Bosch had been to war. His was a war of mud and blood and confusion. But he saw up close the people they killed, that he killed. Some of those memories were as crystal clear to him as the photographs now on his screen. They came to him mostly at night when he couldn’t sleep or unexpectedly when some everyday image conjured up a somehow connected image from the jungles or tunnels where he had been. He knew war first hand, and Anneke Jespersen’s words and pictures struck him as the closest he had ever seen it through a journalist’s eyes.

After the cease-fire, Jespersen didn’t go home. She stayed in the region for months, documenting the refugee camps and destroyed villages, the efforts to rebuild and recover as the Allies transitioned into something called Operation Provide Comfort.

If it was possible to get to know the unseen person on the other side of the camera, the one holding the pen, it was in these postwar stories and photos. Jespersen sought out the mothers and children and those most damaged and dispossessed by war. They may have just been words and pictures but together they told the human side and cost of a high-tech war and its aftermath.

Maybe it was the accompaniment of Art Pepper’s soulful saxophone, but as he painstakingly translated and read the stories and looked at the pictures, Bosch felt that he somehow grew closer to Anneke Jespersen. Across twenty years she reached forward with her work and tugged at him, and this made his resolve stronger. Twenty years earlier he had apologized to her. This time he promised her. He would find out who took everything away from her.

The last stop on Bosch’s digital tour of the life and work of Anneke Jespersen was the memorial website constructed by her brother. To enter the site, he had to register with his email address, a digital equivalent to signing the guest registry at a funeral. The site was then divided into two sections: photos taken by Jespersen and photos taken of her.

Many of the shots in the first section were from the articles Bosch had already seen through the links provided by Bonn. There were many extra photos from the same pieces, and he thought a few of them were better than the frames chosen to run with the stories.