REMAINS AND WAR PHOTOGRAPHER (CONFLICT)

war photographer

‘spools of suffering set out in ordered rows’

• sibilance ‘s’ suggesting of graves or bodies in ‘ordered rows

• mimics a whisper implying how quietly it permeates the photographers mind, unnoticed

• suffering abstract noun

• violence, suffering, desensitised, haunted

• highlight violence of war and conflict

remains

‘every round as it rips through his life’

• alliteration, the harsh ‘r’ sound reflects the violence of the image portraying his memory more vividly as it seems to bring it to life through its sound

• both poets use alliterative effects to create a sense of panic and disorder and also to highlight the violence of war and conflict

• conflict is not just in warzone but also

war photographer

‘A hundred agonies in black and white’

• colour imagery

• made to seem simplified (merely factual)

• emphasises their pain is not given enough recognition by using ‘agonies’ a powerful noun to illustrate torment

• numeral ‘hundred’ overwhelming magnitude

• torment

remains

‘his bloody life in my bloody hands’

• repetition of bloody shows the memory of death keeps returning also suggesting his tortured memories of war are flooded with guilt (readers will sympathise with him (effect))

• both poets use imagery to allow the reader to picture the terrible effects of war and conflict

• trauma

war photographer

‘tears between the bath and the pre-lunch beers’

• internal rhyming of tears and beers to explore the war photographers internal feelings of conflict

• news paper readers see these images and it only affects them for a short while while those who experienced it first hand are scarred for life.

• guilt ridden ashamed dissmissive

remains

‘one of them legs it up the road’

• use of colloquial language makes the description of the killing seem casual tone

• no remorse'

• confident (ironic as later he is unable to get over his guilt ridden mind as the kill is fresh in his mind as it keeps coming back to haunt him)

s

s