War Photographer Quotes

Stefan with his camera at the ready photographed a church and mosque and synagogue reduced to a cross and a crescent and a star, solitary monuments to what people once believed.  They silently passed the broken Olympic Stadium, now a graveyard without glory for the decomposing dead.

It is a misfortune to be in the presence of a writer, even a failed writer, to be seen by him, be his passing study and remain in his corrupt memory. It is like the insult of a corpse on the road by a war photographer.

people used to tell me that i had beautiful hands told me so often, in fact, that one day i started to believe them until i asked my photographer father, “hey daddy could i be a hand model” to which he said no way, i dont remember the reason he gave me and i wouldve been upset, but there were far too many stuffed animals to hold too many homework assignment to write, too many boys to wave at too many years to grow, we used to have a game, my dad and i about holding hands cus we held hands everywhere, and every time either he or i would whisper a great big number to the other, pretending that we were keeping track of how many times we had held hands that we were sure, this one had to be 8 million 2 thousand 7 hundred and fifty three. hands learn more than minds do, hands learn how to hold other hands, how to grip pencils and mold poetry, how to tickle pianos and dribble a basketball, and grip the handles of a bicycle how to hold old people, and touch babies , i love hands like i love people, they're the maps and compasses in which we navigate our way through life, some people read palms to tell your future, but i read hands to tell your past, each scar marks the story worth telling, each calloused palm, each cracked knuckle is a missed punch or years in a factory, now ive seen middle eastern hands clenched in middle eastern fists pounding against each other like war drums, each country sees theyre fists as warriors and others as enemies. even if fists alone are only hands. but this is not about politics, no hands arent about politics, this is a poem about love, and fingers. fingers interlock like a beautiful zipper of prayer. one time i grabbed my dads hands so that our fingers interlocked perfectly but he changed positions, saying no that hand hold is for your mom. kids high five, but grown ups, we learn how to shake hands, you need a firm hand shake,but dont hold on too tight, but dont let go too soon, but dont hold down for too long, but hands are not about politics, when did it become so complicated. i always thought its simple. the other day my dad looked at my hands, as if seeing them for the first time, and with laughter behind his eye lids, with all the seriousness a man of his humor could muster, he said you know you got nice hands, you could’ve been a hand model, and before the laughter can escape me, i shake my head at him, and squeeze his hand, 8 million 2 thousand 7hundred and fifty four.

Why do we not care to acknowledge them? The cattle, the body count. We still don't like to admit the war was even partly our fault because so many of our people died. A photograph on every mantlepiece. And all this mourning has veiled the truth. It's not so much lest we forget, as lest we remember. Because you should realise the Cenotaph and the Last Post and all that stuff is concerned, there's no better way of forgetting something than by commemorating it.

Photography has shaped the way I look at the world; it has taught me to look beyond myself and capture the world outside.

My sisters and I sit together on a pair of suitcases. If we've forgotten anything, it's already too late -- our rooms have all been sealed and photographed. Anyway, Tatiana would say it's bad luck to return for something you've forgotten.

It is the story that lies around the edges of the photographs, or at the end of newspaper account. It's about the lies we tell others to protect them, and about the lies we tell ourselves in order not to acknowledge what we can't bear: that we are alive, for instance, and eating lunch, while bombs are falling, and refugees are crammed into camps, and the news comes toward us every hour of the day. And what, in the end, do we do?

The truth was, the difference between a studio photographer and a photojournalist was the same as the difference between a political cartoonist and an abstract painter; the only thing the two had in common was the blank page.

The human louse somewhat resembles a tiny lobster, and he lives chiefly in your trousers. Short of burning all your clothes there is no known way of getting rid of him. Down the seams of your trousers he lays his glittering white eggs, like tiny grains of rice, which hatch out and breed families of thier own at horrible speed. I think pacifists might find it helpful to illustrate thier pamphlets with enlarged photographs of lice. Glory of war indeed! In war all solderies are lousy, at the least when it is warm enough. The men that fought at Verdun, at Waterloo, at Flodden, at Senlac, at Thermopylae - every one of them had lice crawling over his testicles.

I became fascinated by the notion of dispelling stereotypes or misconceptions through photography, of presenting the counterintuitive.

There were people dying everywhere getting massacred in every town and village, there were people being picked up and thrown into dark jails in unknown parts, there were dungeons in the city where hundreds of young men were kept in heavy chains and from where many never emerged alive, there were thousands who had disappeared leaving behind women with photographs and perennial waiting, there were multitudes of dead bodies on the roads, in hospital beds, in fresh martyrs' graveyards and scattered casually on the snow of mindless borders.

Trying to convey beauty in war was a technique to try to prevent the reader from looking away or turning the page in response to something horrible. I wanted them to linger, to ask questions.

We are punctual, a stressed, marked characteristic. We need order around us, in the house, in the life, although we live by irresistible impulses, as if the order in the closets, in our papers, in our books, in our photographs, in our souvenirs, in our clothes could preserve us from chaos in our feelings, loves, in our work. Indifference to food, sobriety; but this, we admit, is the part of the war against a threatening fragility.

I choose to live in peace and witness war—to experience the worst in people but to remember the beauty.

Every Ukrainian photographer dreams to take a photo which will stop the war.

This was the photograph, I knew, that had already burned its way into my dreams and my shadows, into that part of my mind that I have no control over. Its image would reappear in all its wanton cruelty for the rest of my life, particularly when I was least prepared for it.

The problem is, it's just not enough to live according to the rules. Sure, you manage to live according to the rules. Sometimes it's tight, extremely tight, but on the whole you manage it. Your tax papers are up to date. Your bills paid on time. You never go out without your identity card (and the special little wallet for your Visa!). Yet you haven’t any friends. The rules are complex, multiform. There’s the shopping that needs doing out of working hours, the automatic dispensers where money has to be got (and where you so often have to wait). Above all there are the different payments you must make to the organizations that run different aspects of your life. You can fall ill into the bargain, which involves costs, and more formalities. Nevertheless, some free time remains. What’s to be done? How do you use your time? In dedicating yourself to helping people? But basically other people don’t interest you. Listening to records? That used to be a solution, but as the years go by you have to say that music moves you less and less. Taken in its widest sense, a spot of do-it-yourself can be a way out. But the fact is that nothing can halt the ever-increasing recurrence of those moments when your total isolation, the sensation of an all-consuming emptiness, the foreboding that your existence is nearing a painful and definitive end all combine to plunge you into a state of real suffering. And yet you haven’t always wanted to die. You have had a life. There have been moments when you were having a life. Of course you don't remember too much about it; but there are photographs to prove it. This was probably happening round about the time of your adolescence, or just after. How great your appetite for life was, then! Existence seemed so rich in new possibilities. You might become a pop singer, go off to Venezuela. More surprising still, you have had a childhood. Observe, now, a child of seven, playing with his little soldiers on the living room carpet. I want you to observe him closely. Since the divorce he no longer has a father. Only rarely does he see his mother, who occupies an important post in a cosmetics firm. And yet he plays with his little soldiers and the interest he takes in these representations of the world and of war seems very keen. He already lacks a bit of affection, that's for sure, but what an air he has of being interested in the world! You too, you took an interest in the world. That was long ago. I want you to cast your mind back to then. The domain of the rules was no longer enough for you; you were unable to live any longer in the domain of the rules; so you had to enter into the domain of the struggle. I ask you to go back to that precise moment. It was long ago, no? Cast your mind back: the water was cold.

It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love. Dr. Juvenal Urbino noticed is as soon as he entered the still darkened house where he has hurried on an urgent call to attend a case that for him had lost all urgency many years before. The Antillean refugee Jeremiah de Saint-Amour, disabled war veteran, photographer of children, and his most sympathetic opponent in chess, had escaped the torments of memory with the aromatic fumes of gold cyanide.

because in a sense, our work was our life. It defined who we were, it wasn’t just a job we did for a living, and I needed to hold on to that for as long as I could.

I found that the camera was a comforting companion. It opened up new worlds, and gave me access to people’s most intimate moments. I discovered the privilege of seeing life in all its complexity, the thrill of learning something new every day. When I was behind a camera, it was the only place in the world I wanted to be.

Sumire was a hopeless romantic, a bit set in her ways - innocent of the ways of the world, to put a nice spin on it. Start her talking and she'd go on nonstop, but if she was with someone she didn't get along with - most people in the world, in other words - she barely opened her mouth. She smoked too much, and you could count on her to lose her ticket every time she took the train. She'd get so engrossed in her thoughts at times she'd forget to eat, and she was as thin as one of those war orphans in an old Italian film - like a stick with eyes. I'd love to show you a photo of her but I don't have any. She hated having her photograph taken - no desire to leave behind for posterity a Portrait of the Artist as a Young (Wo)Man.

Journalists can sound grandiose when they talk about their profession. Some of us are adrenaline junkies; some of us are escapists; some of us do wreck our personal lives and hurt those who love us most. This work can destroy people. I have seen so many friends and colleagues become unrecognizable from trauma: short-tempered, sleepless, and alienated from friends. But after years of witnessing so much suffering in the world, we find it hard to acknowledge that lucky, free, prosperous people like us might be suffering, too. We feel more comfortable in the darkest places than we do back home, where life seems too simple and too easy. We don’t listen to that inner voice that says it is time to take a break from documenting other people’s lives and start building our own. Under it all, however, are the things that sustain us and bring us together: the privilege of witnessing things that others do not; an idealistic belief that a photograph might affect people’s souls; the thrill of creating art and contributing to the world’s database of knowledge. When I return home and rationally consider the risks, the choices are difficult. But when I am doing my work, I am alive and I am me. It’s what I do. I am sure there are other versions of happiness, but this one is mine.

When your parents die, Alessandro, you feel that you have betrayed them." "Why?" Luciana asked. "Because you come to love your children more. I lost my mother and father to images in photographs and handwriting on letters, and as I abandoned them for you, the saddest thing was that they made no protest. "Even now that I'm going back to them, I regret above all that I must leave you." "You're not going back to anybody," Alessandro told him. "We'll solve those problems later." "Alessandro," his father said, almost cheerfully. "You don't understand. This kind of problem is very special: it has no solution.

The women also put my life of privilege, opportunity, independence, and freedom into perspective. As an American woman, I was spoiled: to work, to make decisions, to be independent, to have relationships with men, to feel sexy, to fall in love, to fall out of love, to travel. I was only twenty-six, and I had already enjoyed a lifetime of new experiences.

But I have faith, as I’ve always had, that if I work hard enough, care enough, and love enough in all areas of my life, I can create and enjoy a full life.

Politics is nothing more than the elite's version of Gang Wars. You have the left gang and the right gang and they will literally kill people to achieve more control for themselves.

There had never been a funeral in our town before, at least not during our lifetimes. The majority of dying had happened during the Second World War when we didn't exist and our fathers were impossibly skinny young men in black-and-white photographs—dads on jungle airstrips, dads with pimples and tattoos, dads with pinups, dads who wrote love letters to the girls who would become our mothers, dads inspired by K rations, loneliness and glandular riot in malarial air into poetic reveries that ceased entirely once they got back home.

Photography has shaped the way I look at the world; it has taught me to look beyond myself and capture the world outside. It’s also taught me to cherish the life I return to when I put the camera down. My work makes me better able to love my family and laugh with my friends.

We know—more from the faces immortalized on a handful of photographs than from the words of survivors—that the women and men who experienced that moment in Hiroshima believed they had encountered the beginning of the end of the world. There will never be enough future to prove them wrong.

For most of my life, I would have automatically said that I would opt for conscientious objector status, and in general, I still would. But the spirit of the question is would I ever, and there are instances where I might. If immediate intervention would have circumvented the genocide in Rwanda or stopped the Janjaweed in Darfur, would I choose pacifism? Of course not. Scott Simon, the reporter for National Public Radio and a committed lifelong Quaker, has written that it took looking into mass graves in former Yugoslavia to convince him that force is sometimes the only option to deter our species' murderous impulses. While we're on the subject of the horrors of war, and humanity's most poisonous and least charitable attributes, let me not forget to mention Barbara Bush (that would be former First Lady and presidential mother as opposed to W's liquor-swilling, Girl Gone Wild, human ashtray of a daughter. I'm sorry, that's not fair. I've no idea if she smokes.) When the administration censored images of the flag-draped coffins of the young men and women being killed in Iraq - purportedly to respect "the privacy of the families" and not to minimize and cover up the true nature and consequences of the war - the family matriarch expressed her support for what was ultimately her son's decision by saying on Good Morning America on March 18, 2003, "Why should we hear about body bags and deaths? I mean it's not relevant. So why should I waste my beautiful mind on something like that?" Mrs. Bush is not getting any younger. When she eventually ceases to walk among us we will undoubtedly see photographs of her flag-draped coffin. Whatever obituaries that run will admiringly mention those wizened, dynastic loins of hers and praise her staunch refusal to color her hair or glamorize her image. But will they remember this particular statement of hers, this "Let them eat cake" for the twenty-first century? Unlikely, since it received far too little play and definitely insufficient outrage when she said it. So let us promise herewith to never forget her callous disregard for other parents' children while her own son was sending them to make the ultimate sacrifice, while asking of the rest of us little more than to promise to go shopping. Commit the quote to memory and say it whenever her name comes up. Remind others how she lacked even the bare minimum of human integrity, the most basic requirement of decency that says if you support a war, you should be willing, if not to join those nineteen-year-olds yourself, then at least, at the very least, to acknowledge that said war was actually going on. Stupid fucking cow.

Nationalism emerged to agitate the world only after the war, and the first visible phenomenon which this intellectual epidemic of our century brought about was xenophobia; morbid dislike of the foreigner, or at least fear of the foreigner. The world was on the defensive against strangers, everywhere they got short shrift. The humiliations which once had been devised with criminals alone in mind now were imposed upon the traveler, before and during every journey. There had to be photographs from right and left, in profile and full face, one’s hair had to be cropped sufficiently to make the ears visible; fingerprints were taken, at first only the thumb but later all ten fingers; furthermore, certificates of health, of vaccination, police certificates of good standing, had to be shown; letters of recommendation were required, invitations to visit a country had to be procured; they asked for the addresses of relatives, for moral and financial guarantees, questionnaires, and forms in triplicate and quadruplicate needed to be filled out,

Rising up, rising down! History shambles on! What are we left with? A few half-shattered Greek stelae; Trotsky's eyeglasses; Gandhi's native-spun cloth, Cortes' pieces of solid gold (extorted from their original owner, Montezuma); a little heap of orange peels left on the table by the late Robespierre; John Brown's lengthily underlined letters; Lenin's bottles of invisible ink; one of Di Giovanni's suitcases, with an iron cylinder of gelignite and two glass tubes of acid inside; the Constitution of the Ku Klux Klan; a bruised ear (Napoleon pinched it with loving condescension)... And dead bodies, of course. (They sing about John Brown's body.) Memoirs, manifestoes, civil codes, trial proceedings, photographs, statues, weapons now aestheticized by that selfsame history - the sword of Frederick the Great, and God knows what else. Then dust blows out of fresh graves, and the orange peels go grey, sink, wither, rot away. Sooner or later, every murder becomes quaint. Charlemagne hanged four and a half thousand "rebels" in a single day, but he has achieved a storybook benevolence. And that's only natural: historiography begins after the orange has been sucked,; the peeler believes in the "great and beautiful things," or wants to believe; easy for us to believe likewise, since dust reduced truth and counterfeit to the same greyness - caveat emptor. But ends remain fresh, and means remain inexplicable. Rising up and rising down! And whom shall I save, and who is my enemy, and who is my neighbor?

When Seymour and I were five and three, Les and Bessie played on the same bill for a couple of weeks with Joe Jackson -- the redoubtable Joe Jackson of the nickel-plated trick bicycle that shone like something better than platinum to the very last row of the theater. A good many years later, not long after the outbreak of the Second World War, when Seymour and I had just recently moved into a small New York apartment of our own, our father -- Les, as he'll be called hereafter -- dropped in on us one evening on his way home from a pinochle game. He quite apparently had held very bad cards all afternoon. He came in, at any rate, rigidly predisposed to keep his overcoat on. He sat. He scowled at the furnishings. He turned my hand over to check for cigarette-tar stains on my fingers, then asked Seymour how many cigarettes he smoked a day. He thought he found a fly in his highball. At length, when the conversation -- in my view, at least -- was going straight to hell, he got up abruptly and went over to look at a photograph of himself and Bessie that had been newly tacked up on the wall. He glowered at it for a full minute, or more, then turned around, with a brusqueness no one in the family would have found unusual, and asked Seymour if he remembered the time Joe Jackson had given him, Seymour, a ride on the handle bars of his bicycle, all over the stage, around and around. Seymour, sitting in an old corduroy armchair across the room, a cigarette going, wearing a blue shirt, gray slacks, moccasins with the counters broken down, a shaving cut on the side of his face that I could see, replied gravely and at once, and in the special way he always answered questions from Les -- as if they were the questions, above all others, he preferred to be asked in his life. He said he wasn't sure he had ever got off Joe Jackson's beautiful bicycle.

A shell in the pit," said I, "if the worst comes to worst will kill them all." The intense excitement of the events had no doubt left my perceptive powers in a state of erethism. I remember that dinner table with extraordinary vividness even now. My dear wife's sweet anxious face peering at me from under the pink lampshade, the white cloth with it silver and glass table furniture—for in those days even philosophical writers had luxuries—the crimson-purple wine in my glass, are photographically distinct. At the end of it I sat, tempering nuts with a cigarette, regretting Ogilvy's rashness, and denouncing the shortsighted timidity of the Martians. So some respectable dodo in the Mauritius might have lorded it in his nest, and discussed the arrival of that shipful of pitiless sailors in want of animal food. "We will peck them to death tomorrow, my dear.

...all the men in the photograph wear puttees. All the men in the picture are bound, trying to keep themselves together. That is how considerate they are, for the love of God and country and women and the other men--for the love of all that is good and true--they keep themselves together because they have to. They are afraid but they are not cowards.

Leni stared down at her father. She saw the man who had used his fists when he was angry, saw the blood on his hands and the mean set to his jaw. But she saw the other man, too, the one she’d crafted from photographs and her own need, the one who’d loved them as much as he could, his capacity for love destroyed by war. Leni thought maybe that he would haunt her. Not just him, but the idea of him, the sad and scary truth that you could love and hate the same person at the same time, that you could feel a deep and abiding loss and shame for your own weakness and still be glad that this awful thing had been done.

I often lived with an aching emptiness inside me. I learned early on that living a world away meant I would have to work harder to stay close to the people I loved.

We had learned from the killing of a Reuters photographer on the balcony of the Palestine Hotel that a long lens could be mistaken for a rocket-propelled grenade.

Most / of those he interviewed for the science project had to admit they did not hear the cries of the roses / being burned alive in the noonday sun. Like horses, Geryon would say helpfully, / like horses in war. No, they shook their heads./ Why is grass called blades? he asked them. Isn’t it because of the clicking? / They stared at him. You should be / interviewing roses not people, said the science teacher. Geryon liked this idea. / The last page of his project / was a photograph of his mother's rosebush under the kitchen window. / Four od the roses were on fire. / They stood up straight and pure on the stalk, gripping the dark like prophets / and howling colossal intimacies / from the back of their fused throats.

He taught me to stand on a street corner or in a room for an hour—or two or three—waiting for that great epiphany of a moment, the wondrous combination of subject, light, and composition. And something else: the inexplicable magic that made the image dive right into your heart.

NAMBLA's infiltrated First Recon,' Person continues after bringing the vehicle to a stop. 'There's a guy in Third Platoon, hes going to be collecting photographs of all the children and sending them back to NAMBLA HQ. Back at Pendleton he volunteers at the daycare center. He goes around collecting all the turds from the five-year-olds and puts them into Copenhagen tins. Out there everyone thinks he's dipping, but it's not tobacco. It's dookie from five-year-olds.

The apartment’s owner had been an old man, and the photographs told of a very rich life. He’d had a large family, many friends, and had traveled to what seemed every exciting and exotic locale around the world. I’d never even imagined leaving my bedroom, let alone even leading that kind of life. I promised myself that if I ever made it out of this nightmare, I wouldn’t just survive, I would live!

Why, then, were there no photographs of Margaret Thatcher and Helmut Kohl holding hands at the Brandenburg Gate to match the pictures of Kohl and François Mitterrand at Verdun in 1984? Because Thatcher literally carried in her handbag maps showing German expansion under the Nazis. This was a mental cartography that English conservatism could not transcend – the map of a Europe that may no longer exist in reality but within which its imagination remains imprisoned. ‘Europe,’ Barnett writes, ‘moved on from the Second World War and Britain didn’t.’ One might go so far as to say that England never got over winning the war.

At the sight of the flag he tasted tears in his throat. In the Stars and Stripes all the passions of his life coalesced to produce the ache with which he loved the United States of America - with which he loved the dirty, plain, honest faces of GIs in the photographs of World War Two, with which he loved the sheets of rain rippling across the green playing field toward the end of the school year, with which he cherished the sense-memories of the summers in his childhood, the many Kansas summers, running the bases, falling harmlessly onto the grass, his head beating with heat, the stunned streets of breezeless afternoons, the thick, palpable shade of colossal elms, the muttering of radios beyond the windowsills, the whirring of redwing blackbirds, the sadness of the grown-ups at their incomprehensible pursuits, the voices carrying over the yards in the dusks that fell later and later, the trains moving through town into the sky. His love for his country, his homeland, was a love for the United States of America in the summertime.

actress Esther Williams on the wall. The note that Louie had left on the locker was gone, as was the liquor. Among Louie’s things, Krey found photographs that Louie had taken inside his plane. In some of them, Louie

Ironically, the memory of the women heroes of World War I was largely eclipsed by the very women they had inspired. The more blatant evil enacted into law by Nazi Germany during the Second World War ensured that those who fought against it would continue to fascinate long after the first war had become a vague, unpleasant memory—one brought to mind only by fading photographs of serious, helmeted young men standing in sandbagged trenches or smiling young women in ankle-length nursing uniforms, or by the presence of poppies in Remembrance Day ceremonies.

If I took a month off, I was likely to be replaced by one of the other, say, two hundred freelancers vying to get my assignments. If I took six months off to have a baby, I believed I would be written off by my editors. I was in a man’s profession.

In battle, in a war, a soldier sees only a tiny fragment of what is available to be seen. The soldier is not a photographic machine. He is not a camera. He registers, so to speak, only those few items that he is predisposed to register and not a single thing more. Do you understand this? So I am saying to you that after a battle each soldier will have different stories to tell, vastly different stories, and that when a was is ended it is as if there have been a million wars, or as many wars as there were soldiers.

Which was more real, their dirty bathtubs and shared bedrooms or that other reality, waiting one week away? Most of all he would despair because he could not imagine what it would be like to confront the most real of their realities: that within two years three of the four of them would be dead. The realities of the bombs and torpedoes and the dying was easy enough to imagine--mere events, after all, recorded in thousands of films and photographs and comic books. But not that other infinitely more important reality: the fact that they knew; that even walking down that street, that evening, they knew what was coming--not the details, nor the timing perhaps, but they knew, all four of them, that their world, and in all probability they themselves, would not survive the war. What is the colour of that knowledge? Nobody knows, nobody can ever know, not even in memory, because there are moments in time that are not knowable: nobody can ever know what it was like to be young and intelligent in the summer of 1939 in London or Berlin.

She had always assumed that her life would end inside the war, that the war itself would be her eternal present, as it was for Darrow and for her brother. The possibility of time going on, her memories growing dim, the photographs of the battles turning from life into history terrified her.

The CIA resorted to sending high-altitude U-2 spy planes to photograph the area. It was on the second of these missions, in May 1960, that Francis Gary Powers’s aircraft was shot down by a Soviet SA-2 surface-to-air missile, in what became one of the defining events of the Cold War. Although

The truth is that few of us are born into this work. It is something we discover accidentally, something that happens gradually. We get a glimpse of this unusual life and this extraordinary profession, and we want to keep doing it, no matter how exhausting, stressful, or dangerous it becomes. It is the way we make a living, but it feels more like a responsibility, or a calling. It makes us happy, because it gives us a sense of purpose. We bear witness to history, and influence policy.

In 1855, at the height of the Crimean War, Roger Fenton’s photograph, ‘The Valley of the Shadow of Death’, published in The Times, poignantly captured the aftermath of British retreat in the face of the Russian army with a single image of an empty battlefield. There was only one problem. Fenton had constructed the entire scene, moving cannon balls artfully until he had the perfect image. In 1945, on the beach of Iwo Jima, legendary war photographer Joe Rosenthal captured the most famous image of battle ever taken: the raising of the Stars and Stripes as American soldiers took the summit from the Japanese. It won him the Pulitzer Prize. Both are a lie.

My charge, then, in putting down my pen, and giving over this work to posterity, is this: Take the time. Take the time to preserve the stories, the photographs, the small mementos that mean so much. This is your legacy to future generations. Give it the attention it deserves. Your children and your grandchildren will thank you for it.

More than anything, he taught me the art of patience. Cameras introduce tension. People are aware of the power of a camera, and this instinctively makes most subjects uncomfortable and stiff. But Bebeto taught me to linger in a place long enough, without photographing, so that people grew comfortable with me and the camera’s presence.

I still wish this book was just a compendium of searing photographs I took in Afghanistan during my years as a sexy war correspondent, but hey, there is still time.

I am sure there are other versions of happiness, but this one is mine.

He spoke Spanish, English, Italian, and just enough of every other language to be able to charm women around the world.

His [Francisco Goya's] debt to the Christianity of the eighteenth century is contained in the idea that politics was just adopting from the Gospels: the conviction that man has a right to justice. Such a statement would seem utterly conceited to a Roman, who would doubtless have looked upon the Disasters as we look upon photographs of the amphitheatre...But if Goya thought that man has not come onto the earth to be cut to pieces he thought that he must have come here for something. Is it to live in joy and honour? Not only that; it is to come to terms with the world. And the message he never ceased to preach, a message underlined by war, is that man only comes to terms with the world by blinding himself with childishness.

American and British forces reached none of the bloodlands and saw none of the major killing sites. It is not just that American and British forces saw none of the places where the Soviets killed, leaving the crimes of Stalinism to be documented after the end of the Cold War and the opening of the archives. It is that they never saw the places where the Germans killed, meaning that understanding of Hitler’s crimes has taken just as long. The photographs and films of German concentration camps were the closest that most westerners ever came to perceiving the mass killing. Horrible though these images were, they were only hints at the history of the bloodlands. They are not the whole story; sadly, they are not even an introduction.

The photos I took in Afghanistan are lying in front of me. I peer into the faces of those who were with me there and who are so far away from me now, into the faces of those who were dying right next to me and those who were hiding behind my back. I can make these photos larger or smaller, darker or lighter. But what I can't do is bring back those who are gone forever.

Stay in Latin America, learn photography, and make all your professional mistakes in Argentina,” he said, “because if you make one mistake in New York, no one will give you a second chance.

I spent my childhood and youth on the outskirts of the Alps, in a region that was largely spared the immediate effects of the so-called hostilities. At the end of the war I was just one year old, so I can hardly have any impressions of that period of destruction based on personal experience. Yet to this day, when I see photographs or documentary films dating from the war I feel as if I were its child, so to speak, as if those horrors I did not experience cast a shadow over me … I see pictures merging before my mind’s eye—paths through the fields, river meadows, and mountain pastures mingling with images of destruction—and oddly enough, it is the latter, not the now entirely unreal idylls of my early childhood, that make me feel rather as if I were coming home…

Twelve years ago, when I was 10, I played at being a soldier. I walked up the brook behind our house in Bronxville to a junglelike, overgrown field and dug trenches down to water level with my friends. Then, pretending that we were doughboys in France, we assaulted one another with clods of clay and long, dry reeds. We went to the village hall and studied the rust rifles and machine guns that the Legion post had brought home from the First World War and imagined ourselves using them to fight Germans. But we never seriously thought that we would ever have to do it. The stories we heard later; the Depression veterans with their apple stands on sleety New York street corners; the horrible photographs of dead bodies and mutilated survivors; “Johnny Got His Gun” and the shrill college cries of the Veterans of Future Wars drove the small-boy craving for war so far from our minds that when it finally happened, it seemed absolutely unbelievable. If someone had told a small boy hurling mud balls that he would be throwing hand grenades twelve years later, he would probably have been laughed at. I have always been glad that I could not look into the future.

One evening, at the time of the Six-Day War, I [Christopher Hitchens] had my wicked way with a lovely lady, who had earlier intimated that she did not perhaps find me entirely repulsive. We procured a decent room, as I remember, at the Cadogan Hotel. Perhaps a little flown with wine, I asked her to don a Martin Amis face mask which I had—with a combination of sticky tape, elastic bands, cardboard, and a much-treasured photograph—prepared earlier. The fair damsel was happy to oblige, and thus attired she permitted me to embark on the hugely agreeable pathway to libidinous fulfillment.

In a word, and bluntly: as they walked around Sankt Pauli, it came to Pelletier and Espinoza that the search for Archimboldi could never fill their lives. They could read him, they could study him, they could pick him apart, but they couldn’t laugh or be sad with him, partly because Archimboldi was always far away, partly because the deeper they went into his work, the more it devoured its explorers. In a word: in Sankt Pauli and later at Mrs. Bubis’s house, hung with photographs of the late Mr. Bubis and his writers, Pelletier and Espinoza understood that what they wanted to make was love, not war.

Her name has been released to the press. Her photograph is released, too. I want to talk to the press about it. I don't want Andi to be a one-day story. I don't want her to be just a headline on the wires.

Just for a minute,” she said. He’s not half bad, she thought, as far as princes go. “Just to watch the sunset,” he agreed. He’s not half bad, she thought, as far as enemies go. “Just to see the stars,” she conceded. This isn’t half bad, she thought, as far as wars go. “Just one day,” he said. “You promised.” And just to take another look at one small photograph hanging on the wall, she thought. Lennox Gates, what is your Siren story?

Looking at Great-Great Grandpa Baldwin's photograph, I think to myself: You've finally done it. It took four generations, but you've finally goddamned done it. Gotten that war against reason and uppity secularists you always wanted. Gotten even for the Scopes trial, which they say was one of many burrs under your saddle until your last breath. Well, rejoice, old man, because your tribes have gathered around America's oldest magical hairball of ignorance and superstition, Christian fundamentalism, and their numbers have enabled them to suck so much oxygen out of the political atmosphere that they are now acknowledged as a mainstream force in politics. Episcopalians, Jews, and affluent suburban Methodists and Catholics, they are all now scratching their heads, sweating, and swearing loudly that this pack of lower-class zealots cannot possibly represent the mainstream--not the mainstream they learned about in their fancy sociology classes or were so comfortably reassured about by media commentators who were people like themselves. Goodnight, Grandpa Baldwin. I'll toast you from hell.

People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!

The American and British soldiers who liberated the dying inmates from camps in Germany believed that they had discovered the horrors of Nazism. The images their photographers and cameramen captured of the corpses and the living skeletons at Bergen-Belsen and Buchenwald seemed to convey the worst crimes of Hitler...this was far from the truth. The worst was in the ruins of Warsaw, or the fields of Treblinka, or the marshes of Belarus, or the pits of Babi Yar.

But no soldier above the rank of sergeant ever served jail time. No civilian interrogators ever faced legal proceedings. Nobody was ever charged with torture, or war crimes, or any violation of the Geneva Conventions. Nobody ever faced charges for keeping prisoners naked,or shackled. Nobody ever faced charges for holding prisoners as hostages. Nobody ever faced charges for incarcerating children who were accused of no crime and posed no known security threat. Nobody ever faced charges for holding thousands of prisoners in a combat zone in constant danger of their lives. Nobody ever faced charges for arresting thousands of civilians without direct cause and holding them indefinitely, incommunicado, in concentration camp conditions. Nobody ever faced charges for shooting and killing prisoners who were confined behind concertina wire. And nobody has ever been held to account for murdering al-Jamadi in the Tier 1B shower, although Sabrina Harman initially faced several charges for having photographed him there.

The idea of bearing witness is often very problematic as a concept, as a rhetorical tool, and as a literary device. We no longer need James Nachtwey to fly to war-torn Bosnia. Everyone is a photographer now, so we are all witnesses. We live in a surveillance economy where we are constantly just bearing witness. Which means that the capacity to see does not automatically become the capacity for action. What is the function of seeing something, and saying something, if it doesn’t lead to concrete action or change?

Hearst was eager to stoke the flames of conflict between Spain and the United States over Cuba and sent Frederick Remington the photographer, who could find no signs of war. In a famous exchange of cables, Hearst responded to Remington, “You provide the pictures; I’ll provide the war.”10

No one wants to be told that there was another, darker side to Allied victory, or that the camps of Stalin, our ally, expanded just as the camps of Hitler, our enemy, were liberated. To admit that by sending thousands of Russians to their deaths by forcibly repatriating them after the war, or by consigning millions of people to Soviet rule at Yalta, the Western Allies might have helped others commit crimes against humanity would undermine the moral clarity of our memories of that era. No one wants to think that we defeated one mass murderer with the help of another. No one wants to remember how well that mass murderer got on with Western statesmen. “I have a real liking for Stalin,” the British Foreign Secretary, Anthony Eden, told a friend, “he has never broken his word.”16 There are many, many photographs of Stalin, Churchill, and Roosevelt all together, all smiling.

Courting is always difficult when the one being courted has an elderly female relative in the house; they tend to mutter or cackle or bum cigarettes or, in the worst cases, get out the family photograph album, an act of aggression in the sex war which ought to be banned by a Geneva Convention.

Portentously, one of Obama’s first acts on entering the White House was to replace a bust of Winston Churchill, America’s unflagging World War II ally, with that of Abraham Lincoln. Netanyahu reentered the Prime Minister’s Office and promptly hung Churchill’s photograph on the wall behind his desk.

My sense of self hinges upon the belief that what I do matters. That belief has compelled me to venture far from home life, and to immerse myself in the lives of strangers in the hope that my work will have an impact and connect people in some intangible way, that I can contribute some greater good.

The greatest enthusiasts for Civil War history and memory often displace complicated consequences by endlessly focusing on the contest itself. We sometimes lift ourselves out of historical time, above the details, and render the war safe in a kind of national Passover offering as we view a photograph of the Blue and Gray veterans shaking hands across the stone walls at Gettysburg. Deeply embedded in an American mythology of mission, and serving as a mother lode of nostalgia for antimodernists and military history buffs, the Civil War remains very difficult to shuck from its shell of sentimentalism.

The North Korean capital, Pyongyang, is a city consecrated to the worship of a father-son dynasty. (I came to think of them, with their nuclear-family implications, as 'Fat Man and Little Boy.') And a river runs through it. And on this river, the Taedong River, is moored the only American naval vessel in captivity. It was in January 1968 that the U.S.S. Pueblo strayed into North Korean waters, and was boarded and captured. One sailor was killed; the rest were held for nearly a year before being released. I looked over the spy ship, its radio antennae and surveillance equipment still intact, and found photographs of the captain and crew with their hands on their heads in gestures of abject surrender. Copies of their groveling 'confessions,' written in tremulous script, were also on show. So was a humiliating document from the United States government, admitting wrongdoing in the penetration of North Korean waters and petitioning the 'D.P.R.K.' (Democratic People's Republic of Korea) for 'lenience.' Kim Il Sung ('Fat Man') was eventually lenient about the men, but not about the ship. Madeleine Albright didn't ask to see the vessel on her visit last October, during which she described the gruesome, depopulated vistas of Pyongyang as 'beautiful.' As I got back onto the wharf, I noticed a refreshment cart, staffed by two women under a frayed umbrella. It didn't look like much—one of its three wheels was missing and a piece of brick was propping it up—but it was the only such cart I'd see. What toothsome local snacks might the ladies be offering? The choices turned out to be slices of dry bread and cups of warm water. Nor did Madeleine Albright visit the absurdly misnamed 'Demilitarized Zone,' one of the most heavily militarized strips of land on earth. Across the waist of the Korean peninsula lies a wasteland, roughly following the 38th parallel, and packed with a titanic concentration of potential violence. It is four kilometers wide (I have now looked apprehensively at it from both sides) and very near to the capital cities of both North and South. On the day I spent on the northern side, I met a group of aging Chinese veterans, all from Szechuan, touring the old battlefields and reliving a war they helped North Korea nearly win (China sacrificed perhaps a million soldiers in that campaign, including Mao Anying, son of Mao himself). Across the frontier are 37,000 United States soldiers. Their arsenal, which has included undeclared nuclear weapons, is the reason given by Washington for its refusal to sign the land-mines treaty. In August 1976, U.S. officers entered the neutral zone to trim a tree that was obscuring the view of an observation post. A posse of North Koreans came after them, and one, seizing the ax with which the trimming was to be done, hacked two U.S. servicemen to death with it. I visited the ax also; it's proudly displayed in a glass case on the North Korean side.

I was desperate. I spent almost two months traipsing around the mountains of one of the world’s most dangerous places, and as the piece went to press, my reporting was being questioned, some of my strongest images were being removed from the layout, and the editor in chief decided uncharacteristically that he would not run a slide show.

To an Israeli Jew, a photograph of a child torn apart in the attack on the Sbarro pizzeria in downtown Jerusalem is first of all a photograph of a Jewish child killed by a Palestinian suicide-bomber. To a Palestinian, a photograph of a child torn apart by a tank round in Gaza is first of all a photograph of a Palestinian child killed by Israeli ordnance. To the militant, identity is everything. And all photographs wait to be explained or falsified by their captions. During the fighting between Serbs and Croats at the beginning of the recent Balkan wars, the same photographs of children killed in the shelling of a village were passed around at both Serb and Croat propaganda briefings. Alter the caption, and the children’s deaths could be used and reused.

She soon learned that to survive atrocity is to be made an honorary consul to a republic of pain. There existed unspoken protocols governing how she was expected to suffer. Total breakdown, a failure to grieve graciously, was a violation of those rules. But so was the absence of suffering, so was outright forgiveness.What she and others like her were allowed was a kind of passive bereavement, the right to pose for newspaper photographs holding framed pictures of their dead relations in their hands, the right to march in boisterous but toothless parades, the right to call for an end to bloodshed as though bloodshed were some pest or vagrant who could be evicted or run out of town. As long as she adhered to those rules, moved within those margins, she remained worthy of grand, public sympathy.

Young Bindo Altovini, looking out from time, made a perfect coalition with the mountains, the sky, and the tall redheaded woman who had bent over just slightly to examine a raging battle that was long over. Alessandro imagined that Bindo Altovini was saying, half with longing, half with delight, "These are the things in which I was so helplessly caught up, the waves that took me, what I loved. When light filled my eyes and I was restless and could move, I knew not what all the color was about, but only that I had a passion to see. And now that I am still, I pass on to you my liveliness and my life, for you will be taken, as once I was, and although you must fight beyond your capacity to fight and feel beyond your capacity to feel, remember that it ends in perfect peace, and you will be as still and content as am I, for whom centuries are not even seconds." In the eyes of Bindo Altoviti, Alessandro saw wisdom and amusement, and he knew why the subjects of paintings and photographs seemed to look from the past as if with clairvoyance. Even brutal and impatient men, when frozen in time, assumed expressions of extraordinary compassion, as if they had reflected the essence of their redemption back into the photograph. In a sense they were still living.

And even if these scenes of our youth were given back to us, we would hardly know what to do. The tender, secret influence that passed from them into us could not rise again. We might be amongst them and move in them and be stirred by the sight of them. But it would be like gazing at the photograph of a dead comrade; those are his features, it is his face, and the days spent together take on a mournful life in the memory; but the man himself it is not.

And yet you haven’t always wanted to die. You have had a life. There have been moments when you were having a life. Of course you don't remember too much about it; but there are photographs to prove it. This was probably happening round about the time of your adolescence, or just after. How great your appetite for life was, then! Existence seemed so rich in new possibilities. You might become a pop singer, go off to Venezuela. More surprising still, you have had a childhood. Observe, now, a child of seven, playing with his little soldiers on the living room carpet. I want you to observe him closely. Since the divorce he no longer has a father. Only rarely does he see his mother, who occupies an important post in a cosmetics firm. And yet he plays with his little soldiers and the interest he takes in these representations of the world and of war seems very keen. He already lacks a bit of affection, that's for sure, but what an air he has of being interested in the world!

At the end of 2006, people concerned with the “Cat” article could not agree on whether a human with a cat is its “owner,” “caregiver,” or “human companion.” Over a three-week period, the argument extended to the length of a small book. There were edit wars over commas and edit wars over gods, futile wars over spelling and pronunciation and geopolitical disputes. Other edit wars exposed the malleability of words. Was the Conch Republic (Key West, Florida) a “micronation”? Was a particular photograph of a young polar bear “cute”? Experts differed, and everyone was an expert.

the Christian Science Monitor and the AP. I wrote to the photo desk of the New York Times several times, offering myself up as a stringer, and each time my e-mail went unanswered. I wrote directly to the New York Times correspondents based in India and asked if I could shoot anything for them. They told me they took their own pictures while on assignment. I would keep trying. I felt that if I could only shoot for the New York Times—to me, the newspaper that most influenced American foreign policy and that employed the world’s best journalists—I would reach the pinnacle of my career.

If the war had a noble purpose, it was this - to end the inhumanity those photographs showed. While India rarely spoke about its imperative as the moral one, and few people steeped in realpolitik can shed their cynicism when a politician speaks in moral terms, and the intervention certainly suited India's strategic interests, the fact remains that in the annals of humanitarian interventions, few were as swift, successful, purpose-driven and with humanitarian goals as the Indian intervention to liberate Bangladesh. India went in when it was attacked, and left before its troops became unpopular.

NO ONE COULD say exactly when the great celebration erupted. There were those who claimed it kicked off as soon as the war was over, straight after the Japanese surrender on 14 August 1945, when everyone danced in the streets and a Jewish refugee, Alfred Eisenstaedt of Life magazine, took the photograph of his life on Times Square: a sailor, delirious with joy, kissing a nurse on the lips. These were the months when GIs returned from all corners of the globe, the years when people suddenly had money in their pockets. Even in America, luxuries had been scarce and rationed for years; now you could buy washing

... God knows I pity the Dresden women and children whose charred bodies are propped up in Goebell's propaganda photographs , but nobody made the Germans follow Hitler . He wasn't a legitimate ruler . He was a man with a mouth , and they liked what he said . They got behind him and they let loose a firestorm that's sucking all the decent instincts out of human society . My peerless son died fighting it . It made savages of all of us . Hitler gloried in savagery , he proclaimed it as his battle cry , and the Germans shouted Sieg Heill ! They still go on laying down their misguided lives for him , and the lives of their unfortunate families . I wish them joy of their Fuhrer while he lasts .

On the next floor below are the abdominal and spine cases, head wounds and double amputations. On the right side of the wing are the jaw wounds, wounds in the joints, wounds in the kidneys, wounds in the testicles, wounds in the intestines. Here a man realizes for the first time in how many places a man can get hit. Two fellows die of tetanus. Their skin turns pale, their limbs stiffen, at last only their eyes live—stubbornly. Many of the wounded have their shattered limbs hanging free in the air from a gallows; underneath the wound a basin is placed into which drips the pus. Every two or three hours the vessel is emptied. Other men lie in stretching bandages with heavy weights hanging from the end of the bed. I see intestine wounds that are constantly full of excreta. The surgeon’s clerk shows me X-ray photographs of completely smashed hipbones, knees and shoulders. A man cannot realize that above such shattered bodies there are still human faces in which life goes its daily round. And this is only one hospital, one single station; there are hundreds of thousands in Germany, hundreds of thousands in France, hundreds of thousands in Russia. How senseless is everything that can ever be written, done, or thought, when such things are possible. It must be all lies and of no account when the culture of a thousand years could not prevent this stream of blood being poured out, these torture-chambers in their hundreds of thousands. A hospital alone shows what war is. I am young, I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another. I see that the keenest brains of the world invent weapons and words to make it yet more refined and enduring. And all men of my age, here and over there, throughout the whole world see these things; all my generation is experiencing these things with me. What would our fathers do if we suddenly stood up and came before them and proffered our account? What do they expect of us if a time ever comes when the war is over? Through the years our business has been killing;—it was our first calling in life. Our knowledge of life is limited to death. What will happen afterwards? And what shall come out of us?

The human louse somewhat resembles a tiny lobster, and he lives chiefly in your trousers. Short of burning all your clothes there is no known way of getting rid of him. Down the seams of your trousers he lays his glittering white eggs, like tiny grains of rice, which hatch out and breed families of their own at horrible speed. I think the pacifists might find it helpful to illustrate their pamphlets with enlarged photographs of lice. Glory of war, indeed! In war all soldiers are lousy, at least when it is warm enough. The men who fought at Verdun, at Waterloo, at Flodden, at Senlac, at Thermopylae—every one of them had lice crawling over his testicles. We kept the brutes down to some extent by burning out the eggs and by bathing as often as we could face it. Nothing short of lice could have driven me into that ice-cold river. Everything

In 1976, a doctoral student at the University of Nottingham in England demonstrated that randomizing letters in the middle of words had no effect on the ability of readers to understand sentences. In tihs setncene, for emalxpe, ervey scarbelmd wrod rmenias bcilasaly leibgle. Why? Because we are deeply accustomed to seeing letters arranged in certain patterns. Because the eye is in a rush, and the brain, eager to locate meaning, makes assumptions. This is true of phrases, too. An author writes “crack of dawn” or “sidelong glance” or “crystal clear” and the reader’s eye continues on, at ease with combinations of words it has encountered innumerable times before. But does the reader, or the writer, actually expend the energy to see what is cracking at dawn or what is clear about a crystal? The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential—X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We’d pass out every time we saw—actually saw—a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there’d be pandemonium in the streets. People would lie by the thousands in the fields on their backs. We need habit to get through a day, to get to work, to feed our children. But habit is dangerous, too. The act of seeing can quickly become unconscious and automatic. The eye sees something—gray-brown bark, say, fissured into broad, vertical plates—and the brain spits out tree trunk and the eye moves on. But did I really take the time to see the tree? I glimpse hazel hair, high cheekbones, a field of freckles, and I think Shauna. But did I take the time to see my wife? “Habitualization,” a Russian army-commissar-turned-literary-critic named Viktor Shklovsky wrote in 1917, “devours works, clothes, furniture, one’s wife, and the fear of war.” What he argued is that, over time, we stop perceiving familiar things—words, friends, apartments—as they truly are. To eat a banana for the thousandth time is nothing like eating a banana for the first time. To have sex with somebody for the thousandth time is nothing like having sex with that person for the first time. The easier an experience, or the more entrenched, or the more familiar, the fainter our sensation of it becomes. This is true of chocolate and marriages and hometowns and narrative structures. Complexities wane, miracles become unremarkable, and if we’re not careful, pretty soon we’re gazing out at our lives as if through a burlap sack. In the Tom Andrews Studio I open my journal and stare out at the trunk of the umbrella pine and do my best to fight off the atrophy that comes from seeing things too frequently. I try to shape a few sentences around this tiny corner of Rome; I try to force my eye to slow down. A good journal entry—like a good song, or sketch, or photograph—ought to break up the habitual and lift away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought be a love letter to the world. Leave home, leave the country, leave the familiar. Only then can routine experience—buying bread, eating vegetables, even saying hello—become new all over again.

In Delhi we drove past dozens of Jain Sādhu holy men in saffron-coloured clothing which symbolises their saṃnyāsa (the ashrama life stage of renunciation). The Sādhu are respected for their holiness and feared for their curses, and 2000 years ago military generals laid down arms rather than wage war against a city protected by the Sādhu. In ancient Vedic verses they were called the long-haired ones and even today they have long stringy locks of hair that resemble dreadlocks, and many smoke sacred chillums of hashish all day long. They survive off alms or the goodness of others, often eating food provided only by prostitutes or low-ranking ‘sweeper’ caste people. The ones we saw, we were told, had walked 838km from the holy Ganges River carrying a spoonful of holy water. And it is with profound sadness that we missed the photographic opportunity.

I have had a big experience of body vermin of various kinds, and for sheer beastliness the louse beats everything I have encountered. Other insects, mosquitoes for instance, make you suffer more, but at least they aren’t resident vermin. The human louse somewhat resembles a tiny lobster, and he lives chiefly in your trousers. Short of burning all your clothes there is no known way of getting rid of him. Down the seams of your trousers he lays his glittering white eggs, like tiny grains of rice, which hatch out and breed families of their own at horrible speed. I think the pacifists might find it helpful to illustrate their pamphlets with enlarged photographs of lice. Glory of war, indeed! In war all soldiers are lousy, at least when it is warm enough. The men who fought at Verdun, at Waterloo, at Flodden, at Senlac, at Thermopylae—every one of them had lice crawling over his testicles.

In the last week of April 2004, a handful of the Abu Ghraib photographs were broadcast on 60 minutes and published in The New Yorker, and within a couple of days they had been rebroadcast and republished pretty much everywhere on earth. Overnight, the human pyramid, the hooded man on the box, the young woman soldier with a prisoner on a leash, and the corpse packed in ice had become the defining images of the Iraq war...Never before had such primal dungeon scenes been so baldly captured on camera...But above all, it was the posing soldiers, mugging for their buddies' cameras while dominating the prisoners in trophy stances, that gave the photographs the sense of unruly and unmediated reality. The staging was part of the reality they documented. And the grins, the thumbs-up, the arms crossed over puffed-out chests—all this unseemly swagger and self-regard was the height of amateurism. These soldier-photographers stood, at once, inside and outside the events they recorded, watching themselves take part in the spectacle, and their decision not to conceal but to reveal what they were doing indicated that they were not just amateur photographers, but amateur torturers. So the amateurism was not merely a formal dimension of the Abu Ghraib pictures. It was part of their content, part of what we saw in them, and it corresponded to an aspect of the Iraq War that troubled and baffled nearly everyone: the reckless and slapdash ineptitude with which it had been prosecuted. It was an amateur-run war, a murky and incoherent war. It was not clear why it was waged; too many reasons were given, none had held up, and the stories we invented to explain it to ourselves hardly seemed to matter, since once it was started the war had become its own engine—not a means to an end but an end in itself. What had been billed as a war of ideas and ideals had been exposed as a war of poses and posturing.

Those reporters, writers, photographers, and editors are the best Americans I know. They cherish the ideals of their imperfect profession and of the Republic whose freedoms, equally imperfect in practice have so often made those ideals real. They want desperately to do good, honorable work. In spite of long hours and low pay, they are insistently professional. They are also brave. I can't ever forget that in Indochina 65 journalists were killed in the course of recording the truth about that war. . . .Reporters and photographers did not stop dying when Vietnam was over. They have been killed in Lebanon and Nicaragua, in Bosnia and Peru, and in a lot of other places where hard rain falls. I can't believe that these good men and women died for nothing. I know they didn't. They died because they were the people chosen by the tribe to carry the torch to the back of the cave and tell the others what is there in the darkness. They died because they were serious about the craft they practiced. They died because they believed in the fundamental social need for what they did with a pen, a notebook, a typewriter, or a camera. They didn't die to increase profits for the stockholders. They didn't die to obtain an invitation to some White House dinner for a social-climbing publisher. They died for us. As readers or journalists, we honor them when we remember that their dying was not part of a plan to make the world cheaper, baser, or dumber. They died to bring us the truth.

In his book, Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: “The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering.” One literal example of this lies in the very existence of San Francisco’s Chinatown. Chinese immigrants in California had battled severe anti-Chinese sentiment in the late 1800s. In 1871, eighteen Chinese immigrants were murdered and lynched in Los Angeles. In 1877, an “anti-Coolie” mob burned and ransacked San Francisco’s Chinatown, and murdered four Chinese men. SF’s Chinatown was dealt its final blow during the 1906 earthquake, when San Francisco fire departments dedicated their resources to wealthier areas and dynamited Chinatown in order to stop the fire’s spread. When it came time to rebuild, a local businessman named Look Tin Eli hired T. Paterson Ross, a Scottish architect who had never been to China, to rebuild the neighborhood. Ross drew inspiration from centuries-old photographs of China and ancient religious motifs. Fancy restaurants were built with elaborate teak furniture and ivory carvings, complete with burlesque shows with beautiful Asian women that were later depicted in the musical Flower Drum Song. The idea was to create an exoticized “Oriental Disneyland” which would draw in tourists, elevating the image of Chinese people in America. It worked. Celebrities like Humphrey Bogart, Lauren Bacall, Ronald Reagan and Bing Crosby started frequenting Chinatown’s restaurants and nightclubs. People went from seeing Chinese people as coolies who stole jobs to fetishizing them as alluring, mysterious foreigners. We paid a price for this safety, though—somewhere along the way, Chinese Americans’ self-identity was colored by this fetishized view. San Francisco’s Chinatown was the only image of China I had growing up. I was surprised to learn, in my early twenties, that roofs in China were not, in fact, covered with thick green tiles and dragons. I felt betrayed—as if I was tricked into forgetting myself. Which is why Do asks his students to collect family histories from their parents, in an effort to remember. His methodology is a clever one. “I encourage them and say, look, if you tell your parents that this is an academic project, you have to do it or you’re going to fail my class—then they’re more likely to cooperate. But simultaneously, also know that there are certain things they won’t talk about. But nevertheless, you can fill in the gaps.” He’ll even teach his students to ask distanced questions such as “How many people were on your boat when you left Vietnam? How many made it?” If there were one hundred and fifty at the beginning of the journey and fifty at the end, students may never fully know the specifics of their parents’ trauma but they can infer shadows of the grief they must hold.

Mr. Rudolph reaches out and lifts the flower out of its vase. "To a flower, this photograph means nothing. So when you ask what is the meaning of life, there can be no answer that will apply to everyone and everything. What is a photograph, or a sunset, to a flower? We all bring our own perceptions, needs, and experiences to everything we do. We will all interpret an event, or a sunset, differently." He pauses, and I am trying to keep up with him. "Basically," I (Jeremy) say slowly, concentrating on my words. "What you're saying is that it's all relative. The meaning of the sunset, or of life itself, is different for everyone?" Exactly," he says. ... As we head slowly into the big room, I turn to him and ask, "But even if the sunset has different meanings for everyone, it still has meaning, right?" "That's a tricky question to answer," Mr. Rudolph says, stopping to replace the frame back on the wall. "That sunset will still shine just as surely, just as colorfully, whether it is shining on a wedding or a war. So it would seem that the sunset itself doesn't have inherent meaning; it is just doing its job. If the sunset doesn't have meaning apart from what we give it, does a rock? Or a fish? Or life itself? But just because a park bench, for instance, doesn't have meaning, that doesn't mean it doesn't have worth." ... We have reached the door now, and I'm not sure I'm any closer to understanding what's in the box. My shoulders sag. "Maybe this will help clear things up," Mr. Rudolph says. "You need to be sure of the question you are asking. Sometimes people think they are looking for the meaning of life, when really they are looking for an understanding of why they are here. What their purpose is, the purpose of life in general. And that is a much easier question to answer that the meaning of life." Lizzy is already halfway out the door. "It is?" I ask, pulling her back in by the sleeve. ... "You are the same as the lamp, the chair, the flower," Mr. Rudolph explains. "All you have to do is be the most authentic you that you can be. Find out who you really are, find out why you are here, and you will find your purpose. And with it, the meaning of life.