{"id":2160,"date":"2009-11-15T00:00:00","date_gmt":"2009-11-15T00:00:00","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=2160"},"modified":"2009-11-15T00:00:00","modified_gmt":"2009-11-15T00:00:00","slug":"the-photographer","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/the-photographer\/","title":{"rendered":"The Photographer"},"content":{"rendered":"<p>In 1986 M\u00e9decins Sans Fronti\u00e8res commissioned French photographer Didier Lef\u00e8vre to document the work of an MSF mission in northern Afghanistan, where the Mujahadin were at war with the Soviet forces that had invaded in 1979. It was Lef\u00e8vre\u2019s first assignment in Afghanistan and <em>The Photographer<\/em>, a nonfiction graphic novel, tells the story of his journey with an MSF team from Peshawar, Pakistan to the Yaftal Valley in Afghanistan. The journey would take a day in vehicles on open roads. The direct route, however, is controlled and dangerous, and in order to minimise exposure to the Soviet army, the group travels along a route used by the Afghan resistance to transport arms from Pakistan to conflict areas, a journey that will require three weeks for the caravan of donkeys and horses.<\/p>\n<p>The first part of the story describes preparation and the journey, during which Lef\u00e8vre comes to appreciate the MSF doctors\u2019 expertise both in navigating Afghan customs and the brutal physical and psychological stresses of their mission. The second recounts Lef\u00e8vre\u2019s time with the mission in Yaftal, where the doctors attend to an unending stream of wounded adults and children, sometimes operating through the night with head-mounted miners\u2019 lamps. The wounds are appalling, as are the conditions under which the doctors work. The final section details Lef\u00e8vre\u2019s return to Pakistan independently, a disastrous trip that could well have cost him his life. The book was produced more than a decade after this expedition and it may be this distance that allowed Lef\u00e8vre to describe his foolhardiness with humility and self-deprecation. (Lef\u00e8vre died in 2007 of heart failure.)<\/p>\n<p>In the last decade, a genre of graphic novels has emerged addressing the personal experience of political events. Among the best-known, and the best, are Joe Sacco\u2019s Safe Area Gorazde and Marjane Satrapi\u2019s Persepolis. More ambitious experiments such as Art Spiegelman\u2019s In the Shadow of No Towers explicitly position the graphic novel in relation to both the author\u2019s personal history and to a history of cartoon and comic book art.<\/p>\n<p><em>The Photographer<\/em> expands on this model, combining Lef\u00e8vre\u2019s narration with Emmanuel Guibert\u2019s illustration of Lef\u00e8vre\u2019s experiences and with Lef\u00e8vre\u2019s photographs, and the interweaving of these three threads is very effective. Guibert\u2019s masterful visual realisation allows the reader to experience the story simultaneously as both first and third person narrative. Lef\u00e8vre and Guibert (and colourist and designer Fr\u00e9d\u00e9ric Lemercier) have created a work that sets its own terms for how the reader is positioned. Just as a novel creates its own space through the reader\u2019s experiences of the many voices, the multiple narrative methods of <em>The Photographer<\/em> create their own story space.<\/p>\n<p><em>The Photographer<\/em> is also deeply affecting. The book begins and ends with Lef\u00e8vre visiting his grandmother in Normandy. All that he witnesses and endures in between these visits seems, at the end of the book, impossibly far away, but the realities of the humanitarian crisis in Afghanistan as revealed in his photographs cannot be unseen. Lef\u00e8vre recounts a conversation he has with R\u00e9gis, one of the doctors, in Palandara. Lef\u00e8vre asks him how he can practice with such limited equipment. R\u00e9gis, who would go on to teach a class on \u201cMedicine in a Sanitary Wasteland\u201d at the University of Bordeaux II, responds: \u201cThe basis of medicine, whether here or in France, is always the same, it\u2019s clinical observation, the study of symptoms. It\u2019s the science of reading signs. And you won\u2019t find a better school for that than practicing in a sanitary wasteland, like what we do here.\u201d The parallels to documentary photography are obvious, but <em>The Photographer<\/em> demonstrates that a graphic novel can also be a powerful vehicle for a study in compassionate observation.<\/p>\n<p><strong>Leo Hsu<\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<div><img decoding=\"async\" loading=\"lazy\" style=\"float: left;\" class=\"review_photo\" alt=\"Photographer_COVER_300cmyk\" src=\"https:\/\/www.foto8.com\/live\/wp-content\/uploads\/2009\/11\/Photographer_COVER_300cmyk.jpg\" height=\"196\" width=\"150\" \/>Emmanuel Guibert, Didier Lef\u00e8vre, Fr\u00e9d\u00e9ric Lemercier<br \/>Published by Dupuis<br \/>www.firstsecondbooks.com<br \/>$10.99<br \/>(273pp Softback)<\/p>\n","protected":false},"author":1,"featured_media":2159,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[22],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - 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