Anna Badkhen

In Walking With Abel, journalist Anna Badkhen joins a family of Fulani cowboys as they embark on their annual migration across the Savannah. Although their present is increasingly under threat from Islamic militants, climate change and urbanization, the Fulani are no strangers to uncertainty - brilliantly resourceful and resilient, they've contended with famines, droughts and wars for centuries. Dubbed 'Anna Ba' by the nomads, who embrace her as one of theirs, Badkhen narrates the Fulani's journeys with compassion and keen observation.

Journeys with the Nomads of the African Savannah

Walking with Abel

Bright Unbearable Reality

Travel books bring us to places. War books bring us to tragedy. This book brings us to one woman’s travels in war zones: the locals she met, the compassion they scraped from catastrophe, and the food they ate. Peace Meals is a true story about conflict and food. It illustrates the most important lesson Anna Badkhen has observed as a journalist: war can kill our friends and decimate our towns, but it cannot destroy our inherent decency, generosity, and kindness—that which makes us human. Badkhen writes: There is more to war than the macabre—the white-orange muzzle flashes during a midnight ambush . . . the scythes of shrapnel whirling . . . like lawnmower blades spun loose; the tortured and the dead. There are also the myriad brazen, congenial, persistent ways in which life in the most forlorn and violent places on earth shamelessly reasserts itself. Of those, sharing a meal is one of the most elemental. No other book about war has looked at the search for normalcy in conflict zones through the prism of food. In addition to the events that dominate the news today—the wars in Afghanistan and Iraq—Peace Meals also bears witness to crises that are less often discussed: the conflict in Chechnya, the drought cycle in East Africa, the failed post-Soviet states, the Palestinian intifada. Peace Meals focuses on day-to-day life, describing not just the shocking violence but also the beauty that continues during wartime: the spring flowers that bloom in the crater hollowed by an air-to-surface missile, the lapidary sanctuary of a twelfth-century palace besieged by a modern battle, or a meal a tight-knit family shares in the relative safety of their home as a firefight rages outside. It reveals how one war correspondent’s professional choices are determined not only by her opinion of which story is important but also by the instinctive comparisons she, a young mother, makes each time she meets children in war zones; by her intrinsic sense of guilt for leaving her family behind as she goes off to her next dangerous assignment; and, quite prosaically—though not surprisingly—by her need to eat. Wherever Badkhen went, she broke bread with the people she wrote about, and the simple conversations over these meals helped her open the door into the lives of strangers. Sometimes dinner was bread and a fried egg in a farmer’s hut, or a packet of trail mix in the back of an armored humvee. Sometimes it was a lavish, four-course meal at the house of a local warlord, or a plate of rice and boiled meat at a funeral tent. Each of these straightforward acts of humanity tells a story. And these stories, punctuated by recipes from these meals, form Peace Meals. Following Badkhen’s simple instructions, readers will taste what made life in these tormented places worth living.

Candy-Wrapped Kalashnikovs and Other War Stories

Peace Meals

An award-winning journalist and author of Peace Meals presents a portrait of a remote Afghan desert village where heroin is cheaper than rice, people believe the world is flat and American fighter planes fly overhead, documenting the culture's annual tradition of recording their year's experiences on intricately woven rugs.

Four Seasons in an Afghan Village

The World is a Carpet

NAMED A BEST BOOK OF THE YEAR BY THE CHRISTIAN SCIENCE MONITOR AND PASTE MAGAZINE An intimate account of life in a West African fishing village, tugged by currents ancient and modern, and dependent on an ocean that is being radically transformed. The sea is broken, fishermen say. The sea is empty. The genii have taken the fish elsewhere. For centuries, fishermen have launched their pirogues from the Senegalese port of Joal, where the fish used to be so plentiful a man could dip his hand into the grey-green ocean and pull one out as big as his thigh. But in an Atlantic decimated by overfishing and climate change, the fish are harder and harder to find. Here, Badkhen discovers, all boundaries are permeable--between land and sea, between myth and truth, even between storyteller and story. Fisherman's Blues immerses us in a community navigating a time of unprecedented environmental, economic, and cultural upheaval with resilience, ingenuity, and wonder.

A West African Community at Sea

Fisherman's Blues

Wedrowka z Ablem

2022 National Book Awards Longlist for Nonfiction Essays about migration, displacement, and the hope for connection in a time of emotional and geopolitical disruption by a Soviet-born writer and former war correspondent. Called a “chronicler of a world on the move” by The New York Review of Books, Anna Badkhen seeks what separates and binds us at a time when one in seven people has left their birthplace, while a pandemic dictates the direst season of rupture in humankind’s remembering. Her new essay collection, Bright Unbearable Reality, comprises eleven essays set on four continents—roving everywhere from Oklahoma to Azerbaijan—and united by a common thread of communion and longing. In these essays, Badkhen addresses the human condition in the era of such unprecedented dislocation, contemplates the roles of memory and wonder in how we relate to one another, and asks how we can soberly and responsibly counter despair and continue to develop—or at least imagine—an emotional vocabulary against depravity. The subject throughout the collection is bright unbearable reality itself, a translation of Greek enargeia, which, says the poet Alice Oswald, is “when gods come to earth not in disguise but as themselves.” Essays include: • In “The Pandemic, Our Common Story,” which takes place in the Great Rift Valley of Ethiopia, one of the locations where humankind originated, the onset of the global pandemic catches Badkhen mid-journey, researching human dispersal 160,000 years ago and migration in modern times. • In “How to Read the Air,” set mostly in Philadelphia, Badkhen looks to the ancient Greeks for help pondering our need for certainty at a time of racist violence, political upheaval, and environmental cataclysm. • “Ways of Seeing” and the title essay “Bright Unbearable Reality” wrestle with complications of distance and specifically the bird’s eye view—the relationship between physical distance, understanding, and engagement. • “Landscape with Icarus” examines how and why children go missing, while “Dark Matter” explores how violence always takes us by surprise.

Essays

An unforgettable portrait of a place and a people shaped by centuries of art, trade, and war. In the middle of the salt-frosted Afghan desert, in a village so remote that Google can’t find it, a woman squats on top of a loom, making flowers bloom in the thousand threads she knots by hand. Here, where heroin is cheaper than rice, every day is a fast day. B-52s pass overhead—a sign of America’s omnipotence or its vulnerability, the villagers are unsure. They know, though, that the earth is flat—like a carpet. Anna Badkhen first traveled to this country in 2001, as a war correspondent. She has returned many times since, drawn by a land that geography has made a perpetual battleground, and by a people who sustain an exquisite tradition there. Through the four seasons in which a new carpet is woven by the women and children of Oqa, she immortalizes their way of life much as the carpet does—from the petal half-finished where a hungry infant needs care to the interruptions when the women trade sex jokes or go fill in for wedding musicians scared away by the Taliban. As Badkhen follows the carpet out into the world beyond, she leaves the reader with an indelible portrait of fates woven by centuries of art, war, and an ancient trade that ultimately binds the invaded to the invader.

Anna Badkhen

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