
Two Afghan refugees, who returned from Pakistan, take a moment to be children, playing outside the building in Kabul, the capital, where they live. The building was destroyed during the civil war in 1992. – The Post Intelligencer, Tuesday, September 2, 2003
In March, after I saw the aerial photograph of mass graves at the Iranian girls’ school burial site, I could not stop thinking about another photograph I had seen in 2003. At that time we were a year into the war in Afghanistan, in what was optimistically dubbed “Operation Enduring Freedom.” After a brief two months scuffle in which the Taliban was “defeated” the war went on to last for another 20 years. I still read a paper newspaper in 2003. This was long before AI, and when I turned to page 4 of The Post Intelligencer I did not have to ask if what it showed me was “fake.” I cut the photograph out and kept it on my bulletin board for weeks, during which its power only grew. These two children hand in hand, the smallness of their bodies against the ruins, their ragged shadows whirling across sunlit rubble, and behind them the easy-to-miss but telling placement of drapes across each gaping bombed out doorway— the photograph closed the distance between the far away and nearby like nothing else I had seen.
I contacted the newspaper and purchased a print, which I tucked away in my flat files and promptly forgot about while I kept the newspaper clipping on my wall. The real and visceral experience was the newsprint itself. The smell of it. The ink. The warmth of the paper and the image, soft and grainy. The official photograph, shiny and cold and bluish black, was divorced from emotion— and said nothing of sunlight. Here on the screen, with its strong black and white contrast, it may feel compelling; but as an object, badly printed quickly in a newsroom on glossy paper, it said nothing of the human immediacy of war.
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