Question:
What techniques does carol Ann Duffy use?
Alice
2013-08-18 10:11:12 UTC
What techniques does carol Ann Duffy use which stand out
Possible relating to her poem war photographer.
Thanks!
Three answers:
~~*Milieu*~~
2013-08-18 10:18:28 UTC
'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 the bath and pre-lunch beers.

From the aeroplane he stares impassively at where

he earns his living and they do not care.
?
2017-03-02 06:45:34 UTC
1
?
2016-08-07 23:28:32 UTC
Taken from the Wikipedia web page on Carol Ann Duffy -- style part Duffy's work explores each everyday expertise and the wealthy fantasy life of herself and others. In dramatising scenes from childhood, youth, and grownup life, she discovers moments of comfort via love, memory, and language. Charlotte Mendelson writes in the Observer: a part of Duffy's talent – apart from her ear for normal eloquence, her beautiful, robust, throwaway strains, her subtlety – is her ventriloquism. Just like the nice of her novelist friends ... She slides inside and out of her characters' lives on a circulation of possessions, aspirations, idioms and turns of phrase. However, she can also be a time-traveller and a form-shifter, gliding from Troy to Hollywood, galaxies to intestines, sloughed-off skin to department stores even as different poets make heavy weather of one kiss, one kick, one letter ... From verbal nuances to intellect-expanding ingenious leaps, her phrases appear freshly plucked from the minds of non-poets – that's, she makes it seem handy. Of her possess writing, Duffy has mentioned, "i am not , as a poet, in words like 'plash'—Seamus Heaney words, interesting phrases. I love to make use of easy phrases, but in a intricate approach." She informed The Observer: "just like the sand and the oyster, it is a inventive irritant. In each and every poem, i'm attempting to reveal a actuality, so it can not have a fictional opening." Duffy rose to better prominence in UK poetry circles after her poem "Whoever She used to be" received the Poetry Society national Poetry competitors in 1983.[20] In her first assortment, Standing female Nude (1985), she makes use of the voices of outsiders, for example in the poems 'education for amusement' and 'dear Norman'. Her next collection female Gospels (2002) continues this vein, displaying an expanded interest in lengthy narrative poems, available in type and customarily surreal in their imagery. Her 2005 publication, Rapture (2005), is a series of intimate poems charting the direction of a love affair, for which she received the £10,000 T.S. Eliot Prize. In 2007, she released The Hat, a group of poems for youngsters. On-line copies of her poems are rare, however her poem dedicated to U A Fanthorpe, Premonitions, is on hand through The Guardian, and several others by way of The daily replicate.


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