In his darkroom he is finally alone
with spools of suffering set out in ordered rows.
The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is grass.

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
to ordinary pain which simple weather can dispel,
to fields which don’t explode beneath the feet
of running children in a nightmare heat.

Something is happening. A stranger’s features
faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries
of this man’s wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust.

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 bath and pre-lunch beers.
From aeroplane he stares impassively at where
he earns a living and they do not care.


Carol Ann Duffy

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Sobre uma imagem ” ícone do séc. XX” e sua produção (manipulação/fabricação)

Um vídeo em forma de ensaio fotográfico (auto-crítico, produzido por um fotógrafo responsável por cobrir conflitos no Oriente Médio) objetiva desmistificação, análise crítica e reflexão aprofundada quanto ao contexto atual em que se insere o fotojornalismo de conflito.