Poignant shot, that.
The upraised hand
Of a baby Macaque.
This will get the people thinking
That they really, really
Shouldn’t eat them.
The highlight
For the cameraman,
An eye still on his lens,
Is a grooming
From a curious pair,
Who look for fleas
In his greying hair.
His laughing eyes
Betray the sadness
Of dissolute times
Between exciting jobs
In far flung places.
His unruly self
His struggle to be
A family man
Are hanging out
For all to see.
The cameraman
Is on TV
Talking about Macaques,
While I observe
From Northern Europe
In a room from which
The light has drained,
I marvel at my middle age,
Buses pass outside;
It rains.
Of course this man
Is starring in a million films,
Made not by him
But as many viewers
Sitting in their darkened rooms.
In mine he trudges wearily
Depressed by loss of habitat
Uncomfortable with his family
Sort of lost and sad.
In other films he’ll be
Inspiring, gentle, glad
Outstanding in his work
A wise and caring Dad.
TWISTED::COLON 
Interesting! I think this does have something to it, certainly. The first two stanzas are great as they are, I wouldn’t change anything there. The third stanza is where it is a little less refined, somehow, for me… I do wonder how much you can infer from a person’s background just from their appearance, or their eyes, personally – unless the poet here actually knows the cameraman’s background… But then, having said that, I like the way it ends – that works really nicely. Hope this helps?! I look forward to seeing what others think!
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Agreed – I wanted to get into the stuff we project onto what we view… I’ve added some stanzas which hopefully make sense of this, but it’s sort of fallen into an easy rhyme… might have gone a bit Pam Ayers.
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