War Photographer's Dark Room
The poem opens with the war photographer in his darkroom, developing photographs from various conflict zones. This setting serves as a metaphor for the photographer's psychological state as he processes his experiences.
Highlight: The use of "dark" in describing the room emphasizes the bleak mental space the photographer must inhabit when revisiting his war photographs.
The poet compares the photographer's work to that of a priest, suggesting a solemn and sacred quality to his task. This comparison underscores the gravity of documenting human suffering and death.
Quote: "as though this were a church and he / a priest preparing to intone a Mass."
The poem lists several war-torn locations—Belfast, Beirut, and Phnom Penh—to illustrate the global nature of conflict and the photographer's extensive exposure to various war zones.
Vocabulary: "All flesh is grass" is a biblical allusion that emphasizes the fragility and transience of human life, particularly in the context of war.
The contrast between the photographer's steady hands while taking pictures in war zones and their trembling when developing photos at home reveals the delayed emotional impact of his experiences.
Example: "his hands, which did not tremble then / though seem to now" illustrates the photographer's suppressed emotions during work and their resurgence in safety.
