Homework Respond to your Power/Conflict PEEL - INT Write all you EBIs in the front cover of your newest book.

The poem… Is cleverly constructed to reclaim black identity Makes the reader aware that British history is only a point of view Introduces the reader to famous black people Reminds us that whoever controls the past, controls the present

The poem… Cleverly uses two types of stanza to show the differences between ‘official’ and ‘non-official’ history Shows that without a history and without a distinctive voice we may have no identity

The Emigrée (1993) Carol Rumens There once was a country… I left it as a child but my memory of it is sunlight-clear for it seems I never saw it in that November which, I am told, comes to the mildest city. The worst news I receive of it cannot break my original view, the bright, filled paperweight. It may be at war, it may be sick with tyrants, but I am branded by an impression of sunlight. The white streets of that city, the graceful slopes glow even clearer as time rolls its tanks and the frontiers rise between us, close like waves. That child’s vocabulary I carried here like a hollow doll, opens and spills a grammar. Soon I shall have every coloured molecule of it. It may by now be a lie, banned by the state but I can’t get it off my tongue. It tastes of sunlight. I have no passport, there’s no way back at all but my city comes to me in its own white plane. It lies down in front of me, docile as paper; I comb its hair and love its shining eyes. My city takes me dancing through the city of walls. They accuse me of absence, they circle me. They accuse me of being dark in their free city. My city hides behind me. They mutter death, and my shadow falls as evidence of sunlight. Longer final stanza

To use MITSL to develop a response to the poem War Photographer Objectives: To explore the poem War Photographer focusing on how Duffy has used poetic devices to portray the theme of power and conflict To use MITSL to develop a response to the poem

These people are War Photographers. The photos we see in Sunday supplements, adorning posters or headlines, are taken by real people. These people place their lives in danger, to help us visualise the horrors of war elsewhere; wars not on our doorstep. These people are War Photographers.

Falling soldier, Spanish Civil War

A Bhuddist Monk sets himself on fire in Saigon to protest the Vietnam War. June 1964

Vietnam

Iran, 1979

South Vietnamese General Nguyen Ngoc Loan, chief of the national police, fires his pistol into the head of suspected Viet Cong officer Nguyen Van Lem (also known as Bay Lop) on a Saigon street, early in the Tet Offensive, February 1st 1968Picture: Eddie Adams/AP

An Israeli border policeman fires teargas canister during a protest by Palestinians against the construction of the controversial Israeli security barrier in the West Bank village of Az-Zawiya June 20th, 2004.

Former Iraqi leader Saddam Hussein moments after his capture by US forces in a farm house outside Tikrit, December 14th 2003

A British soldier jumps from a burning tank which was set ablaze after a shooting incident in the southern Iraqi city of Basra. Angry crowds attacked a British tank with petrol bombs and rocks in Basra on Monday after Iraqi authorities said they had detained two British undercover soldiers in the southern city for firing on police. September 19th 2005

War Photographer The poem comes from Duffy’s friendship with Don McCullin and Philip Jones Griffiths, two well-respected stills photographers who specialised in war photography. Duffy is fascinated by what makes someone do such a job and how they feel about being in situations where a choice often has to be made between recording horrific events, and helping.

Homework Respond to your Power/Conflict PEEL - INT Write all you EBIs in the front cover of your newest book.

War Photographer 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

So where does the theme fit in? What is the ‘power’ in the poem? What is Duffy suggesting? What type of conflict is shown and who is it between?

War Photographer 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

Reading the poem Structure & Form

Make notes on the structure of the first verse 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 atone a Mass. Belfast. Beirut. Phnom Penh. All flesh is grass. Is this continued throughout? Why?

Structure 4 stanzas 6 lines per stanza Regular rhyme scheme – ABBCDD, etc. WHY? Imposes order in the chaos of war Like the photographer – order with the photos, making sense of the chaos

In his darkroom he is finally alone Contrast to what? Sibilance – what is the effect? What are the connotations of the colours? 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 atone a Mass. Belfast. Beirut. Phnom Penh. All flesh is grass. regularity/order – reflects structure Suggestion of graves/bodies Simile – reverence and devotion to the pictures Litany of horror; what is the effect of the caesura? Isaiah 40:6 – shortness of life

He has a job to do. Solutions slop in trays Ambiguity – chemicals/solutions to war Implies carelessness He has a job to do. Solutions slop in trays beneath his hands which do 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 nightmare heat. Why did they not tremble then? Why now? Suggests idyllic life Contrast: barefoot children running in grass for fun/those running from war – end of innocence and, possibly, life. Cannot compare to pain of war True meaning to the poem - contrast

Think-pair-share Duffy says that ‘He has a job to do’ in the second stanza. What is his job, and what does it entail? How do the public view his ‘job’?

Think-Pair-Write Comment on how each of the following groups of people react in the poem. Use evidence to back up your response, say why you think Duffy included these different perspectives: The Editor (I think the Editor feels… I know this because… Duffy included the viewpoint of the Editor because… ) The Photographer ( I know the photographer feels… I know this because…. Duffy included the photographer’s feelings because…) The Public ( I think the public feel… I think this because it says… Duffy included the perspective of the public because…)

Something is happening. A stranger’s features Ambiguous: Literal – developing the photo. Figurative – person in pain 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. Metaphor – 1. image on photo, 2. death Photographer’s dilemma – has a job to do.

A hundred agonies in black-and-white Photo Good/evil Truth/lies Trivialises; we are only moved momentarily Contrast to war zone 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. From the aeroplane he stares impassively at where He earns his living and they do not care. Chooses photos to suit the article; don’t convey the full horror of war En route to another assignment; poem is cyclical; unceasing wars Who are they? Suggests they are used for entertainment

FOCUS ON IMAGERY: In the exam you will be expected to be able to use quotations and explain them in detail in order to show you analysis of them. Use the PEEL method for this. For example: How does Duffy try to make us relate to overseas conflicts?

Revision of poetic techniques… Evidence of technique from W.P Effect/Purpose Alliteration ‘spools of suffering’ The ‘s’ is quite a long drawn out sound which could emphasise the photographer having lots of rolls of film showing/documenting lots of suffering. Rhyme Personification Symbolism Simile/Metaphor Imagery

Point It can be difficult for us to relate to suffering in faraway countries and so to make us feel angry and guilty about it, Duffy has to use some disturbing and powerful images, images we would rather not think about, or really see. She says...

Evidence to support 'Fields which don't explode beneath the feet Of running children in a nightmare heat.

Explanation/Analysis This image is effective because we would normally think of 'running children' in 'fields' as an image of fun. We also associate children with innocence, and the idea of them being hurt brings out our protective instincts. Duffy does not tell us what these children are running from, some kind of 'nightmare heat', leaving it up to us to imagine our worst fears. In effect, this image is what happened before the images we have all seen on our TV's of children badly burnt, without legs or arms. We know while they are 'running' what will happen to them.

FOCUS ON IMAGERY: In small groups, select one of the following and create a short analytical paragraph, using MITSL . Maximum 10 minutes. “how the blood stained into foreign dust” “a hundred agonies in black-and-white” “A stranger’s features faintly start to twist before his eyes, a half-formed ghost.” “The reader’s eyeballs prick/ with tears between the bath and pre-lunch beers”

So where does the theme fit in? What is the ‘power’ in the poem? What is Duffy suggesting? What type of conflict is shown and who is it between?

Get students to work on MITSL on their own today.

Compare the ways poets present ideas about conflict in ‘War Photographer’ and in one other poem from ‘Power and Conflict’ War Photographer Meaning (title) Imagery Tone Structure Language

Compare the ways poets present ideas about conflict in ‘War Photographer’ and in one other poem from ‘Power and Conflict’

30 min response Using your information from your table or venn diagram write a response to the question: Compare the ways poets present ideas about conflict in ‘War Photographer’ and in one other poem from ‘Power and Conflict’

Success criteria Is there: An introduction which includes both poems outlining their meaning and their titles? A section on imagery which compares both poems in relation to conflict using quotes? A section on tone which compares both poems in relation to conflict using quotes? A section on structure which compares both poems in relation to conflict using quotes? A section on language which compares both poems in relation to conflict using quotes?