Truth at all costs ...

... is the title of a service in London on 10th November 2010 in remembrance of the sacrifices made by those involved with reporting from war zones. The transcript below is given by the inspiring Marie Colvin.

Your Royal Highness, ladies and gentlemen, I am honoured and humbled to be speaking to you at this service tonight to remember the journalists and their support staff who gave their lives to report from the war zones of the 21st Century. I have been a war correspondent for most of my professional life. It has always been a hard calling. But the need for frontline, objective reporting has never been more compelling.

Covering a war means going to places torn by chaos, destruction, and death, and trying to bear witness. It means trying to find the truth in a sandstorm of propaganda when armies, tribes or terrorists clash. And yes, it means taking risks, not just for yourself but often for the people who work closely with you.

Despite all the videos you see from the Ministry of Defence or the Pentagon, and all the sanitised language describing smart bombs and pinpoint strikes, the scene on the ground has remained remarkably the same for hundreds of years. Craters. Burned houses. Mutilated bodies. Women weeping for children and husbands. Men for their wives, mothers children.

Our mission is to report these horrors of war with accuracy and without prejudice. We always have to ask ourselves whether the level of risk is worth the story. What is bravery, and what is bravado?

Journalists covering combat shoulder great responsibilities and face difficult choices. Sometimes they pay the ultimate price. Tonight we honour the 49 journalists and support staff who were killed bringing the news to our shores. We also remember journalists around the world who have been wounded, maimed or kidnapped and held hostage for months. It has never been more dangerous to be a war correspondent, because the journalist in the combat zone has become a prime target.

I lost my eye in an ambush in the Sri Lankan civil war. I had gone to the northern Tamil area from which journalists were banned and found an unreported humanitarian disaster. As I was smuggled back across the internal border, a soldier launched a grenade at me and the shrapnel sliced into my face and chest. He knew what he was doing.

Just last week, I had a coffee in Afghanistan with a photographer friend, Joao Silva. We talked about the terror one feels and must contain when patrolling on an embed with the armed forces through fields and villages in Afghanistan...putting one foot in front of the other, steeling yourself each step for the blast. The expectation of that blast is the stuff of nightmares. Two days after our meeting Joao stepped on a mine and lost both legs at the knee.

Many of you here must have asked yourselves, or be asking yourselves now, is it worth the cost in lives, heartbreak, loss? Can we really make a difference?

I faced that question when I was injured. In fact one paper ran a headline saying, has Marie Colvin gone too far this time? My answer then, and now, was that it is worth it.

Today in this church are friends, colleagues and families who know exactly what I am talking about, and bear the cost of those experiences, as do their families and loved ones.

Today we must also remember how important it is that news organisations continue to invest in sending us out at great cost, both financial and emotional, to cover stories.

We go to remote war zones to report what is happening. The public have a right to know what our government, and our armed forces, are doing in our name. Our mission is to speak the truth to power. We send home that first rough draft of history. We can and do make a difference in exposing the horrors of war and especially the atrocities that befall civilians.

The history of our profession is one to be proud of. The first war correspondent in the modern era was William Howard Russell of The Times, who was sent to cover the Crimean conflict when a British-led coalition fought an invading Russian army.

Billy Russell, as the troops called him, created a firestorm of public indignation back home by revealing inadequate equipment, scandalous treatment of the wounded, especially when they were repatriated - does this sound familiar? - and an incompetent high command that led to the folly of the Charge of the Light Brigade. It was a breakthrough in war reporting. Until then, wars were reported by junior officers who sent back dispatches to newspapers. Billy Russell went to war with an open mind, a telescope, a notebook and a bottle of brandy. I first went to war with a typewriter, and learned to tap out a telex tape. It could take days to get from the front to a telephone or telex machine.

War reporting has changed greatly in just the last few years. Now we go to war with a satellite phone, laptop, video camera and a flak jacket. I point my satellite phone to South Southwest in Afghanistan, press a button and I have filed.

In an age of 24/7 rolling news, blogs and twitters, we are on constant call wherever we are. But war reporting is still essentially the same - someone has to go there and see what is happening. You can't get that information without going to places where people are being shot at, and others are shooting at you. The real difficulty is having enough faith in humanity to believe that enough people be they government, military or the man on the street, will care when your file reaches the printed page, the website or the TV screen.

We do have that faith because we believe we do make a difference.

And we could not make that difference - or begin to do our job - without the fixers, drivers, and translators, who face the same risks and die in appalling numbers. Today we honour them as much as the front line journalists who have died in pursuit of the truth. They have kept the faith as we who remain must continue to do.

Le Quattro Volte ...

... is a enigmatic poignant film by Michelangelo Frammartino. I do not think that I completely understood it but time did indeed slow down as if you were wandering alone in a slightly-forgotten small medieval Italian village. It reminded me of the cyclical nature of the universe; fallen leaves, snow covered landscape, birth of a goat, death of a man, fear of abandonment, festive joy, tree, log and smoke.  The title comes from Pythagoras and spoke of each of us having four lives within us; the mineral, the vegetable, the animal and the human. Maybe it is impossible to truly understand the universe and we can only participate in its internal clock, trying to walk in its pace ... 

David Hockney ...

... at the Royal Academy of Art was full of psychedically coloured woods, trees and flowers, awing me with the wonders of nature through the prism of memory while urging me to look at the world afresh one more time ...

‘We see with memory. My memory is different from yours, so if we are both standing in the same place we’re not quite seeing the same thing. Different individuals have different memories; therefore other elements are playing a part. Whether you have been in a place before will affect you, and how well you know it. There’s no objective vision ever – ever.’ (David Hockney speaking to Martin Gayford, 2009).



David Hockney, 'The Arrival Of Spring', 2011.



Woldgate Woods, 21, 23 and 29 November 2006.

"Every tree is different. Every single one. The branches, the forces in it; they are marvellously different. You are thrilled. This is the infinity of nature." (David Hockney speaking to MArco Livingstone, 2008).

Lady with an Ermine

... by Leonardo Da Vinci is a beautiful painting I encountered recently at an exhibition ... The poem penned by Bernardo Bellincioni to accompany it sums up the sentiment of art, beauty and nature for me ...

Nature, who stirs your wrath, who arouses your envy?'
It is Vinci, who has painted one of your stars!
Cecilia, today so very beautiful, is the one
Beside whose beautiful eyes the sun appears as a dark shadow.

All honour to you, even if in his picture
She seems to listen and not talk.
Think only, the more alive and more beautiful she is,
The greater will be your glory in future times.
Be grateful therefore to Ludovico, or rather
To the talent and hand of Leonardo
Which allows you to be part of posterity.
Everyone who sees her - even if too late
To see her alive - will say: that suffices for us
To understand what is nature and what art.