Photograph We keep this love in a photograph We made these memories - - PowerPoint PPT Presentation

Photograph

We keep this love in a photograph We made these memories for ourselves Where our eyes are never closing Hearts are never broken And time's forever frozen still

Photographs are a way of seeing. Photographs are also a way of remembering

FRIENDS’ PHOTOS

We all looked like goddesses and gods, glowing and smooth, sheathed from head to foot by a golden essence that glistened and refracted its aura

• f power – the wonderful ichor called youth.

We moved as easily as dolphins surging out of the ocean, cleaving massed tons of transparent water streaming away in swathes of bubbling silver like the plasm of life. Still potent from those black and white photos, the palpable electric charge between us, like the negative and positive poles of a battery,

• r the fingers of Adam and God.

We were beautiful, without exception. I could hardly bear to look at those

• ld albums, to see the lost glamour

we never noticed when we were first together – when we were young. Ruth Fainlight

Re Recap: W-H-Y

WHA HAT – UNDERSTANDING IDEAS IN THE POEM The poem is about…. HOW OW – ANALYSING THE METHODS AND EFFECTS The poem describes… This description evokes a sense of… WHY HY – INTERPRETING THE PURPOSE OF THE POEM The poem is a comment on…

‘FRIENDS’ PHOTOS’: LANGUAGE

We all looked like goddesses and gods, glowing and smooth, sheathed from head to foot by a golden essence that glistened and refracted its aura

• f power – the wonderful ichor called youth.

We moved as easily as dolphins surging out of the ocean, cleaving massed tons of transparent water streaming away in swathes of bubbling silver like the plasm of life. Still potent from those black and white photos, the palpable electric charge between us, like the negative and positive poles of a battery,

• r the fingers of Adam and God.

We were beautiful, without exception. I could hardly bear to look at those

• ld albums, to see the lost glamour

we never noticed when we were first together – when we were young. Ruth Fainlight

‘FRIENDS’ PHOTOS’: PERSPECTIVE, TENSE, TONE

We all looked like goddesses and gods, glowing and smooth, sheathed from head to foot by a golden essence that glistened and refracted its aura

• f power – the wonderful ichor called youth.

We moved as easily as dolphins surging out of the ocean, cleaving massed tons of transparent water streaming away in swathes of bubbling silver like the plasm of life. Still potent from those black and white photos, the palpable electric charge between us, like the negative and positive poles of a battery,

• r the fingers of Adam and God.

We were beautiful, without exception. I could hardly bear to look at those

• ld albums, to see the lost glamour

we never noticed when we were first together – when we were young. Ruth Fainlight

‘FRIENDS’ PHOTOS’: SENTENCE CONSTRUCTION

Write a statement that shows your understanding of the purpose of the poem.

Constructing a Literary Sentence (or two)

• This poem depicts the bittersweet process of ageing through the

presentation of a persona looking through her old photographs. The association of strength and vitality with the images of her youthful self is contrasted with the grief it causes her to be reminded of what she has lost, and worse, had not treasured when she had it.

Wr Writing a Literary Sentence: [Ver Verb + + Topi Topic + + Te Techniqu que/M /Method

• d]

Constructing a Literary Sentence (or two)

• This poem depicts the bittersweet process of ageing through the

presentation of a persona looking through her old photographs. The association of strength and vitality with the images of her youthful self is contrasted with the grief it causes her to be reminded of what she has lost, and worse, had not treasured when she had it.

Bo Bold: WHAT HAT (Topic) Und Under erlined ned: HOW OW (Effects) It Italics: W : WHY (P (Purpose)

PHOTOGRAPH OF MY FATHER IN HIS TWENTY-SECOND YEAR

• October. Here in this dank, unfamiliar kitchen

I study my father's embarrassed young man's face. Sheepish grin, he holds in one hand a string

• f spiny yellow perch, in the other

a bottle of Carlsberg Beer. In jeans and denim shirt, he leans against the front fender of a 1934 Ford. He would like to pose bluff and hearty for his posterity, Wear his old hat cocked over his ear. All his life my father wanted to be bold. But the eyes give him away, and the hands that limply offer the string of dead perch and the bottle of beer. Father, I love you, yet how can I say thank you, I who can't hold my liquor either, and don't even know the places to fish?

PHOTOGRAPH OF MY FATHER IN HIS TWENTY-SECOND YEAR

Oc Octo tober.

• r. Here in this dank, unfamiliar kitchen

I study my father's embarrassed young man's face. Sheepish grin, he holds in one hand a string

• f spiny yellow perch, in the other

a bottle of Carlsberg Beer. In jeans and denim shirt, he leans against the front fender of a 1934 Ford. He would like to po pose bluff and hearty for his posterity, Wear his old hat cocked over his ear. All his life my father wa wanted to be bold. But the eyes give him away, and the hands that limply offer the string of dead perch and the bottle of beer. Father, I love you, yet how can I say thank you, I who can't hold my liquor ei either her, and don't ev even en know the places to fish?

PHOTOGRAPH OF MY FATHER IN HIS TWENTY-SECOND YEAR

The poem is true in its particulars, except that my dad died in June and not October, as the first word of the poem says. I wanted a word with more than one syllable to it to make it linger a little. But more than that, I wanted a month appropriate to what I felt at the time I wrote the poem--a month of short days and failing light, smoke in the air, things perishing. June was summer nights and days, graduations, my wedding anniversary, the birthday of one of my children. June wasn't a month your father died in.