PDF Ebook The Photographer: Into War-torn Afghanistan with Doctors Without Borders, by Emmanuel Guibert
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The Photographer: Into War-torn Afghanistan with Doctors Without Borders, by Emmanuel Guibert
PDF Ebook The Photographer: Into War-torn Afghanistan with Doctors Without Borders, by Emmanuel Guibert
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Amazon.com Review
Book DescriptionIn 1986, Afghanistan was torn apart by a war with the Soviet Union. This graphic novel/photo-journal is a record of one reporter's arduous and dangerous journey through Afghanistan accompanying the Doctors Without Borders. Didier Lefèvre’s photography, paired with the art of Emmanuel Guibert, tells the powerful story of a mission undertaken by men and women dedicated to mending the wounds of war. Take a Look Inside The Photographer These color panels and striking landscapes document Didier Lefèvre's journey across the Hindu Kush mountains with Doctors Without Borders (click each image to see the full page). Mountain crossing with a caravan of horses and donkeys Clinic in northern Afghanistan's Yaftal Valley
Product details
Paperback: 288 pages
Publisher: First Second (May 12, 2009)
Language: English
ISBN-10: 1596433752
ISBN-13: 978-1596433755
Product Dimensions:
9 x 0.9 x 11.4 inches
Shipping Weight: 2.8 pounds (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
41 customer reviews
Amazon Best Sellers Rank:
#609,794 in Books (See Top 100 in Books)
In Collateral Damage, Marianne Hirsch states that during the war in the Middle East, "a picture is worth a thousand words...before the power of visual images, the subject has an uncontrollable emotional response" (Hirsch 1209). During the current Iraq war, she argues, these thousand words have been systematically censored, informing the reader that "as soon as Americans were being wounded and killed in significant numbers...the dissemination of images was strictly controlled" (1210). In The Photographer, Didier Lefevre represents Afghanistan in the 1980s free from the controlling tethers of U.S. censorship as he attempts to take photographs constantly, honing his talent while he argues "`improving your pictures necessarily implies improving your relations with people"' (61). Thus, while Hirsch contends that "in the current media age our students (never mind our public officials) have lost their verbal literacy and have given themselves over to an overwhelmingly dominant, uncontrollable visuality that impairs thought" (1210), Lefevre takes pains to conjoin verbal and visual literacy to develop more meaningful relationships with the people he meets. He takes pictures, surely, but also thumbs through translation texts to adequately communicate and empathize with the Afghani people, especially later in the book when he is left without an interpreter (176). He must relate to his foreign audience by conforming to their expectations, stating that he is a Christian (171) though he makes a misstep in stating he does not have children (172). By using language in conjunction with his photography, Lefevre transcends his role as observer--his camera does not censor so much as it amplifies his experience of contact and integration into another culture. Although Hirsch tells us that "Like Beckett's characters we [humans] are...unable to articulate, in clear terms, the relation between images and words" (1212), Lefevre performs this task exceedingly well, including his photographs liberally throughout his work, yet splicing them together with graphic representations of the world around him. The photographic representation of the people Lefevre meets humanizes them, though the comic injections remind the reader that they are perusing a subjective account, as Hirsch states that "Comics highlight both the individual frames and the space between them, calling attention to the compulsion to transcend the frame in an act of seeing...thus [revealing] the limited, obstructed vision that characterizes a historical moment ruled by trauma and censorship" (1213). Due to the included photographs, however, censorship breaks down in The Photographer. If, as Hirsch contends, "Vision is faulty mediated, unreliable, blocked" (1213), Didier Lefevre is attempting to remove that blockage through reproducing his vision in pure black and white, revealing landscapes (195), private prayer (200), and painful surgery (130-131) administered by the brave members of Doctors Without Borders. Lefevre's pictures allow for a removal of borders between reader and subject, aligned with Hirsch's statement that "The wounding effect of images blurs...boundaries...uniting rather than dividing victims, perpetrators, and bystanders in their embodied subjectivity" (1212). The perpetrating Russians are hardly seen in The Photographer, allowing the focal point to remain on the Afghani citizens and those stalwart doctors who yearn to assist them.
While told from photographer's point of view, but the story is told through a comic style images interspersed with actual black and white images (with one color image) taken through out the journey. Every page just pushing you to continue on, read it twice just to be sure I didn't miss anything the first time around and enjoyed reading it still.
The Photographer: Into War-Torn Afghanistan with Doctors Without Borders by Didier Lefèvre (the photojournalist), Emmanuel Guibert (the graphic artist) and Frederic Lémércier, translated from the French. A creative solution to a problem: what do you do with reels of stunning photos from the Russian-Afghan war after the talented photographer has died? Answer: use his proof sheets and journal notes and supplement them with graphic panels. This combination memoir of a naïve young man's first trip to the battlefield and his excellent and candid photos of DWB in action are augmented by "comic-strip" panels to fill in the blanks in the adventure. It works extremely well. It is, moreover, a good story that also deepens our understanding of Afghanistan while highlighting the modus operandi of dedicated NGO medical personnel in a war zone. Didier is young and innocent, and, thus, brave. He sets out to return from the field alone. He is kidnapped, robbed, close to death, in desperate straits before a local chieftain saves him. A dramatic story, well told. And, now that bloggers are running around the world reporting on trouble spots, this should be required preparatory reading so they don't blunder across boundaries and become the news themselves.
Very good book about Afghanistan, the effects of poverty, war and many other subjects seen from the point of view of a French photographer in a mission from the médecine sans frontières.
First, if you want to get the most out of this book buy a magnifying glass (mine cost $1 at CVS) - there are very small reproductions of contact photos containing great detail.Second, "graphic-novel" seems a misnomer, as this is not a novel. Perhaps graphic-photojournalism better describes this memoir of the second author's experiences traveling to Afghanistan with MSF in 1986, the wonder and the horror captured by B&W photos when they exist and by the first author's drawings when they do not.The book has 3 parts: the trip in, the medical mission, the trip out. Each part features, for me, a particularly moving photo. Part 1 begins in Pakistan where the photographer, Didier, acculturates first to Peshawar and the MSF team, then to the Afghans and the stark landscape in which they live, captured in the photo of the donkey and its rescuers recuperating on a rock in the middle of a shallow rushing Afghan river (see promo material above). Part 3 follows Didier's near catastrophic attempt to walk back to Pakistan without the MSF team, culminating in the nightmare photos of his beleaguered horse and the landscape in which he expected to die. Part 2 is harrowing in its depiction of human suffering in the Badakshan MSF clinic. Most moving to me is the two-page sequence of the emotions of a young girl treated for a burned hand. Other photos straight-forwardly document more ghastly injuries.Babur wrote of his campaign into Afghansitan, as did some 19th century English explorer/soldiers, but there is a recent canon of writings of westerners traveling here: R Byron, early 30s; E Newby, late 50s; D Murphy early 60s; P Levi early 70s; J Elliot, late 70s-mid 80s; R Stewart, 02; and (though it's a different sort of book) S Chayes, 02-05. To this add The Photographer. Together they form a picture of honorable people (actually a variety of ethnic groups of honorable peoples) living tenaciously, very close to the earth, besieged and mistreated by invading forces. From the 50s-early 70s, it looked like the country had a chance to offer many of its citizens a decent life. But more chilling than the worst suffering depicted in this book is Sarah Chayes's discussion of the effects of 30 years of war/violence on the operation of Afghan society. If this book moves you, consider reading hers.So why only 4 stars? At some level the book does not work perfectly for me, though I recommend it highly. It may be that the back and forth between the detail of the photos and the economy of the graphics is distracting. It may be that I never really connected with Didier the way I did with the young Marjane Satrapi in Persepolis. Hard to say... but I'm still very glad that we have it.
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