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Afghanistan: Broken Promise

Afghanistan: Broken Promise

Paperback English 112 pages 27 × 21 × 0.9 cm 585 g

Description

Moises Saman’s Afghanistan: Broken Promise follows the country from the 2001 United States invasion to the renewed violence of 2006–07. Published by Charta in 2007, the book gathers five years of photographs made during a period when promises of security and reconstruction were giving way to a more troubled reality. Afghan civilians remain central to this account: their lives register the consequences of political failure more directly than official declarations or military objectives can.

Saman approaches Afghanistan as a photojournalist attentive to both conflict and its surrounding structures. The work sets stalled reconstruction beyond Kabul against visible wealth in the capital, where luxury hotels and expensive cars offered a stark counterpoint to conditions elsewhere. It also records a country in which warlords and militias continued to control entire provinces, while the Taliban returned to major offensives. These contrasts give the title its force: the “broken promise” is not an abstraction, but a widening distance between reconstruction rhetoric and daily experience.

The book’s five-year span distinguishes it from coverage tied to a single battle or news cycle. Its historical arc begins with invasion and closes amid resurgence, allowing successive phases of the conflict to be read together. A preface by Rory Stewart places Saman’s photographs in dialogue with a writer closely associated with Afghanistan, while the images preserve the independent authority of sustained field observation.

For a collector of documentary photography or books on post-2001 conflict, Afghanistan: Broken Promise merits attention as a contemporaneous photographic account rather than a retrospective summary. It fixes an unsettled interval in book form, before later phases of the war altered how its early promises would be remembered. The combination of civilian focus, extended chronology, and pointed attention to the inequalities of reconstruction gives the volume lasting value as both a photojournalistic work and a historical document.

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