Illustration of War photographer
Illustration by Randy Pollak

The Lens of War

Nothing could stop daring photojournalist Margaret Bourke-White.

By Mackenzie Carro
From the March 2023 Issue

Learning Objective: to define trailblazer and apply the idea to a character in a historical-fiction drama

Lexile: 990L (captions)
Other Key Skills: author’s craft, key ideas and details, text evidence, literary devices
AS YOU READ

Why did Margaret Bourke-White want to be a photojournalist?

Scene 1

 

December 22, 1942, the Mediterranean Sea

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SD1: Lights come up on a small ship’s cabin. Four women—Cat, Agnes, Lizzie, and Margaret—are asleep in bunk beds. 

SD2: The clock on the wall reads 2:10 a.m.

SD3: Suddenly, a thunderous explosion sounds. The ship tilts violently, throwing the women from their beds. 

Cat: What was that?

SD1: Sirens and alarms begin to blare. 

Agnes: I don’t think this is a drill.

Lizzie: We must get to lifeboat 12! Quick, like we practiced! 

SD2: They hastily pull on boots and jackets and grab their emergency bags. 

SD3: Margaret looks inside her bag to check that the small camera and extra lenses she packed are still there.

SD1: Up on the deck of the ship, the women step over hunks of twisted metal and broken wood.

Margaret (to a sailor): What happened?

Sailor 1: We were torpedoed by a German submarine. Our ship is seriously damaged. 

SD2: Troops and nurses rush to their lifeboat stations. 

SD3: Margaret gazes at the moon, then turns away from the lifeboats and climbs a set of stairs. 

Margaret (to herself): There might be enough light.

SD1: A sailor stops her. 

Sailor 2: What are you doing? Get to your lifeboat! 

Margaret: I am Margaret Bourke-White, a journalist for Life magazine. I’m here by permission of the U.S. Air Force. 

SD2: Margaret stands up straighter. The sailor shakes his head and rushes off. 

SD3: Margaret gets out her camera. 

Margaret: Too dark! If only it were sunlight instead of moonlight on those clouds.

SD1: The ship lurches beneath her. She grabs a metal railing. 

SD2: A loudspeaker crackles to life. 

Captain: Abandon ship! Abandon ship! 

SD3: Margaret rushes back to the deck.

SD1: All around her, lifeboats are filling up with people.

SD2: She hits her shin on some metal and falls, crying out. 

Margaret: Aaargh! 

SD3: She picks herself up. Blood drips down her leg. 

SD1: As the ship burns, Margaret sees hundreds of people scrambling to escape down rope nets flung over the side.

Margaret: I hope I’m still alive when the sun comes up so I can show the world what happened here. 

Scene 2

 

1917, Bound Brook, New Jersey

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SD2: Thirteen-year-old Margaret and her parents sit in a cozy, cluttered living room.

SD3: Books and gadgets are strewn about. Jars of butterfly larvae sit on the windowsills. World maps line the walls. 

SD1: Joseph sits in the corner, tinkering with a camera. 

Minnie: She’s here. Margaret, come greet your great-aunt. 

SD2: Margaret’s pet snake slithers through her fingers. 

Margaret: Hello, Aunt Lynn. 

Aunt Lynn: How you’ve grown, Margaret! (gesturing to the snake) I see you are still interested in all . . . this. 

Margaret: I am! I am going to be a nature photographer. I’ll travel and help people—

Aunt Lynn: Women do not do such things. 

SD3: Margaret looks at her mother.

Minnie: Come, Aunt Lynn, let’s have tea. 

SD1: The two women go to the kitchen and start to whisper.

SD2: Margaret listens at the door. 

Aunt Lynn: That girl talks nonsense. She should be focused on learning how to run a household, not silly pictures. 

Minnie: We encourage Margaret to pursue all her interests. She’s very passionate. She wants to see the world.

Aunt Lynn: But a woman traipsing around the world taking photos? It’s preposterous! 

SD3: Joseph looks at Margaret, who is staring at the floor.

Joseph: Let’s go develop the photographs from our walk. I’d like to see if that one of the praying mantis comes out.

SD1: Before leaving, Margaret pauses in front of a map. 

Margaret (to herself): She’s wrong. I will see the world.

Scene 3

 

1928, a camera shop in Cleveland, Ohio

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SD2: Alfred Bemis is stacking boxes of film. 

SD3: Margaret bursts through the door.

Margaret (out of breath): Hello! Could I borrow a camera? With film in it?

Alfred: Excuse me?

Margaret: Quickly, please! I’ve just seen something extraordinary! 

SD1: Alfred looks at her curiously, then hands her a camera. 

Margaret: Thank you! I’ll bring it right back!

Alfred: I trust that you will. 

SD2: When Margaret returns a short time later, Alfred helps her develop the film. 

SD3: In a darkroom, they dip each photo into a bath of chemicals, then hang it up to dry. 

Margaret: This man in the park was giving the most impassioned speech. No one was listening, but dozens of pigeons were swarming around his feet. I had to capture it!

Alfred: You’ve really got an eye for this stuff, kid. 

SD1: Margaret beams.

Scene 4

 

Three months later, the camera shop

SD2: Alfred and Margaret work in the darkroom.

Alfred: These photographs of the Terminal Tower are magnificent. You’ve captured the soul of Cleveland—the progress and industry and grit—all in one image. 

Margaret: Thank you. But I still can’t get into the steel mill down in the Flats.

Alfred: Why are you so set on photographing that place?

Margaret: I think it’s beautiful—and mysterious. I mean, most people haven’t been inside, right? And yet steel is so important. It builds our skyscrapers, bridges, factories. Don’t you think people would want to see how it’s made? 

SD3: Alfred hangs up another photo. 

Margaret: And isn’t it my job as a photographer to show people what they can’t go see for themselves? To open up the world for them? 

Alfred: I’d say so, yes. 

Margaret: The mill owner says women aren’t allowed. 

Alfred (smiling): When has that ever stopped you?

Margaret: Nothing attracts me like a closed door, Alfred. 

Alfred: So go pry it open, kid!

Scene 5

 

A few months later, a newsstand in Cleveland 

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SD1: Margaret reads a headline splashed above a photo of glowing steel being poured into a metal basin. 

Margaret: “Girl’s Photographs of Steel Manufacture Hailed as New Art.”

SD2: Two men walk up to the newsstand. One of them reaches over and takes a paper. He holds it up for the other man to look at. 

Man 1: Did you see these photographs?

Man 2: They’re incredible. 

Man 1: Who is this Margaret Bourke-White?

Man 2: I heard she’s just a front for the man who really takes these pictures. 

Man 1: I wouldn’t be surprised if that’s true. I can’t imagine a girl in a steel mill. 

SD3: Margaret clears her throat and hands a business card to the man. 

Man 1: Oh, uh . . . you . . . you took these photos?

Margaret: I did. 

Man 2: Well, then, well done! 

SD1: The man awkwardly tips his hat to her.

Margaret: Gee, thanks. Give me a call if you ever need a photographer. But I should warn you—it’ll be me who shows up. Not some man. 

SD2: She leaves the men standing there, speechless.

Scene 6

 

Spring 1938, Life magazine offices in New York City

SD3: Margaret sits with Wilson Hicks, Life’s picture editor. 

SD1: Dozens of photos are spread out on a desk. 

Wilson: You’ve done it again! These photos of the Arctic are stunning. How’d you get this one of the icebergs? 

Margaret: I hung out the door of a plane. 

Wilson (chuckling): Of course you did. That’s why we call you “Maggie the Indestructible.”

Margaret: It was quite thrilling, really. 

Wilson: Listen, Maggie. I have another assignment for you. As you know, Hitler has invaded Austria, and it’s only a matter of time before war is declared. We need you on the ground nearby.

SD2: Margaret nods. 

Wilson: Life magazine has become a window to the world for Americans, and right now, that window needs to be facing Europe. People need to see what is happening overseas.

Margaret: I’ll go where I’m needed. If I can use my talents to make any sort of difference, I will.

Scene 7

 

December 10, 1942, an American air base in England

SD3: Margaret and General James Doolittle stand in a large airplane hangar. 

SD1: The roar of jets can be heard in the distance. 

Margaret: Are you ready to send me on a combat mission, General?

General Doolittle (sighing): We’ve spoken about this, Maggie. It’s not safe. 

Margaret: Henry Shaw went out on the last mission.

General Doolittle: He did. 

Margaret: Shaw is a fine photographer, but I have more experience. I’ve already been in a war zone. I was there the night Germany bombed Moscow. I have the scars to prove it—and the photographs.

General Doolittle: I’m sorry. It’s just not the place for you. 

Margaret (mumbling to herself): You sound like my Aunt Lynn.

General Doolittle: What’s that?

Margaret: Nothing. 

General Doolittle: I’m sending you to North Africa to cover the Allied troops there. You’ll be leaving by ship in a couple days—if you still wish to go.

Margaret: I do, sir. But why not travel by plane? 

General Doolittle: Too risky. There may be heavy bombing in the air. We’re sending you in a convoy. It’ll be safer.

Scene 8

 

December 22, 1942, the Mediterranean Sea

SD2: On the torpedoed ship, Margaret gets to her lifeboat station just in time. The lifeboat is filled with water.

SD3: She and the rest of her group climb in anyway. 

Agnes: It’s flooded from the torpedo splash. 

Margaret: Will this boat stay afloat? 

Lizzie: It’s our only hope. 

SD1: Margaret hugs her camera to her chest to keep it dry. 

Cat: Come on, let’s start bailing! 

SD2: They remove their helmets and start scooping out water as the lifeboat is lowered into the sea. 

SD3: A woman with a broken leg moans in agony.

SD1: Margaret notices the woman’s feet are bare. 

SD2: She digs into her bag and finds a camera lens wrapped in socks. She hands the socks to Cat, who is helping the woman.

Margaret: Please, take these.

Agnes: Why are the other ships in the convoy sailing away?

Lizzie: If they help us, they could get torpedoed too.

Sailor 1: We’re on our own for now. 

SD3: As the group rows away from the sinking ship, they notice a sailor clinging to floating debris.

Sailor 2: Over here!

SD1: They drag him into the lifeboat. The man shivers.

SD2: As the sun begins to rise, Margaret gets out her camera and starts to photograph her fellow survivors. 

SD3: Hours later, a British plane flies overhead. 

Sailor 1: They’ve found us! We’re saved! 

SD1: Everyone cheers. Margaret snaps a shot.

Epilogue

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General Doolittle: Margaret risked her life many more times during the war. 

Wilson: And she eventually became the first American female war correspondent to cover a combat mission. 

Margaret: Being a war correspondent is a solemn task. We photograph many difficult things. Our obligation is to pass what we see on to others. 

Wilson: After the war, she continued to work for LifeShe photographed many historic moments and people.

Margaret: In the 1950s, I was diagnosed with Parkinson’s, a disease that affected my brain and movement. In time, my illness made it difficult to work. 

Alfred: Margaret passed away on August 27, 1971, at age 67. 

Hicks: The thousands of photographs she took are precious historical documents—and moving works of art. 

Alfred: And it is through her photographs that Maggie the Indestructible lives on.

Writing Prompt

A trailblazer does something new or innovative that others follow. What makes Margaret Bourke-White a trailblazer? Answer this question in a well-organized essay or slideshow. Use text evidence. 


This play was originally published in the March 2023 issue.

Slideshows (2)
Slideshows (2)
Audio ()
Activities (11)
Quizzes (1)
Answer Key (1)
Slideshows (2)
Slideshows (2)
Audio ()
Activities (11)
Quizzes (1)
Answer Key (1)
Step-by-Step Lesson Plan

Close Reading, Critical Thinking, Skill Building

Essential Questions: What makes someone courageous? How does technology affect communication?What makes someone a trailblazer?

1. PREPARING TO READ (20 MINUTES)

View a Slideshow (10 minutes)

  • View the Background Builder slideshow, which takes students through a brief history of photography and introduces several terms and concepts students will encounter in the play. 

Preview Vocabulary (10 minutes)

  • Project Vocabulary: Definitions and Practice. Review the definitions and practice using the words as a class. Highlighted words: convoy, correspondent, darkroom, front, hangar, preposterous, solemn, torpedoed. Optionally, print or share the interactive link directly to your LMS and have students preview the words and complete the activity independently beforehand. Audio pronunciations of the words and a read-aloud of the definitions are embedded in the interactive slides. 

2. READING AND DISCUSSING (45 MINUTES)

  • Have a volunteer read the As You Read box on page 14 of the magazine or at the top of the digital story page.
  • Assign parts and read the play aloud as a class.
  • Break students into groups to discuss the following close-reading and critical-thinking questions.

Close-Reading Questions (20 minutes)

  • What do you learn about Margaret and her parents in Scene 2? How does the author convey these ideas? (author’s craft, character) In Scene 2, we learn that Margaret is a passionate and driven teenager with an interest in nature and photography. The author conveys Margaret’s interest in nature by having her hold a pet snake. The author also conveys Margaret’s interests through dialogue: Margaret excitedly tells her great-aunt that she plans to become a nature photographer, and that she wants to travel and help people. When her great-aunt expresses doubts about these dreams, Margaret’s determination becomes clear. Margaret says, “She’s wrong. I  will see the world.” Scene 2 also reveals that Margaret’s parents are worldly and intellectual people who are supportive of Margaret’s ambitions. The living room is described as being full of butterfly larvae, gadgets, books, and maps. These details of the setting suggest that Margaret’s parents support and encourage curiosity and learning. Minnie’s line “We encourage Margaret to pursue all her interests. She’s very passionate. She wants to see the world,” also supports this idea. 
  • Based on the play, what can you infer about what life was like for women in Margaret’s time? (key ideas and details, text evidence) You can infer that in Margaret’s time, women were not viewed as equal to men—that women were often viewed as less capable, and it was believed that they should stay at home rather than be part of the workforce. You can infer this from Aunt Lynn’s reaction to Margaret’s dreams of becoming a photographer in Scene 2: Aunt Lynn calls the idea “preposterous” and says Margaret should be focused on learning how to run a household. A similar idea is expressed by the men at the newsstand in Scene 5. The men—and apparently others who have been spreading the rumor that Margaret is a “front” for a male photographer—don’t seem to believe that a woman could have taken the photos that Margaret took, or that a woman should even be inside a “dangerous” place like a steel mill. The idea that women cannot handle difficult or dangerous jobs also appears in Scene 7, when Margaret is denied her request to go out on a combat mission, even though a male photographer was allowed to do so. 
  • The caption “Maggie the Indestructible” says that Margaret was known for her fearlessness. What details in the play support the idea that Margaret was fearless? (key ideas and details, text evidence) Many details in the play and its text features support the idea that Margaret was fearless. In Scene 1, instead of going directly to the lifeboats after the torpedo strike, Margaret climbs some stairs to get a better view for her photos. In Scene 6, she tells Wilson Hicks that she “hung out the door of a plane” to get certain photos in the Arctic. You can also tell she is fearless from the fact that she wanted to—and did—photograph combat missions, even after being on a boat that was struck by a torpedo. The photo on page 16 of Margaret perched on a ledge on the 61st floor of a skyscraper also shows Margaret’s fearlessness. 
  • What did Margaret believe was her role in society as a photographer? How do you know? (character, text evidence) Margaret believed her role as a photographer was to show the general public the world—the beautiful and inspiring parts as well as the ugly and frightening parts. She felt that it was her responsibility to go to the places that most people wouldn’t or couldn’t visit—steel mills, war zones, the Arctic, the ledges of skyscrapers—and share what she saw. Margaret expresses this sentiment in Scene 4 when she says “And isn’t my job as a photographer to show people what they can’t go see for themselves? To open up the world for them?”
  • In Scene 7, General Doolittle tells Margaret she is being sent to North Africa by boat instead of plane because “It’ll be safer.” Why is this ironic? (author’s craft, literary devices) Doolittle’s decision to have Margaret travel by boat because a plane would be too dangerous is ironic because Margaret’s boat ends up getting torpedoed. In other words, Doolittle puts Margaret on a boat because he thinks it will keep her safe but just the opposite ends up happening: Traveling on the boat places Margaret in great danger.

Critical-Thinking Questions (5 minutes)

  • Choose three character traits that describe Margaret Bourke-White and explain each one with text evidence. Answers will vary. Students may describe Margaret as courageous, bold, determined, resilient, dedicated, etc.
  • Why is photojournalism important? Answers will vary. Students may say that photojournalism is important because it gives the public a better understanding of current events by allowing the public to see, rather than just read or hear about, what is happening. Photos can also serve as proof of events in a way that words alone cannot. In other words, people may be more trusting of a news story if they see photos of what is being reported. The photos taken by photojournalists also help to create a historical record of things that happened and people who lived, which can help future generations understand the past.

3. SKILL BUILDING AND WRITING (30 MINUTES)

  • Have students complete the Writing Planner: Trailblazer Margaret Bourke-White. This activity will help them organize their ideas in preparation for the writing prompt on page 18 in the printed magazine and at the bottom of the digital story page.
  • Alternatively, have students choose a culminating task from the Choice Board, a menu of differentiated activities.

4. CONNECTED READING

Text-to-Speech