The work of Jean Mohr, the photographer who has often collaborated with John Berger on projects covering migrancy, refuge, displacement, subaltern classes (and their passing) and on Palestine (with Edward Said), is celebrated here. The author argues that the nature and role of photography is rethought by Mohr, as his photographic work, which is integral to the text, transcends time and place to suggest a universality.
MohrJean, At the Edge of the World (London, Reaktion, 1999), pp. 7–8.
2.
BergerJohnMohrJean, Another Way of Telling (London, Granta, 1989), pp. 38–9.
3.
MohrJean, op. cit., p. 9.
4.
BergerJohn, And Our Faces, My Heart, Brief as Photos (London, Writers and Readers, 1984), p. 31.
5.
BergerJohnMohrJean, op. cit., p. 83.
6.
EvansGareth, John Berger: a season in London 2005 (London, Artevents, 2005), p. 51.
7.
MohrJean, op. cit., p. 10.
8.
See HudsonMartyn, ‘The clerk of the foresters’ records: John Berger, the dead, and the writing of history’, Rethinking History (Vol. 4, no. 3, 2000), pp. 261–79 and ‘On the dead of world history’, Race & Class (Vol. 43, no. 4, 2002), pp. 26–33.
9.
MohrJean, op. cit., p. 11.
10.
BergerJohnMohrJean, op. cit., pp. 133–275.
11.
BergerJohn, op. cit., p. 50.
12.
Ibid., p. 50.
13.
BergerJohnMohrJean, op. cit., p. 97.
14.
BergerJohn, op. cit., pp. 56–7.
15.
BergerJohnMohrJean, A Seventh Man (London, Penguin, 1975), p. 17.
16.
EdwardW. SaidMohrJean, After the Last Sky: Palestinian lives (London, Faber and Faber, 1986), p. 6.
