A crusading Agence France-Presse correspondent who enjoyed a storied profession masking wars and different ancient activities has been honored on an Australian stamp.

Kate Webb, who died in 2007 at the age of sixty-four, earned a recognition as a fearless reporter during the Vietnam War and overlaying different momentous testimonies in Asia throughout a profession spanning 4 a long time.

She has featured on one in all 5 new stamps unveiled Wednesday

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to mark Remembrance Day on November eleven, while a minute’s silence is held to honor those who have fought and died for his or her united states of America. The stamps might be issued on October 6.

“This stamp problem, the fourth in a series commemorating a century considering the fact that World War I, acknowledges the critical roles women have played in conflict and conflict,” said Michael Zsolt of Australia Post.

Webb, who was born in New Zealand but moved to Australia with her own family as a baby, is shown on a stamp marking the Korea and Vietnam wars, together with Red Cross employee Rosemary Griggs.

In 1971 while masking the Vietnam War, Webb turned into reported killed after she was ambushed and taken prisoner by way of North Vietnamese troops in Cambodia, who marched her and 5 others via the jungle in a 23-day ordeal.

A the front-web page obituary was published the New York Times and the body of another lady wrongly recognized as hers — but simply as her own family held a memorial carrier for her in Sydney, Webb and the opposite captives were freed

tickets for australian open 2016

World War I, World War II, the conflicts in Afghanistan and Iraq, and Australia’s position in peacekeeping operations also function within the stamp series.

Prior to and inclusive of World War I, the involvement of Australian girls in warfare zones become nearly entirely constrained to nursing.

By the Vietnam War, they held many jobs, along with as contributors of civilian clinical groups, Red Cross help, entertainers, and reporters. Today, girls are employed all through the military.

AFP in 2008 launched the once a year Kate Webb Prize to realize great Asian newshounds doing tough and perilous paintings across the location.

The 2017 version is presently welcoming programs, with the winner receiving three,000 euros (about $three,575) in cash if you want to be offered at a prize-giving ceremony.

The contest is open to locally hired Asian photograph, video, and text journalists, for paintings posted at some stage in 2016.

Applications close on November 1

In the Red Engine Press January 2006 newsletter, “Yarn spinners and Wordweavers,” Carolyn Howard-Johnson, author of Tracings, writes:

“Auden thought the purpose of poetry is to disenchant. That, my reader, may be why I am not much for rhyme or pretty, though I do like food images, especially sweets. I prefer melancholy, wistful and if a song is sung, let it discord to keep the reader alert make him reconsider. Nursery rhymes are for nurseries, sunsets to be viewed firsthand from a bluff, preferably while holding hands with someone handsome. The tendons of the best poetry are politics, introspection, and the abominable snowmen among us tempered–occasionally–by a look back at where we’ve been. Oh, and irony. That’s better than tiramisu and latté for keeping people talking late into the night.”

In the preface to One Hundred and One Famous Poems, published

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in 1929, editor Roy W. Cook talks about the great need for poetry in a modern industrial age.

While the modern age, with podcasting and blogs, has made poetry more accessible, poetry is also considered frivolous–and certainly not lucrative. It’s a shame because Carolyn Howard-Johnson’s poetry can make an air raid sound still and hushed. She can let us stand beside an uncle who smells of Barbasol and is on his way to war. The subtle message is clear: Stop. Pay attention. Listen.

Most of us wrote poetry in high school that included protests against parents, petitions to teenage crushes, or the usual “my life stinks, what’s the meaning of it all” poems. As adults, we may dribble our wine-and-cappuccino-soaked angst onto the page. As private therapy, poetry often can’t be beaten, and it certainly helped poet Dessa Byrd Reed heal after a car accident. But Reed turned her recovery writings into a passion for poetry that took her to China recently.

Poetry is relevant in today’s text-messaging high-tech world, as evidenced by all the poetry Web sites. It speaks of love, as in Elizabeth Barrett Browning’s sonnets. It relates eternal epic truths, as in John Milton’s Paradise Lost. It captures the cry of a generation, as in Allen Ginsberg’s “Howl.” It reflects, as in Walt Whitman’s Leaves of Grass. It makes a cinematic statement about freedom behind bars, as in the movie “Slam.” It speaks of the Divine, as in the poetry of Thich Nhat Hanh. I agree with Carolyn Howard-Johnson that poetry moves us–or it must if we want to move others. Howard-Johnson’s poetry moved Compulsive Reader editor Magdalena Ball to name Tracings to The Compulsive Reader list of “Top Ten Reads of 2005.”

Howard-Johnson journalist pokes   stamp fun at portraits of Australian  poets on poetry magazines, but clearly, loves poetry:

“So long before you took up a pen, wrote pictures,
you imagined them in liquid blue, the stories of others,
your own.”

It’s easy to get caught up in our own stories without understanding them. Howard-Johnson peppers her poetry with images of travel, not just global but time travel. She remarks in “Poetry, Quantum Mechanics, and Other Trifles” that her critique group warns her she complicates her poems with too many layers:

“my ingredients, they say, are concealed 

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behind an opaque pottery bowl;
their matrices misunderstood.
Children we are. No one tells
us the truth of such a grand
dessert.”

The poet Rainer Maria Rilke pointed out the truths of existence in Sonnets to Orpheus, showing us that a young ballet dancer, dead, is not forever gone, but is not visible to us. That’s “the truth of such a grand/dessert.” That’s what poetry is about–revealing, evoking, describing, thought-provoking. Poetry connects the past with the present and future. Howard-Johnson can visit the historic, the war museum in Oslo, and reflect on war as it affected the world:

“Norway’s fjords shed salty droplets on
faces like my father’s. Round faces. Eyes dilute-blue
like the pale skies above them. Men who fought

as Churchill’s voice crackled through smuggled vacuum
tubes.”

Howard-Johnson considers war as it now affects her family:

“Only days before
I reached this spur, I saw my grandson off to war, alone.
A sacrifice. A trade. For my father, who never marched.”