follows a cyclical structure which ends with the photographer going back to warzones, suggesting the futility of his work, as well as a sense of continuing conflict.
Theme | Evidence | Poet’s intention |
Suffering and powerlessness due to conflict | The line “they do not care” suggests the public are indifferent to the photographs he takes, and to war | Duffy’s use of third-person “they” shows the photographer’s sense of isolation |
The poem ends with the photographer returning to warzones, repeating the painful process | The ending suggests the futility of his job as nothing changes. Duffy presents a lack of resolution for the photographer, as well as his powerlessness to bring about change | |
As the photographer stares “impassively” back at England he mirrors the detachment commented on in the poem | Duffy’s poem criticises the desensitised attitude of the public towards conflict | |
The poem’s ending suggests the photographer’s powerlessness to change his life or heal his own suffering | ||
Language
Duffy’s imagery describes a variety of settings, from a dark room in rural England to conflict zones around the world. The contrasting imagery conveys the very different lives of those involved in conflict to those safe at home.
Theme | Evidence | Poet’s intention |
Response to conflict | Duffy’s imagery contrasts a “rural England” with a warzone where “running children” try to escape exploding bombs | The contrasting settings (from a dark room in England where the photographer feels safe and alone, to a warzone where he interacts with dying strangers) suggest the photographer is caught between two worlds |
Duffy contrasts the tragedies elsewhere (“blood stained into foreign dust”) with the luxurious life in England (“bath and pre-lunch beers”) | Duffy’s contrasting imagery at the end of the poem comments on the apathy of those at home, and, thus, the continuous nature of conflict elsewhere | |
Duffy juxtaposes religious imagery with a list of warzones, “Belfast. Beirut. Phnom Penh” | Duffy weaves Christian ideals of peace through references to conflict: she highlights the photographer’s role as significant within society, and also presents the incongruous response of the public to war | |
The plosive consonants create an aggressive tone which contrasts the softer “priest preparing to intone a Mass” | The aggressive tone conveys a sense of frustration and anger toward the response to conflict | |
Suffering as a result of conflict | Pain as a result of conflict is conveyed in the sibilance, “spools of suffering” | Duffy highlights the numerous examples of individual suffering by referencing “a hundred agonies” caught on film |
The narrator refers to the hands of the photographer trembling as develops the photographs | The sensory experience of the photographer remembering the suffering he has seen evokes sympathy in the reader; this helps convey the emotional impact of conflict | |
Duffy describes the haunting image of a “half-formed ghost” twisting before the photographer’s eyes | Duffy comments on how the photographer has to revisit the painful experience, illustrating the individual suffering of those involved in conflict |
Themes
While knowing the poem is important, you also need to be able to show the examiner that you can write an informed, personal response. Therefore, you need to develop a solid understanding of the theme, main ideas and events depicted.
It is still important to have an awareness of background information that is relevant to the themes in the poem, even though you are not explicitly assessed on context. This can help you develop a sustained, critical understanding of the text.
To help you do this, the section below has been divided into two main themes that Duffy explores in 'War Photographer':
Impact of conflict
Suffering and powerlessness
Impact of conflict
The poem, published in 1985, refers to a famous photograph called “The Terrors of War”, taken during the Vietnam War:
The powerful image shows a naked, terrified child running away from an exploding bomb
The line “children running in nightmare heat” connotes to this photograph
In the photo a photographer can be seen taking a picture of the child
This image had a powerful impact on the public at the time, and raised debates about the moral duty of those witnessing conflict
Referring to this photograph helps raise awareness of the wide-reaching impact war photography can have
The emotive reference to the children highlights how conflict affects even the innocent
Suffering and powerlessness
Carol Ann Duffy, Poet Laureate in the United Kingdom between 2009 and 2019, was friends with two 'War Photographer's:
This may have influenced her to write from the perspective of a 'War Photographer'
In the poem, Duffy presents the photographer as haunted and traumatised by his work
This presents the suffering of all those involved in conflict
However, her poem encourages the public to pay closer attention to their work
Duffy’s poem depicts the suffering of a 'War Photographer' haunted by memories of the many horrors he has witnessed around the world:
She names international conflict zones he has been involved in to represent his repeated suffering:
She refers to the troubles in Belfast and the conflict in Beirut to remind readers of the reality behind her poem
Duffy’s message is that these are just examples of the many conflicts around the world, and the photographer feels powerless to change things
Comparing poems
In your exam, you will be required to compare two poems from the anthology so you must have a good knowledge of poetic form, content and meaning to compare the poems effectively.
You must be able to explore links and connections between texts, which includes looking at both poets’ use of language, form and structure.
Given that 'War Photographer' explores ideas of suffering and powerlessness and the impact of conflict, the following comparisons are the most appropriate:
'War Photographer' and ‘Half-past Two’
'War Photographer' and ‘Blessing’
For each pair of poems, you will find:
Comparison summary
Similarities and differences between the ideas presented in each poem
Evidence and analysis of these similarities and differences
'War Photographer' and ‘Half-past Two’
Comparison summary:
This is an effective comparative choice to explore the themes of memory, traumas and the passage of time through different experiences.
Similarities:
Topic sentence | Both poems explore the theme of memory, trauma and the passage of time | |
Evidence and analysis | 'War Photographer' | ‘Half-past Two’ |
Duffy shows the experience of suffering from the perspective of a 'War Photographer' remembering images of war:
| In 'Half-past Two', the speaker recounts an incident with a child who is given detention by a teacher until half past two but he doesn’t know how to tell the time | |
The photographer’s emotive memories are disjointed, caught between a detached and cynical tone of the omniscient narrator:
| The poet presents the difficult childhood experience as innocent and confusing:
| |
The poem suggests these memories are not easily forgotten and have had a lasting impact on the photographer | Similarly, the memory of the child’s punishment lingers in the child’s mind long after the incident has occurred | |
‘War Photographer’ conveys the trauma associated with his memories:
| Similarly, the child’s inability to understand the concept of time and the consequences of his actions leave him feeling vulnerable and lost | |
Differences:
Topic sentence | While Duffy’s 'War Photographer' uses a detached, third-person voice which is sombre and contemplative, the speaker in ‘Half-past Two’ uses a playful tone | |
Evidence and analysis | 'War Photographer' | ‘Half-past Two’ |
Duffy distances the reader by telling the story of a photographer in a dark-room in third-person narration:
| Despite addressing the themes of confusion and punishment, ‘Half-past Two’ adopts a playful tone:
| |
Strong and powerful imagery is used to illustrate the harsh reality of war and human suffering:
| In contrast, the child’s perceptions to time and authority are presented through playful imagery:
| |
Duffy’s poem uses pronouns to convey the photographer’s isolation from the public: “they” | The language conveys the child’s sense of wonder and naivete and ends positively as he is allowed to return to his school day | |
'War Photographer' and ‘Blessing’
Comparison summary:
Both poems are about the suffering of people who live in deprived areas of the world. Dharker highlights the poverty of people living in a slum in India and their joy at receiving water. Duffy highlights the hardships of people in war-torn, deprived areas by focusing on a photographer who has taken pictures of people in deprived and poverty-stricken parts of the world. Both 'War Photographer' and ‘Blessing’ employ powerful imagery to evoke vivid and poignant scenes, albeit in very different contexts.
Similarities:
Topic sentence | Both poems use powerful imagery: ‘War Photographer uses imagery which is shocking and sad while ‘Blessing’ uses imagery which evokes joy | |
Evidence and analysis | 'War Photographer' | ‘Blessing’ |
‘War Photographer’ presents powerful imagery through the depiction of “children in a nightmare heat:
| Powerful imagery is also depicted in ‘Blessing’:
| |
Painful memories are depicted: “a hundred agonies in black and white”:
| The poem is about a ‘municipal’ pipe that bursts in an area where the land is so dry that skin ‘cracks like a pod’:
| |
Duffy contrasts imagery to show the photographer’s sense of detachment:
| The poet uses sensory imagery: ‘drip’, ‘splash’, ‘echo’ and ‘crash’ is onomatopoeic and presents the reader with strong images of how the gift of water gradually builds-up to the steady flow of water | |
In ‘War Photographer’, religious imagery is used to compare the photographer’s actions with that of “a priest preparing to intone a mass”:
| Similarly, in ‘Blessing’ the poet refers to a ‘kindly god’, ‘a congregation’:
| |
In ‘War Photographer’, the colours are primary: “red”, “black” and “white”:
| In ‘Blessing’, the poet uses a range of colours which suggest wealth, such as “silver”, “brass”, “copper”, “aluminium”, “liquid sun”:
| |
Differences:
Topic sentence | Although both poems address issues of poverty, both have different perspectives and outlooks | |
Evidence and analysis | 'War Photographer' | ‘Blessing’ |
The speaker focuses on the thoughts and feelings of the photographer and, at times, the photographer is fighting with himself over the ethics of his images:
| The speaker of the poem uses language that reflects the benefits water offers to the community:
| |
In ‘War Photographer’, the people whom the photographer observes are presented in a negative way, described as a “half-formed ghost” suffering a “hundred agonies”:
| The people whom the speaker is referencing in the poem are initially deprived of water and therefore have skin that “cracks”:
| |
In ‘War Photographer’, the structure is much tighter with four stanzas of six lines and a consistent rhyme scheme:
The poet uses a rhyme scheme of ABBCDD but also uses internal rhyme:
| The poet uses free verse in ‘Blessing’ to mirror the rush of water and the commotion that ensues:
| |
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