Anna Badkhen is the author of six books, most recently Fisherman’s Blues. A Guggenheim Fellow, she is at work on An Anatomy of Lostness. (March 2020)


Pandemic Journal

Drawing by Tom Bachtell
The New York Review is publishing dispatches from around the world documenting the coronavirus outbreak. Read the full series, and listen to writers reading their contributions, at —The Editors   OAKLAND, CALIFORNIA, March 17—By Thursday afternoon, downtown San Francisco, already void of tourists, had turned ghostlier still.


Pandemic Journal, March 17–22

Dispatches on the coronavirus outbreak from Madeleine Schwartz in Brooklyn, Anne Enright in Dublin, Joshua Hunt in Busan, Anna Badkhen in Lalibela, Lauren Groff in Gainesville, Christopher Robbins in New York, Elisa Gabbert in Denver, Ian Jack in London, Vanessa Barbara in São Paolo, Rachel Pearson in San Antonio, A.E. Stallings in Athens, Simon Callow in London, Mark Gevisser in Cape Town, Sarah Manguso in Los Angeles, Ruth Margalit in Tel Aviv, Miguel-Anxo Murado in Madrid, Tim Parks in Milan, Eduardo Halfon in Paris, Anastasia Edel in Oakland, and more.

‘Almost All of Us Here Are Widows’: Searching for Words in Mali

Fanta’s stepson Ousman Diakayaté inspects his father's cows after watering them at day's close, Mali, 2013

I first met Fanta in the fens of the flooded Inner Niger Delta. I walked with her, taking the annular route her ancestors had established during the nineteenth-century Macina Empire, or possibly earlier. Last year, after the attacks in Koumaga and Somena, Fanta’s family abandoned their usual route and drove their cattle toward sunset. Now they are among the more than a quarter of a million Malians displaced by conflict. Their most recent camp is about a hundred miles away from their historic pastures, in a part of Mali where they had never walked before.

The View from 35,000 Feet

Enroute from London to Melbourne, 2002

The travel I witness is often forced: exodus, the tribulation of exile, flight from violence or famine. I have spent my life documenting the world’s iniquities, and my own panopticon of brokenness comprises genocide and mass starvation, loved ones I have lost to war, friends’ children who died of preventable diseases. For nearly each elegant vignette I read in Olga Tokarczuk’s Flights, my world seemed to proffer an evil twin, until the looking glass of the novel became akin to a funhouse mirror: the book smoothed away much of the wretchedness I know.