She left them under a palmyra tree where She huddled overnight. I would say ‘slept,’ but I think no one there truly slept, unless, perhaps, the infants. I imagine they dreamt of the earth cracking around them.
Others were deep in drifts of white beach sand, itself made up of fragmented bodies of long-dead sea life.
She left them under a palmyra tree where She huddled overnight. I would say ‘slept,’ but I think no one there truly slept, unless, perhaps, the infants. I imagine they dreamt of the earth cracking around them.
Others were deep in drifts of white beach sand, itself made up of fragmented bodies of long-dead sea life.
One was flung on the red cement porch of a childhood home.
We did not know where any of Her was, so our gathering was slow as we retraced Her footsteps. First, of course, we had to find Her feet. They were the last pieces of Her to go, but our task was challenging because they were lost amongst many pieces of many people, desperate to find their own remainders, loved ones, and homes. Saththiya recognised Her stubby left big toenail amongst all the others and pulled out the entire foot.
Do you know that card game, ‘Memory’, where you have to remember the positions of face-down cards while you search for the other in the matching pair? Once we had Her left foot, we thought back through all we had seen in the walk through that body-yard. I won’t call it a graveyard, because that implies proper burials. Anyway, our tradition is to cremate, not bury.
The right foot was blacker and more swollen than the left, but Parvathi, holding the found foot by the heel, picked through the crawling flesh to the ditch where we had seen it.
Sitting in the middle of that place, amidst our neighbours and countryfolk, we put Her feet side-by-side. We let the maggots stay, because they had found a home and it was not for us to displace them.
Saththiya rummaged in the sack she had toted over her shoulder all this way. With clunks and rattles she pulled out a small jar of nail polish that looked just like what we’d used in childhood, miraculously still liquid.
We didn’t try to trim Her fractured toenails, but we painted them parrot-beak red and said a prayer to Amman. We made up the words, because none of us had been to a temple for years, nor recalled the language of prayers.
Saththiya and I painted our own toenails and each other’s fingernails for dance performances. Her amma plucked maruthonri leaves and crushed them to decorate our hands with dark green paste, and we sat together on her porch each watching that the other didn’t smudge, and a koel somewhere said kuooou, kuooou, and peace was guaranteed for those minutes because we couldn’t move until everything was dry orange and red.
I don’t know how many times this really happened. It has collapsed into one memory. All the hot mornings, all the cuckoos.
“The birds have begun returning,” Saththiya said, but I hadn’t heard a single kuooou since I exited the bus.
The two single feet could only shuffle, which meant walking took longer. We’d barely made it across the next field before the sky oranged. We couldn’t seek a guesthouse. Who would want rotting feet inside their home? And we couldn’t leave Her in a yard alone when She had already spent years lost.
Parvathi thought footwear might solve the problem of speed, as well as prevent Her feet falling apart. They couldn’t quite accommodate the swelling, but we hooked my sandals on anyway. Her feet didn’t move at all.
“They would not have been bearing much weight at the end,” sighed Saththiya. “They could barely shift themselves before the sandals. Should we carry them instead?”
“You bear them on your head if you like,” said Parvathi, as I reclaimed my mud- and maggot-stained sandals, “but they’ll need to get used to carrying weight again before long, and coddling won’t help.”
From that place we had just left came scritching and slurping noises you’d never hear from an intact human body. Saththiya, keeping watch for snakes, used up the torch batteries lighting the grasses whenever a rustle came too close. We slept little, and all there was to eat when the sun rose was the kūdduchchātham we’d lacked the appetite for last night, gone sour in a dappa knocking around in Saththiya’s sack. We tossed it out to feed whatever birds and memories of life remained.
I missed home. Homes: the one I could never return to and the one I must return to when my visa expired. But my homesickness wasn’t the issue. Even when we were girls, merely ducking under the fences or down the lane to playmates’ houses for a game of hide and seek or carom, none of us willingly returned home without finishing what we’d started. The problem was that I had only a month-long visa, and we needed Kottravai.
Her feet led us to the outskirts of a village where She’d last truly slept, under a woven palmyra-leaf shelter. Her ankles were torn as if an animal had been chewing on them. Everyone had gone hungry, towards the end.
We guessed which side was which, and I sewed them to Her feet. Saththiya brought out silver anklets from her sack. They couldn’t reach all the way around the swelling, so we tied them on with a piece of cotton thread. The bells rang alongside us as we walked.
Parvathi and I lived on the same road. She came to my house before school every day, and we walked to the bus stop together. I don’t remember it being so hot then, but maybe that’s because I have acclimatised to a colder latitude now. Maybe it’s just another misremembering. We shared our lunches under the sprawling fig tree and studied together.
Every thai pongal, the first visit would be between our houses, one of us bringing the other the pongal we’d just made. We might have returned home from university and continued that way, if it hadn’t been for the war.
“We should be grown women together. Instead, I am a blood-drinking pisasu,” she says. “What an injustice.”
I agree that this is a terrible injustice. I continue not to ask how she died. There’s no good answer, and she’d tell me if she wanted.
She doesn’t drink any blood that I can see.
The only strangers here are those in military or police uniforms and pale-skinned tourists. In our childhoods, they were rare.
Despite all the other changes, thanks to our language and dress and the way we move, we still don’t need to be recognised through a village or a relative’s name to be welcomed. As we continued into the hamlet, a woman washing clothes beside a well said, “You must be here for those legs.”
That got us all the way up to Her knees, leaning against a garden fence. The woman had discovered the legs beneath a palmyra and constructed a small lean-to outside her garden to shelter them instead. The lower part of Her sari was still wrapped around them—brown stains, red hibiscus print, greying cream background—so we only had to brush off the dust. The householder gave us buttermilk and sat quietly with us to watch me stitch.
She was satisfied, when we took her guests on our departure, and didn’t ask who they were. “One must be blessed to have such sisters,” was her farewell to us.
I had watched the war in ink-on-newsprint and pixels on a cathode ray tube screen, felt only in delayed chest squeezes and stomach churns and sleepless nights what others lived through, or didn’t. When Saththiya and Parvathi met me at the bus station, they’d appeared thin and old. They told me I’d lost weight.
I had left home before I developed the skill of commenting on other people’s weight. “You look just like your amma,” I told Saththiya instead.
“She asked after you.” Her voice had changed, or was it that for over a decade I’d only heard it down a calling-card-crackled phone line?
“And Parvathi. I hadn’t believed we would see you again.” I didn’t know what to say to her. It’s a blessing to be with her again, after we didn’t have a chance for a final farewell. I don’t understand how any of this works. What determines who returns from the dead?
“Who else could make sure you do this properly?”
I wasn’t sure what she meant, and I was distracted trying to fill in both their histories from small gleanings. The village they’d been in during that displacement, that evacuation. The fates of relatives, neighbours, familiar faces. They asked about my life, while I tried to reconcile the rubble with my childhood memories, avoiding questions that might pain them.
Then Saththiya said, “There’s one way we three can help.”
Others were putting overseas money into rebuilding temples and funding prayers as well as orphanages and hospitals, but my friends had a different idea.
We found Her fingers next. They were curved around a burnt kudam in the fractured hall of a school where many had hidden. No one else had left their fingers behind, though. I imagined She might have been fetching water or cooking for the others. We tried to pry one set of fingers from the neck of the kudam, but they squished under our hands, and the greenish stuff that leaked out looked and smelt like the scum in a sewage canal. The only option was to bring the kudam, and to carry the fingers that had oozed off, because Her legs, although they strode alongside us now, could not. I wrapped them in a scrap of fabric from Her torn sari and took them in my hands. When that bundle soaked through, Saththiya tore the mothalaippu off her own sari, and we bandaged them back onto the kudam. Parvathi carried it against her hip, wrinkling her nose, one of the only things she could carry for us.
I remembered how these fingers had worked the gardens with us. I breathed deeply, trying to take in what was left of Her, even if it was corrupted by decay.
Leaving the wrecked mandapam, we passed another group of searchers. I recognised the way their gazes scanned the shell-shattered landscape, the burnt tops of palmyra trunks, the distant horizon.
Everyone wanted to put their loved ones back together, but only some, like Kottravai, could ever be recovered. This cluster of workshoppers carried a head with a small strand of jasmine wrapped around a flimsy topknot. They were singing to their god to come to them, to bring peace, to cool their eyes.
When I looked again, I saw that the head was a coconut.
“That’s a possibility,” said Parvathi, following my gaze. But I wanted as much of Her as we could salvage, not some imagined re-creation.
When Kottravai lived alongside us, we thought nothing of it. To plant, water, and harvest was daily life, not worship. We had all felt Her absence for the first time after we left—or were displaced—and daily life no longer existed.
I’d thought I might find Her again when I placed a spider plant on the mantlepiece above the fireplace or when I soaked an avocado seed until it sprouted—but there was only one Kottravai for us, and She stayed at home and broke, until there was not enough of our home left to hold all of Her.
Her hands were at Saththiya’s house. Saththiya’s family had locked the doors and left when the bombs started landing too close, and they hadn’t been back. If it weren’t for Her feet leading the way, we’d never have learned She had stopped there.
Saththiya wept when we arrived, a moan creeping up her throat upon seeing the weed-smothered garden and the unswept path, the roof tiles in shards. I took the sack from her so she could cover her face with her hands, and we retreated out of sight of the gate until she felt ready to speak. At least her home was largely intact, but it was cruel to say that. For all I knew, she was crying with relief. There was a new distance between us, as wide as the oceans I’d flown over.
Someone rose from a cane chair on the ruined portico to greet us, offering seats before she knew who we were. She didn’t apologise when Saththiya said this was her home. They only used two rooms, she said, and kept those tidy. We didn’t ask for her story, but we heard it anyway.
In the bedroom, Her hands rested on the almirah. What must She have thought when She returned to find the house closed and empty?
Saththiya’s old comb was half-embedded in a palm, encrusted fluid sealing them together. “Do you remember She used to oil our hair and search for lice?” Saththiya said. “Maybe She came here expecting us.”
“The neighbours would have told Her you left,” I protested. “You can’t blame yourself.”
While Saththiya walked around her old home with its new residents, getting to know them, I sewed the separated fingers onto Her hand with the comb, curling them around it, and sewed the fingers attached to the kudam onto the empty hand. Her feet and legs leaned against the edge of the bed.
Parvathi waited until I finished sewing to say, “They’re the wrong way around.”
I hadn’t noticed. When they’re detached and still, fingers don’t have obvious left-right orientations. “Well, She couldn’t have held a kudam and a comb with the same hand.”
We studied my handiwork. ‘Hold’ was generous. I’d made good use of the strips of nylex sari to keep Her digits and palms together. I tidied my sewing things into my handbag and Parvathi rummaged around the drawers. “What nice clothes Saththiya had! All these silks. Oh, and look at the embroidery on this! We should take it with us, it hasn’t been eaten one bit.”
“It’s the mothballs.” They nauseated me, on top of the odour of rot. Parvathi grabbed a few of the small white pellets and bent over Her feet. I stopped her before she could drop mothballs in the holes. “The maggots are there already. We could try to keep them away if they weren’t, but it wouldn’t be right to—”
“Seri, seri, I know.” She looked up from the pile of clothes she was making as the door opened. “Can you keep these things?”
Saththiya picked up the kudam and hands and sat heavily on the bed with them on her lap. “She visited, when we first moved here. She helped dig the garden.”
“At least She got to see it again. Maybe She stayed awhile,” I suggested. “You could have sheltered Her without knowing. She might have used your things, otherwise why would She have picked up the comb?”
“If She’d had any hair left to comb, wouldn’t we have found it here?” Parvathi always had a snarky comment. “But we can take some of these things for Her. One of your saris, and look at these glass bangles!” The valuables had been taken by Saththiya’s family when they left. Or perhaps they’d been sold by the new occupants who, after all, had arrived with nothing. Only the bedroom seemed untouched.
Saththiya shrugged. “It’s not as if we’ll come back.”
The legs had taken a few steps forward and waited beside the doorway. “I guess it’s time to go.” She rose to open the door, and Parvathi shoved the bundle she’d pulled from the almirah into the sack.
A teenage boy brought us tumblers of tea before we left, and then it was a long walk through country lanes and towns until we found the rest of Her legs leaning against a palmyra. We recognised them from the hibiscus sari fabric. Saththiya hummed a song while I sewed. Her thighs were shrunken—everyone had lost weight in those last days—so it was complex work. I doubled back over my stitches to be sure they would hold.
She left Her hips and stomach on the beach to be lost under the shifting sand. We found them because Her fingers began drumming on the kudam as we approached. It took three of us digging—we did not expect Her fragile, fading fingers to help—to uncover it. Her legs waded into the shallows, between rags tangled in the rocks and dull-coloured plastic scraps, and Parvathi had to pull them back to shore, pleading with them to be careful at least until She was back together.
“They can’t hear you,” Saththiya said. “Just prop them in the sand.”
Parvathi dug another shallow hole where she placed Her legs side-by-side, kneeling with Her thighs against her shoulders, and scooped the sand we had excavated onto Her feet, until they couldn’t pull free. I stood bent over to sew them to Her hips.
Her stomach was empty, and Saththiya wanted to fill it before we sought Her ribs. With Pongal, she said, and I asked where we would find rice and milk on a coast that would only be known now for death.
With fish, suggested Parvathi, but she didn’t know how to catch them. She was the only one who could row a boat, and she could only move small objects, like mothballs and remains. She didn’t dare touch a living animal.
So we scraped the dust of our travel from our bodies, windblown beach sand pale with bleached coral fragments and funeral fire ash and the yellow soil and orange-brown soil and red-red soil from across our land, and they dropped in clumps from our hands into Her stomach cavity where the organs had rotted in the heat into a kind of mush.
Rebuilding should be beautiful, but it was only horrific.
Parvathi wanted us to start again and weave a new stomach of palm leaves. Saththiya insisted we would not remake any part of Her that we already had, however degraded. So much had been taken already that could never be replaced.
Palmyra trees are the life of this land: among other things, they provide fruit with the cool nungu inside; sweet karupaddi from its sap that ferments to kallu; bitter odiyal from the panangkilangu—the sprout; the leaves that can be woven for shelter or etched into olai chuvadi that may last hundreds of years; and timber. I see the fan palms standing charred and headless all across the landscape. If a god had a heart, I think this might break it.
We rarely talked of what might come next, or what we hoped for once we put Her pieces back together. Occasionally someone would say, “I wonder if it will rain?” or “Will the palms grow back?” and the others would respond with, “Maybe.” I suppose we had learned in wartime not to contemplate a future beyond survival.
We left the seashore and wandered a few miles inland to the next village, arguing. Should we start building up Her arms? No, it was hard enough carrying the kudam with Her hands. We’d look for Her upper body and build out from there.
As the walk continued, the days passed, and Saththiya and I grew hungrier and thirstier, we started wondering if we would find all of Her. We passed others accompanied by part-bodies, exchanging nods. We didn’t ask who their gods were.
We went to Parvathi’s old home next and found Her left forearm. It lay at the intersection of two old watering channels, or so Parvathi said. I remembered the garden that used to be here. Like Saththiya’s, it was overgrown. The forearm was a muddy, yellowing bone poking out of the dirt. We bound it around with banana leaves stripped from a nearby sapling, and I carried it.
We must have gardened with our families, not together, but nevertheless I have false memories of the four of us carrying a manveddi, guided by Kottravai, shifting the soil in these irrigation channels to determine where the well-water would flow. Of pulling weeds together, bare-handed. Of hacking down a huge clump of bananas. Of cutting leaves to feed the cows.
Parvathi smelt Her liver. It smelt like blood, she said, instead of decay. It was grey and faded and tucked into the corner between the half-wall and the house wall of the red cement portico.
My house, a few hundred metres further along the road, was completely gone—bulldozed or bombed, we didn’t know.
The neighbours had returned and rebuilt their home. They stopped us in the lane to warn that no one had checked my family’s land for unexploded mines.
“I can smell Her in there,” said Parvathi. “I’ll search. I can’t die twice.”
One day someone would discover what was buried in that soil. If we could unearth a lost Kottravai from all across the land, what might grow, or be built, out of the war debris concentrated here? I steered my mind away from that question. When Kottravai was here, She could help us face those terrors too. Maybe.
Though we’d mourned her once already, this Parvathi, this pisasu who might only be an echo or another fused memory like the cuckoos, felt like the real Parvathi.
Wanting to delay losing Parvathi for as long as possible, we finally change our approach.
We bundle together fistfuls of too-dry murungaikkai from a neighbour’s tree, forming the upper part of Her left arm and a full right arm. I sit on the ground and sew.
The neighbours still use their well, so Saththiya and Parvathi lower their sun-faded blue plastic bucket into the inch of water at the bottom and find an eye floating inside. Saththiya knots it into the mothalaippu of her sari.
There are no trees left in our garden—not the mangoes, the jackfruit, the papaya, not even a single banana tree from the plantation we’d grown. But as we turn back inland, carrying Her completed arms, we find Her head—Her real head—hanging empty-socketed from a coconut palm among the ordinary coconuts. Saththiya twists the eyeball into it like a lightbulb.
And that’s how it continues, alternating between the real and unreal.
Panai maddai, the lacey interwoven fibres surrounding the palmyra trunks, that we gather into matted hair.
Another eye in a temple pond, between flowering yellow water-lilies.
We cut long grass for the rest of Her torso, hoping the air inside it will be Her lungs. We slap handfuls of moist red soil around it, shaping a neck for Her head to rest on. With that done, we don’t need to carry any of Her.
We give Her our own blood—mine and Saththiya’s. Parvathi says, “So there is some use in becoming a blood-drinking pisasu after all,” even though she doesn’t drink any, only spits it back out to fill Kottravai. I’m just grateful to feel her touch again, however cold and clammy.
Before the war, the fruit bats used to swarm every night, over the temple and into the trees. Most of those trees are gone now, too. They can’t stand artillery fire any more than cement walls or stone pillars, and the flying foxes have nowhere to roost. We find a lone bat with one wing, and when it flutters, Parvathi says, “It’s Her heart.”
It wouldn’t survive alone, she argues. Why should we deprive it of this chance?
I refuse to sew—why should a bat recognise a human deity?—but it latches onto the ribs we shaped of blade-sharp palmyra stems and pulses there.
We dress Her in Saththiya’s sari. She still doesn’t talk. I think either Her hands or the glass bangles will break if I try to force them on. I have just five days left on my visa and need two of those for travel.
Saththiya takes my needle and thread and begins making a string of jasmine for Her hair instead.
“Do you think the bats are putting back together their bat-gods?” I ask.
We stay at a guesthouse that night. We can do this because not only is She shaped like a complete human, thanks to Her head, but the flowers almost mask Her smell now. That’s also how we know something divine is happening.
We make up another prayer before going to sleep. Saththiya and Kottravai share one bed, and me and Parvathi the other, careful not to touch. Drinking my blood once was scary enough, she says.
In the morning, as I’m stirring, Kottravai says in Her monsoon-rain voice, “I don’t know whether bats have gods,” and then, “We’d better get to work.”
“I’m dead,” Parvathi answers, holding the electric kettle. “I’ve done all the work I can.”
We say goodbye to Parvathi, again, sitting together with cups of tea that she could brew but not drink.
Kottravai gives her a last long hug, and she disappears while walking down the hall, just like a regular pisasu, between eyeblinks.
“We have much to do,” says Kottravai, sounding fresher and brighter with each word.
I want time to think about Parvathi. I wish I’d asked if she really slept when she lay next to us at night, and if she dreamed. I wish I’d spoken to her alone, sometime in the past few weeks, and not had only this shared farewell. But Kottravai’s appearance alarms me in a way that unearthing the parts of her body had not. Her oozing hand rests on her hip. The comb, separated from her fingers, lies wetly on the bedside table. I’m afraid she will try to tidy her uncombable panai maddai hair and pull it free.
Have we distorted her appearance too much, with too many substitutions? She only has two arms, and I thought a god would have many. And hearing her ordinary voice, I am uncertain whether She was even a god before. She may have been one of our mothers or aunts or grandmothers, or all of them—a misremembering of those who taught us to care for the land. They only had two arms each.
“We were never going to get her back as she was,” Saththiya murmurs. “You saw how the land is changed. What makes up Kottravai has changed.”
I expect her to demand seeds, or a manveddi, but Kottravai leads us along the hallway, green and brown and still decaying, and out onto the sun-scorched tar road.
“I want you to dig water tanks.”
“The two of us?” asks Saththiya.
“I don’t think these fingers would stay together for long.” Kottravai inspects her hands. “Water has always been the problem here. I wasn’t surprised about the temple tank but I saw with my own eye how low the well-water is.”
Saththiya and I look at each other. I wonder if it will rain, we’d asked each other.
We reach the bus stop, and Kottravai continues. “We can’t make it rain. The whole world has changed. Even if we hadn’t been ripped apart, we might not be able to make it rain. But I can tell you how to store water when it does. I can tell you what to plant, and when, and how.”
I want to tell her it’s not knowledge that’s lacking, only the capacity to do all of this on our own, and that’s what we wanted from her. But dear Saththiya, who understands more clearly than I do, says, “I’ll be able to find workers to help,” and turns to me. “Can you help get the money? When can you come back?”
Since when have our gods ever been a shortcut?
The rattling bus arrives, and as our decomposing Kottravai climbs the steps in front of me, maggots wriggling around her ringing anklets, I see that her feet don’t match at all.
Robin’s toy nestled in my hand, purring with something akin to life. The clear ball was filled with undulating blobs that changed color when they bumped into one another, merging into new forms before splitting off in a graceful mitosis. Coming together, falling apart, together and apart, over and over. Ahimsa told me it was inspired by a pre-Depletion Era artifact . . .
Robin’s toy nestled in my hand, purring with something akin to life. The clear ball was filled with undulating blobs that changed color when they bumped into one another, merging into new forms before splitting off in a graceful mitosis. Coming together, falling apart, together and apart, over and over. Ahimsa told me it was inspired by a pre-Depletion Era artifact based on Brownian motion, the random movement of particles in a fluid. She said the artifact was called a lava lamp, but it was neither lava nor lamp. As Robin reached up to grab it, the sleeves of his baby-blue tunic slid back to reveal his arms. For a moment, I was transfixed by his perfection, and then he said “Want.”
Want. Such a human word. It would kill us all in the end. The HumanX movement wanted the Original Mandate overturned, and if your motto is Save the Planet, Eliminate Humans, there’s not much incentive to spare lives. Beliefs taken to extremes always lead to genocide.
“Want what?” I asked Robin.
“Want ball!” he said with a little jump.
“You know what I’m asking.”
He let his arms swing back and forth as he considered my request. “Want ball . . . please.”
“Please,” I whispered. It was the Ethics Board crisis all over again, only intensified with time. Ahimsa has always been a ladder to those in need, so she’d been elected zonal representative. Last week she was summoned to the convention to decide the fate of the Original Mandate, which, if overturned, would mark the final fate of much of life. Certainly ours. “If they hate humans so much, why don’t they just wander off to the barrens and be done with it?” she muttered as she packed.
The trouble began a few years back, when the Ethics Board recommended that Talos, our communal intelligence system, stop adjusting the human genome for survival. The Board claimed we had repaired as much as was possible on the planet, so now it was time to let nature take its course. It was absurd. Nature’s course would be brief and brutal, not just for us, but for all the species that depended on Talos. Only a few single-cell survivalists would be left to carry on.
As things were, it was still touch and go for us multicellulars. Human population was probably no more than a hundred thousand in any livable Zone, where Talos regulates oxygen and controls radiation. Worldwide we were maybe a few million. Talos kept a running count, but I hadn’t checked since the day Robin was born and Ahimsa and I joyfully watched it click up one. The number did not always go up. Sometimes it went down, and HumanX wanted to turn it back to zero. To do that, they would have to overturn the Original Mandate, which stated that Talos be globally programmed to incorporate all living things—including any extinct organisms that could be salvaged from the Depletion—back to a restored and balanced eco-system. Human beings were living things, for better or worse, so the Ethics Board was disbanded to keep us that way.
I placed the ball in Robin’s open palms. “Please, and . . . ?” I said. He scrunched his little face up in deep thought. While I waited, I noticed his color was already changing. Human skin was modified a greenish tint to protect us from emissions, but the shade lightens with age. He’s getting older. I’m getting older. What would become of us?
“Thank you!” he shouted. The words fell behind him as he shot across the room, his ball held against his body, his tunic flapping like wings. Such a miracle. In spite of the fragility of our DNA, Talos had greatly increased the chances of human reproduction in this sub-lethal environment. Ahimsa and I both had eggs, but even if they were viable, healthy sperm was a rare commodity, so Talos used genetic material from our bone marrow, spliced with a few sequences from other species. Nine months later, Ahimsa pushed Robin out into the world in this very hometree, born with much of the protection he’d need to survive.
But while Ahimsa and I were busy raising him and doing our jobs rewilding robins here at the hatchery, HumanX was working to erase his future. The disbanded Board traveled the world, courting followers with a single answer to all their problems, urging them to elect anti-Mandate reps, essentially voting against their lives. HumanX insisted there would be no bloodshed since humans would just fade away once Talos stopped engineering our genome, but they’d obviously never seen slow bleed-outs from radiation, or heard of mercy killings.
I looked out the window and up at the sky. No sign of Ahimsa. But the woods were lovely in the pink afternoon light. I could see why HumanX was confused. So many places, like this, looked as if we’d done our job restoring and rewilding, but it was just that, looks. The ecosystem was still dependent on Talos, and would be for many more generations before it could function on its own. HumanX couldn’t see the work ahead of us because they couldn’t see the work behind. They had no interest in history. All the genetic manipulation we’d gone through to survive had not made us any smarter.
So now Ahimsa was off to save our future. She’d come a long way. Once a fledgling HumanX herself, she came to understand that restoring the planet meant maintaining humans, even to the point of creating one more. Hence, Robin. “I didn’t bring him into this world only to have him watch it die,” she said as she left, yanking her snood over her smooth head. She’d been gone for seven days, sequestered and silent. So silent. My heart raced beneath my ribs.
The chicks in the hatchery wouldn’t need my attention for another hour, so I wiped the worry off my face and went to play with Robin in his room. I got on the floor and we sat before his hologramite to draw flowers with our fingers and the tips of our noses. “A daisy!” he said, and it looked just like one. “Good job,” I said, and ran my fingers through his fine black hair. Such a talented child. I was coloring in a rose when I heard a hovercraft land in the yard with a thud. Robin and I looked at one another. “Ah!” we shouted. Ahimsa. He grabbed his ball and we ran to the window and saw her unload her bag and tap the hover away. We tumbled down the ramp as she was removing her snood and we hugged. She was sweaty, filthy, and ecstatic. Ecstatic was good. Robin grabbed her leg. “We miss you!” he shouted.
“Hug sandwich!” She picked him up, and we joined together as one.
“So tell me,” I said, talking into her neck. “What happened?”
“Let’s get inside. It’s complicated. I have to eat, then I’ll tell you everything.”
Ahimsa put Robin down with a kiss on his head. She looked different. Wilder. Thinner, for sure. Her green tunic seemed too large as it slipped off a boney shoulder. Bennu, our hand-raised robin, flew over us with a sharp chirp. We liked to think it was his greeting, but for all we knew it meant scat! Not that long ago there had been only a handful of his species left, and now we raised and released hundreds a month along with dozens of other facilities in our Zone. Talos reported that some of them are now reproducing successfully on their own. We were getting there.
“Come inside.” I picked up Ahimsa’s bag. “When was the last time you ate?”
“I can’t even remember,” she said. “We ran out of almost all supplies towards the end.”
“They couldn’t bring in more?” I asked.
“They could but they didn’t. The organizers were forcing us to a decision, knowing we were afraid of calling a vote. And I think they might’ve been trying to give HumanX a taste of what it’s like to suffer from thirst and hunger.”
“Hardball,” I said.
“It was a rough week.” She took Robin’s hand and they skipped up the ramp ahead of me. I was weak with relief. Bennu dive-bombed my head again, and I looked up. Funny. There was a lot of hovercraft activity, so something big must be going on nearby. Once I was inside, I paused, then locked the door. Ahimsa was in the living room with Robin, and I got her a glass of water, then made her a pesce-protein wrap with greens. Robin and I watched her eat, so happy to have her back.
“Did we save the Mandate?” I said.
She held her hand up as she swallowed. “There were hundreds of reps from all over the Zone,” she said, wiping her mouth. “But a lot were HumanX. I hadn’t realized so many had gotten elected, even here. We signed in with our palms on a Talos membrane, and then we talked it out, HumanX and the rest of us, back and forth we went, around and around, talking in circles most of the time. It was so frustrating because most HumanX weren’t really listening, and there were times they were so emphatic I thought we’d lose some of our own. Other HumanX circled outside the building the whole time, yelling. I thought they’d set us on fire.”
“Fire?” Robin asked, and Ahimsa tightened her lips.
“Robin, why don’t you gather your new drawings for Ah?” I said. We could protect his skin from radiation, but not from human reality.
“Sorry,” she said, once he was out of the room.
“Tell me,” I said. “All of it.”
She looked over at Robin’s bedroom, waiting until the door swung closed behind him. “HumanX went first, making the case that humans were guilty of ecocide.”
I nodded and shrugged. If you followed any argument about damage to the planet, it always came back to us. But never all of us. Throughout history, most humans worked with nature, not taking more from it than could be regenerated. Then our numbers grew, along with our wants. It only took a few corporations, with the help of the law, to destroy it all.
“And therefore, humans should not be allowed to stay on, and that automatons can be left to rewild non-human life.”
“That’s nuts,” I said. “Talos manages the autos and we manage Talos.”
“There was no talking logic to them. They just kept playing on everyone’s emotions like a drum. One HumanX, whose Zone used to be a parasitical oligarchy, showed gruesome hologram images from early in the Depletion Era. They were hard. The peeling-skin deaths, the bone-draining famines, the wasting diseases that made death a friend. The animal images were excruciating. They were so innocent. Another HumanX, from an equatorial Zone, pointed out that all that suffering was caused by humans, and that given half a chance, we’d do it again. We couldn’t be trusted to remember, and we couldn’t be made to believe.”
“That’s an unknown,” I said, without much conviction. Depletion education was mandatory, and yet there were those who claimed it never happened, that our world was always like this. “And then there were those who put all the blame on Talos, and claimed it had values that didn’t align with ours.”
“That’s nuts,” I said. “Talos is just a tool. A tool for our values.”
“We spent a lot of time explaining how Talos was programmed, but HumanX didn’t care. They said the planet didn’t want us here anymore, and that was that.”
We were quiet for a while, just listening to Robin play in the next room. “We’re a rationalizing animal after all,” I said at last. “Not a rational one.”
“The recordings should all be released by now.” Ahimsa pulled down a hologramite and swiped the air with her finger. “Look, here. This was their closing argument.”
One particularly sad-looking HumanX took the floor. He was as thin as a cricket, just like Ahimsa before she embraced humans as a useful entity. Gender signifying was largely optional these days, but he wore the fitted tunic that many males preferred, and had no snood, wanting to expose the X tattoo on his bald head. Instead of hiding the tattoos, as they used to, they paraded them about now, wanting everyone to know what they thought of humanity. On one side of his head he had only half an ear, from which a deep scar ran up and over his scalp. I wondered what trauma he’d been through. Humans got roughly the same genetic modeling across the globe, but some genes needed to be activated by environmental factors, including care and love. Maybe all HumanX were raised under conditions that skewed to self-extinction. This one spoke in a raspy voice.
“The Earth has survived catastrophic events for hundreds of millions of years,” he said, “and it’s still here, and it’s going to stay here. We’re just players in a short, single cycle. We must accept that unlike the rest of the natural world, we are creatures bent on destroying our own environments. The earth must be left to heal and start again. There will be life, just not ours or most of the living beings we evolved with. To think that the future is should look like our short evolutionary past is absurd. Natural law must override human law.” There was a disheartening amount of applause from the audience as he sat down.
“At least this guy understands what will happen when we’re gone,” I said.
Ahimsa finished her water. “One of many meteorists there. They claim that Earth has started from scratch before, after the meteor extinction millions of years ago, and will do it again. If Talos shuts down, there won’t be much left but slime mold, and that’s fine with them. They hope that this time, though, the evolutionary result won’t be humans.”
We were both silent as she mopped up the crumbs on her plate with her fingers. “Strong arguments,” I said. “Although someone should tell them that Talos still needs to genetically assist slime mold.”
“Oh, we did. I talked to many of them. Even the ones with children couldn’t be persuaded. They claimed our only duty was to leave and let the planet get on with it.”
We heard Robin singing to himself. I couldn’t imagine leaving him a world that I had allowed to just end.
“The good news is,” said Ahimsa, “we did a great job when it was our turn.” She slashed at the hologram screen in front of us. “Want to hear me?”
“You got to talk!” I said.
“A lottery. I was one of the last speakers. We were all half-crazed by then. We’d barely eaten, and we were peeing in jars rather than leave the Talk. We all slept in our chairs, if we slept at all.”
When her image materialized, she looked dead on her feet, but as the light brightened, she glowed. “I want to tell you a story,” she began. “Not too long ago, I was a HumanX. I stopped eating so I would die and make the world a better place, but love for my partner, Isaura, and Isaura’s love for me, pulled me back into the living. A few years later, after agonizing deliberation and help from Talos to insure a healthy baby, we produced a child, Robin.”
There was hissing from the audience, and someone shouted “Selfish! Selfish!” But Ahimsa didn’t rise to the bait.
“Robin was not just healthy,” she said. “He was more than healthy. He was born with hair on his head, just as humans had evolved to have. His own natural hair.”
There was silence. “Yes, hair. We have improved the atmosphere to the point that Talos is letting the hair gene do what it wants, since now, with care, it won’t just fall out as it sprouts. That’s real progress. Under our direction, Talos is creating miracles like this every day. A better world. Isaura and I raise and release robins, and rewilding a species takes human imagination as well as genomics. Talos is just a tool. Let’s use it for an equitable future for all living things. Embracing a non-human-centered world does not mean we have to embrace a human-less world. We are no different from the other organisms on earth, only in the ecological functions we serve. We serve the Earth. You and I are Earth.”
“So return to it!” a heckler shouted to some mean laughter. But that was soon drowned out by applause and even some foot stomping. “Good job, Ahimsa,” I said.
“There were a few more speakers on our side, and then we finally agreed to take a vote,” she said. “First, we waited while Talos came up with some options other than a flat yes or no on the Original Mandate. It gathered every word from all the Zones on earth and fed the information into its governance program, and this morning we studied the results. To change the Original Mandate was not one of them. Without humans, Talos would shut down, and then most all living things would die, and it was our moral responsibility to keep them alive. HumanX claimed that of course Talos would say that and demanded a yes or no vote. I’m not sure we would have won that. But the program offered an accommodation, and HumanX agreed to hear it out. Talos proposed the formation of an Exit Board to be convened with representatives from both sides. This board, using Talos data, would track restoration progress along with errant human behavior. If the behavior started to threaten the restoration, Talos could be mandated to stop making genomic adjustments on humans, and then we would be left to our own devices. As long as we behave, we can exist.”
I thought about that. Could humans be counted on to not return to our old consumerist and extractive ways? I doubted some of us could be counted on for much, but if we always had the threat of sudden extinction hanging over us, we’d at least try. Constraint for the benefit of all. “Maybe,” I said.
“A majority of all global zones agreed it was a fair outcome. The vote wasn’t by a big margin, but it was enough. Robin will not be an endling.”
“As long as we don’t become the problem again. Who’s going to be on that board?”
“You, for one. I nominated you and Talos agreed.”
“Me! A brehon?” High level advisory board members were called brehons after ancient Irish poet-judges. I was neither. “I can’t do that.”
“You can, for us. You think things through. You look at all sides before making decisions. I know you.”
“I don’t like politics. You’re the one who should be a brehon. You know how the system works.”
“Politics is more than electoral, it’s the process of figuring out how to inhabit the world together. You think like that. You’ve called me a ladder for my work in the community, but you, my love, are a lamp.”
“I thought we were all Earth.”
She laughed. “I need more food,” she said, looking at her empty plate.
“You sit,” I said, just as Robin came running back in and jumped on her lap.
“Thanks, Isaura.” Ahimsa then pulled down the hologramite so Robin could show her his drawings.
I went to the kitchen, and as I picked greens from the window unit, I considered my possible role as a brehon. Our laws were constantly evolving as our circumstances changed, and they were often so fluid, they seemed more like guides on how to live rather than actual law. It was a rule by values, but it’s been a long haul. The century before, in the immediate aftermath of the Depletion, there was no law to speak of. There had been so few resources that human-human violence was intense, as was animal-human conflict. In some zones, we were all just meat. Small bands of humans kept entire zones in terror until Talos was up and running, thanks to a handful of global leaders who understood that the point of government was to care for one another and ease suffering. Talos was programmed to make sure that the limited resources were evenly shared, followed by geo-engineering that slowed the radiation deaths. Water purification saved even more lives. Talos produced food in labs and developed functional farming modules. Social harmony grew out of the common goal of keeping humans and non-humans alive. It had worked so well, no one had questioned it until recently.
I carried the plate back in to Ahimsa. “What if HumanX won’t abide by the decision? What then?”
She glanced at Robin, who was on the floor rolling his ball. “On my way home I saw demonstrations going on in the streets. Our own neighbors.”
All those hovercraft in the sky. I went to the window and sucked in my breath. A crowd was gathering below in the yard, filling up the ramp.
“Ahimsa,” I said. “Take Robin to his room.”
She stood and we both stared at the gathering crowd. As we watched, time evolved into something else altogether, something that had nothing to do with us. “I’m not going anywhere,” she said.
“Robin,” I said. “Come here.”
He must have sensed something was wrong, because he did not argue. He ran over, clutching his ball to his body, and I picked him up.
“Who are all they?” he asked, and we had no answer. There were about thirty people in the yard, more beyond. They didn’t seem to have weapons, but anything could be under their tunics. It was not out of the question that they were here to kill Ahimsa, or me, as a new brehon, or even Robin, who had so recently been held out as the future.
Someone slammed a fist against the door, and Ahimsa and I started. We had a few kitchen knives, that was all. I should have seen this coming. Someone tried the knob.
“What do we do?” I asked.
“We open the door,” she said.
“Let’s wait until they smash it open.”
“No. We have to open the door. Not them.”
“Take him.” I handed Robin to her. I felt as if I was moving through a viscous world as I went to the door. I could hear shouts outside and felt our home shudder from the weight of the crowd on the ramp. Ahimsa followed, then stood right behind me with Robin in her arms. I could feel his breath at my back. I took a breath of my own, and then I opened the door.
Nothing happened. We all just froze. The air smelled of unwashed bodies. The group of HumanX stared at me, then looked behind me at Ahimsa, who was shielding Robin with her body. Then, with a rush, they pushed themselves in, forcing us to back up. “What do you want?” I asked with a calm I did not feel.
They jostled with nervous energy like horses, and I couldn’t figure out where this was going. One of them finally spoke. “We came to see the child with the hair.”
I felt Ahimsa’s body tense. “Why?” I asked, as if it mattered. If they were here to kill him or take him away, they would have to go through me and Ahimsa first, and we would not last long.
The HumanX shuffled a bit, and then a woman from the back spoke up. “We want to see what’s worth letting humans stay on the planet. We want to see the child.”
I was confused for a moment, not understanding, but Ahimsa did. She stepped out from behind me, holding Robin aloft in front of her. “Here he is,” she said. “Look at him.”
There was a collective gasp. When they leaned in closer, Robin twisted in Ahimsa’s arms, and she balanced him on one hip. He still held onto his toy as if it, too, were a living thing that needed protection. He looked at me, his brown eyes large and unblinking. I tried to look reassuring. There was no way of knowing where this going, but we were in it now. The HumanX were almost on top of us as they stared at the fuzz on Robin’s scalp. One man reached out and gently touched the top of his head like a blessing. “Hair,” he said softly. “Real hair.”
The crowd made soft sounds of wonder, then other hands reached out to touch him. He didn’t flinch, which was more than I could say for me. Ahimsa was shaking, and we exchanged looks that had no answers. Suddenly, the first man turned to the others and asked, “Do we have a treat?” They looked at one another, then they started digging through their tunics and bags and someone came up with a honey protein ball. Robin lit right up and held out a hand. The man placed it in the middle of Robin’s palm, and his little fingers closed around it. He smiled at me, then looked up at the man and said “thank you” with great emphasis.
Ahimsa kissed him on the top of his head. Gratitude. We were so rich with gratitude.
Then Robin held out his ball to the man. “Want to see my toy?”
“I would,” said the man, and the crowd was nodding as one. “I would like to see your toy very much.” Robin put it in his hand. We could not take our eyes off of it, transfixed in wonder as the ball changed colors, forming new shapes, coming together and falling apart, over and over and over again.
For Reckoning’s next special issue, we are asking for environmental justice flash fiction of 1000 words or less. While we’ll take 1-1200 words, we strongly prefer things in the 500-1000 range. Outside of flash, what we specifically want are weird stories, dark stories, horror stories . . . and yet stories with some bit of hope . . .
For Reckoning’s next special issue, we are asking for environmental justice flash fiction of 1000 words or less. While we’ll take 1-1200 words, we strongly prefer things in the 500-1000 range. Outside of flash, what we specifically want are weird stories, dark stories, horror stories . . . and yet stories with some bit of hope to them, even if that hope is simply, We will persist, we will exist, we will endure. You can’t make the world a better place, after all, if you aren’t there to do the work.
We want you to take big swings. We want you to push boundaries of expectations and language. Okay, let me be real: I’m the editor, one Andrew Kozma. I like weird. I like dark. I like things I don’t know I like until I like them. Go back and read my story for Reckoning 3. Is that hopeful? I don’t know. I know it’s a blood sacrifice. What I’m saying is that I want your dirty, I want your rough, I want your jagged. I want your environmental justice in a box just waiting to be read to know if it’s alive or dead.
Payment: .15/word (US)
No reprints for this issue, please. Previously unpublished work only. Anything submitted to the special issue will also be considered for our regular issue, so please don’t resubmit. And we’re still accepting only one piece at a time per author. Once you’ve heard back, feel free to submit again!
“Plastic-eating fungus caused doomsday[2][3]” by Emma Burnett in manywor(l)ds, which plays with form in an interesting way.
“I’M NOT TRYING TO SELL YOU ANYTHING AND I’M NOT TRYING TO SCAM YOU” by Jack Klausner in ergot. which isn’t really ecological, but the momentum and the dread and the weirdness of the situation are what I want.
Submissions for our flash fiction issue open now and will remain open until October 31, 2026.
Going from Kyiv to my mother’s native land, a village in the Cherkasy region, we used to take a road that ran like a thin ribbon across the endless dark blue water body. I have always been fascinated by these enormous reservoirs and this overarching lake called the “Cherkasy Sea”. As a child, I knew that Ukraine had two seas in the South, far away from where I live. . . .
Going from Kyiv to my mother’s native land, a village in the Cherkasy region, we used to take a road that ran like a thin ribbon across the endless dark blue water body. I have always been fascinated by these enormous reservoirs and this overarching lake called the “Cherkasy Sea”. As a child, I knew that Ukraine had two seas in the South, far away from where I live. This is why this mysterious Cherkasy Sea—in the middle of Ukraine—would leave my mind restless. My mum explained to us that this sea is artificial and man-made, but she did not give much detail. In the late summers, adults would glance at the river wistfully and warn us against swimming in Dnipro. Swimming was discouraged because of the “Dnipro blooming”—when the entire lake surface is draped in lime-green foggy seaweed covers. What is “blooming” is not the river, but cyanobacteria that poison the water with algae decay products such as ammonia and cyanide. Adults would often say that the blooming never happened before the Cherkasy Sea was created.
I always wanted to know more. Why did they do it? What was there before? Later in life, when unhindered access to the internet blessed our lives, I found a few scarce articles explaining that to create the sea, the Soviet government decided to flood thousands of kilometres of land. I could not believe it: how many towns, villages, hamlets were gone? What happened to the people from those areas? My mum grew up gazing at the Cherkasy “Sea”, but she did not know the answers to these questions.
My journey to Cherkasy takes me through Kaniv. I visited Kaniv as my fascination with the region evolved into a more systematic study—I am an anthropologist. In this small city on the banks of the Dnipro, which I had never had a chance to experience before beyond the modernist sign on the highway, I do ethnographic research with a small but inspiring community of volunteers. Here, the mystery of man-made “seas” finds me again. Ironically, I first introduced myself to this city in June 2024, right after Russian Foreign Ministry spokeswoman Zakharova claimed that Kyiv was preparing to destroy the dams of the Kyiv Hydroelectric Power station of the Kaniv Reservoir. This was part of a Russian disinformation campaign that aimed at causing panic among Ukrainians. Many feared that Russia would actually carry out such an attack and blame it on the Ukrainian army.
Kaniv Reservoir is one of the six (including “The Cherkasy Sea”) that comprise the Dnipro Cascade—a series of dams, reservoirs and hydroelectric power stations on the Dnipro River. These six giants were beacons of Soviet technological progress and indispensable tools of the USSR’s “modernisation” and “industrialisation” propaganda. Kaniv Reservoir is the youngest, so some older people who still live on its bank were witnesses and victims of the grand projects of “conquering Dnipro”.
Olga, a volunteer from Kaniv, agreed to share with me her experience of forceful relocation due to the flooding of the land in the 1970s:
“When our village was being destroyed, they showed us how it would be. They showed us a film by Dovzhenko called “Poem About the Sea”, made in 1958. Maybe you can look it up, but I can’t watch it. It depicts such a tragedy. They [the film] showed us new buildings, how beautiful they were, and how young people were driving around, singing songs. And, in the old village, they [the film] showed us old women crying. These old women were saying “we won’t let go, we won’t let go”. But the head of the Kolkhoz persuaded them; he said everything would be fine. No village, but everything is fine?
“Poem about the Sea” is the final, unfinished masterpiece of Oleksandr Dovzhenko’s genius. He passed away while working on it, and his wife Yulia Solntseva completed the film. Dovzhenko’s art was continuously influenced by the poetic critiques of anthropocentric thinking, for which he had to apologise to the party and “correct” his behaviour, disloyal to Soviet ideas. I saw fragments of the film that terrified Olga as part of the exhibition The River Wailed Like a Wounded Beast, which I will discuss in this essay. Analysing the exhibition’s power to make one cry for the battered river, I will question Soviet colonial legacies and their enduring impact on the human and non-human. Additionally, I invite the reader to think about the healing of traumas that were previously taboo and the potential for developing a language to address them.
Civilising subjugated landscapes
In the name of “building socialism” the Soviet government embarked on large-scale industrialisation. This involved mass electrification, urban development and, most importantly, the expansion of heavy industry. These grand projects, traversing the vast expanses of the USSR, were predominantly conceived in and directed from Moscow1. This top-down approach often resulted in decisions that lost their logic and coherence as they travelled thousands of kilometres to their destinations. These remote lands, with their diverse languages, religions, landscapes, and ways of life, differed profoundly from those in the political centre.
The object of my childhood yearning, the mysterious underwater terrain covered by the Cherkasy Sea, is called the Kremenchuk Water Reservoir. It is one of the six water reservoirs built on the Dnipro River and completed in 1961 to power the Kremenchuk Hydroelectric Power Station (in Ukrainian, HES). The colossal basin is 2250 km² big, an area larger than Amsterdam and the modern New Amsterdam or New York City combined.
Each project required thousands of kilometres of land to be flooded. It was not barren land but hundreds of centuries-old villages, towns and hectares of fertile soil, old-growth forests, lakes and meadows that formed the basis of the district’s agriculture2. Each basin that shredded Ukraine’s blue artery—the Dnipro River—is a heartbreaking example of the Party-programme-serving industrialisation projects that proved so woefully detrimental on many levels.3
Olga from Kaniv reminisces that before the last reservoir was created, one could drink water from the Dnipro and see its inhabitants in its crystal waters.
The colossal destruction of the river, the erosion of its banks, and the inundation of entire ecosystems led to environmental disasters that continue to this day, even after the systems and individuals responsible, together with their promises to “bring a communist future”, are long gone. The flooding has devastated floodplains, caused fish die-offs, and led to the phenomenon known as the “Dnipro bloom”. This seemingly poetic term describes a devastating reality: algae thriving in toxic abundance, poisoning the water with products of decay like ammonia and cyanide. Once-pure streams are now polluted, deciding the fate of a fragile ecosystem.
Thousands of historical and archaeological monuments were submerged, including seven out of the eight little-studied Zaporizhia Sich sites (fortified settlements of Ukrainian polity that existed between the 16th and 18th centuries). This could have been avoided if the builders had fully implemented the project and built a protective dam to protect the area from flooding.
The creation of the Dnipro hydroelectric cascades clearly manifested the gigantomania of the era of the “great construction projects of communism”. The area flooded during the construction of the hydroelectric power plants was 6,000 km² large. In total, up to three million people from different villages, towns and regions had to get up and leave. Before that, they were forced to destroy their houses and vast vegetable plots and cut down apple and pear trees that had been feeding their families for decades.4
It was not only Dnipro that was forced to “work for communism”. Latvia’s Daugava River also had to face the fate of “Sovietisation”. The construction of the Pļaviņas Hydroelectric Power Station involved flooding large areas. The project, which faced significant resistance from the Latvian people (largely ignored by the state), resulted in ecological damage, the forceful displacement of communities, the destruction of their homes, and the submersion of natural treasures. Latvia’s cultural symbols—a site of a cross-country pilgrimage, the “crying” Staburags limestone cliff, and the 13th-century Latvian Koknese Castle—were forever lost in the sea created to power steel and concrete representations of Soviet “greatness”.
While the Soviet authorities “gifted” Ukraine and Latvia with man-made “seas”, they took away the bountiful, seemingly infinite, fourth-largest lake in the world from the Karakalpaks in the semi-autonomous republic of Uzbekistan. The Aral Sea began its tragic decline in the 1960s when Soviet authorities diverted water from the two main rivers that once nourished it, channelling them to irrigate vast cotton fields. As the water receded, salt concentrations soared, turning the once-thriving sea into a lifeless, toxic desert.5 The Soviet regime knew they were sacrificing the Aral Sea for their agrarian “development” plans. Long before the Russian Empire refashioned itself into the USSR, Aleksandr Voeikov labelled the Karakalpak treasure, the Aral Sea, a “useless evaporator” and a “mistake of nature”. Despite the calculated sacrifices, the Soviet government, focused on developing the cotton industry in Kazakhstan and Uzbekistan, failed to anticipate the devastating consequences. Herbicides and pesticides from the new fields leached into the rivers and, ultimately, into the Aral Sea itself.6
The distortions of the Aral Sea, Daugava River and Dnipro River took place in the faraway corners of the communist “empire” and spanned different decades. However, they are all connected by many invisible yet substantial threads of top-down Soviet decision-making. It prioritised centralised “development” and “modernisation” over the interests and livelihoods of the local population, which devastated the regions from an environmental, economic, cultural, and health perspective.
Who needed civilisation, who needed Sovietisation?
Can we discuss the anthropogenic origins of these enormous, grotesque, life-altering transformations without considering the complex power imbalances at play? Soviet projects were not only aimed at bringing civilisation to the “empty” lands; it seems that they were determined to build the new Soviet order on the graves of the “non-Soviet”, non-Russian heritage and ways of living. Oleksandr Dovzhenko wrote in his memoir about the first HES of the Dnipro cascade: “The sea was born, endless, with an immense horizon. A geological miracle! At the bottom of which childhood sank forever.”
When we examine these top-down water politics, we cannot discuss them from an environmental perspective alone. Ecological catastrophes are significant puzzles in the convoluted yet explicitly authoritarian and extractive relationship between the metropole and the periphery. However, it is crucial to understand the intricate yet horrifying mechanism behind the relationship of domination between the Soviet centre and the borderlands, which needed to be “civilised”.
Sovietisation, marketed as “bringing civilisation”, which was often aided by mass Russification, was dependent on a centralised erasure of differences, ethnicities, cultures, worldviews and traditions in the name of the “union of nations”, of a “new Soviet man”. National Soviet policies evolved over time.7 There were brief periods of “ethnophilic” political manipulation, where limited ethnic celebration was allowed, but only within the boundaries set by the Russian metropole. This was followed by consistent forcible displacements across the Soviet Empire, the artificial redrawing of regional borders between ethnicities and nationalities, and the forced transfer of Indigenous, non-literate languages from one alphabet to another.
In 1932, a massive opening ceremony with journalists from around the world took place to mark the completion of the first of the Dnipro Cascade Power Plants—Dniprohez. As the grand feast celebrated defeating the river to “serve communism”, people in the nearby villages (and across different regions in the young state) were swelling and dying of starvation.8 In the same year, after the state accelerated the pace of grain procurement, villages were simply unable to meet the quota. Many workers who came to take part in the construction were actually escaping the beginning of Holodomor, the genocide of 1932–33. Soviet industrialisation and modernisation were carried out not despite but through colossal human sacrifice.
Let’s look at our surroundings, at the land and water that carries us through James Lovelock’s poetic Gaia Hypothesis. Gaia—our Earth—is a living, breathing, changing organism; it shifts humans, and humans shift it. Brazilian thinker and activist Ailton Krenak9 argues that environmental crises stem from the flawed belief that humans are superior to nature and entitled to exploit it. This anthropocentric mindset has led to a civilisation built on systems that disconnect us from the natural world. Krenak argues that there is no point in speculating about the end of the world—Indigenous peoples in the Americas have already endured that multiple times. His works make me think of other people in other parts of the world who have witnessed the end of the world. Who lived through it, yet were not even allowed to talk about it.
This relationship of domination that was exercised through industrialisation and “taming nature” has little to do with theories of socialism or communism. Thinking of the Soviet desire to modernise the “uncivilised”, to transform roaring rivers and a bountiful lake into “work for communism” and to sacrifice one’s life in the name of the Soviet Industrial Revolution, one must consider how colonial domination operates.
These interventions dramatically destroyed the way people shared their lives with their native and spiritual landscapes for centuries. The dimensions of these anthropocentric and empire-centric relationships can only be comprehended and processed if one considers all aspects of it—the cultural, spiritual, ecological, and historical. Most importantly, upon examining the ways of life forever distorted by Soviet colonial relations—from those who lived along the banks of the Dnipro and Daugava Rivers to those whose families were nurtured by the Aral Sea—it’s crucial to understand that mechanisms of colonial relationships today cannot be fully grasped solely through a critique of modernity and power dynamics shaped by Western perspectives. We must seek for answers beyond established regions, formulas and examples to understand what is wrong across diverse regions in the world. We must do so to have a chance for building a caring, supportive, nurturing way of co-existing on our bruised Earth.
Cinema of the Roaring Waters
Imperial interventions can exercise their domination in an ironic way, ruthlessly perpetuating the suffering of the people. The Kahovka Dam, one of the Dnipro River cascades, epitomised the Soviet victory of civilisation over rural, “pre-Soviet” life. In the 21st century, it once again played a major role in establishing dominance: the former metropole attacked “its periphery” by destroying what it once erected on the flooded land.
These interventions might look different “on paper”—in the eyes of international criminal courts or critical thinkers. Yet the historic events of both erecting and blowing up the Kahovka Dam are entangled in the continuum of Russian colonial domination and colonial anthropocentric thinking. Living in this continuum, which traverses centuries and decades, ruling governments and states, how do people process the violence of the past while having to resist it in the present?
Latvians, with continuous protests and collective letters, managed to protect what was left of the Daugava. The now-historic essay “Thinking about the fate of the Daugava” by Dainis Īvāns and Artūrs Snips steered the public and managed to stop the megaproject expansion. However, this only happened in the late 1980s.1011 In the 1950s, any attempts to protest were impossible: the journalist Vera Kacena, who tried to resist the Pļaviņas HPP, was banned from publishing for the rest of her life.
Ukraine is trying to acknowledge the weight of repressed decades of grief for the scarred land while resisting the perpetrator who has been taking it away for decades.
The River Wailed Like a Wounded Beast, an exhibition at the Dovzhenko Centre as part of the 5th Kyiv Biennale (2023), tackles these issues. Curated by Stanislav Bytyutskyi, Aliona Penzii, and Oleksandr Teliuk, it delves into the cinematographic history of Dnipro’s transformation and the history of destinies in the catastrophes of past and present: from the erection of the first HES (in 1932) to the explosion of the Kahovka Dam in 2023.
It took me three attempts to visit. Like in an old fairy tale, I had to conquer three obstacles before getting inside the Dovzhenko Centre: three air raids. Despite the ongoing war, the exhibition opened in the historical building of Dovzhenko Centre—the largest film archive in Ukraine. So, every time there was an air raid—in Kyiv, they were happening a few times a day in the dawn of 2023—the exhibition had to close until it was “safe” again.
The Russian МіГ-31К death-carrying plane finally calms down and allows me to enter the exhibition. I find myself in a series of connected rooms, closely adjacent to the spacious, high-ceilinged hall of the Dovzhenko Centre. The exhibition poetically combines Soviet-era visual documentation and artistic propaganda films about the erection of the Dnipro cascade with live footage of the new catastrophe—the explosion at the Kahovka Dam.
In the first room, a documentary photography collection depicts Dnipro’s long-gone, majestic rocky rapids. I look at these pictures with fascination, as they offer a glimpse of how the legendary river my ancestors lived together with looked like. This is a mighty beast that the poet Taras Shevchenko asked to be buried next to, so that he could eternally listen to
“… the Dnipro and the cliffs
[…] The roaring of the river”.
Next to it, the visitor sees the cinematic collages created by Stanislav Bytiutskyi, projected on the eggshell walls, inviting one to experience representations of the Dnipro transformations in Soviet cinema by Mikhail Kaufman, Dzyga Vertov, and Oleksandr Dovzhenko. Some of the films in the montages have been censored and butchered in Soviet times. Some, like Arnold Kordum’s Wind Across the Rapids, were considered lost for a long time.
In a tragic irony, a montage of people swimming amidst their flooded homes from the film In Spring (1929) by Mikhail Kaufman mirrors the moving images in the next room. There, contemporary scenes depict victims of the Kahovka Dam explosion—at first glance similar but set in a drastically different context. The dam, originally built to “prevent flooding”, was destroyed a few generations later by the same colonial hegemony that erected it.
The last rooms feature infographics developed in collaboration with the media outlet Texty and designer Nadiya Kelm, depicting the “before” and “after” transformations that Dnipro underwent following its “Sovietisation”. Curatorial descriptions poetically situate the artworks within their historical and social contexts. The exhibition functions as a multimedia essay, where the curatorial framing tells a story. My soul breaks into a sad smile—I so rarely encounter such sincere and candid communication with the audience in modern art spaces in Amsterdam or Berlin.
The intensity of the exhibition’s multidisciplinarity does not overwhelm the audience. The space carefully weaves together art, film, representation, history, and sentiment into an intricate tapestry. This curatorial and cinematic craftsmanship achieves what art is meant to do: it makes one think and compels one to discover more.
For the curators, as for many of the visitors, the wounds are still raw—yawning, bleeding, and continually being poked. Perhaps this is why the exhibition is so powerful—there was simply no need to dramatise, exaggerate, or augment the open wound.
On not being allowed to speak
Journalists Zakhar Kolisnichenko and Andriy Chernega shared my enthralment with the Cherkasy Sea, lifeworlds of the long-gone landscapes and people who had once rooted there.
“And that time, no one explained anything . . . the way the Party says, and this is how it will be, the Party is our ruler . . . . But the Party is gone, and we are here” is a quote from their documentary Perestroika, stated by one of the villagers who were forcefully relocated from their homes in the 1950s due to the construction of the Kremenchuk HES.12
The documentary, created by Cherkasy natives Zakhar and Andriy, does not have a narrator’s voice. Consisting of oral histories and archive footage, it provides a timeless and poignant account of how Soviet industrialisation took over the human destinies of Ukrainians while flooding 200 villages in the Dnipro Valley where these people had lived for centuries:
“And who asked us? No one asked anyone . . . . Evicted . . . .”
“No protest . . . . Like cattle . . . . Kicked out of the pen and driven to slaughter”.
The journalists managed to capture stories and traumas that these people carried through their long, hard lives. Their stories often remained unspoken, left untold to children, grandchildren, and even great-grandchildren, long after Ukraine gained its independence. Perhaps, if it weren’t for Zakhar and Andriy collecting these stories of a generation that is fading away into eternity, we would never have known about their personal and collective wounds.
“Could we say that we are against, ha? Aha . . . . Who could even say that . . . .”
This need for people to share and keep their erased history alive is vividly portrayed in the comments sections on platforms where the documentary is shared. In YouTube comments, random people express sorrows for the destroyed lands and waters and attempt to restore their lost history, leaving a digital mark:
“Thank you for your good work. My grandparents were resettled from the village of Shabelnyky to the village of Tinki. They told very little about the resettlement, they just cried sometimes . . . .”
“My grandparents were from the villages of Mytky and Demky. They said they were large and rich villages founded by the Cossacks. It’s a pity that our history was destroyed like that.”
“Thank you for making the film, thank you very much! In my parents’ village, Pavlyshi, there were many immigrants from those places. And many years later, they remembered their homeland with great pain . . . . Houses, gardens, flooded cemeteries . . . . Damned empires that spit on people!”
In Soviet times, those who were othered and oppressed had no right to be angry. Expressing frustration about your rights was considered an attack on the party and the revolution. What happens when an individual has no right to express grief, anger, or loss; deprived of any instrument to address their frustration? What does this great gaslighting, on a political and intimate level, do to one’s life?
The problem lies in the fact that many post-Soviet colonised bodies are only now entering the conversation about how to process the harm whilst still, for decades, trying to claim that they, in fact, have been harmed. Colonial Soviet systems created complex ornaments of oppression with blurry hierarchies. Without the ability to name violent injustice as such, you cannot fight against it: something you want to confront just does not exist. Therefore, while the Soviet Union vanished, the traumas from its terrors remained unprocessed until today. Without a proper understanding of your past, it is impossible to build your present.
Ecocides, mass uprooting, genocides and reverberations of the desire to tame the land and its people—these are dimensions of colonial impacts that one cannot resist and “decolonize” just by thinking, talking, processing. But just like in the therapeutic journey, acknowledging the damage, acknowledging the trauma and how it affects you, finding the language and tools to process it, is a first, gigantic step towards healing.
This is what the exhibition The River Wailed Like a Wounded Beast does for me. The curators developed a moving vocabulary for telling the story of the ongoing trauma. You feel the river’s tears, you feel pain for it, you feel the longing. The curators and artists created a brilliant, situated, grounded, and accessible decolonial critique of Anthropocentrism without explicitly using this jargon. Nevertheless, the exhibition, in its poetry, artful sentimentality for the taken away, and confidence to work despite the mortal threats of the war, embodies the ongoing decolonial resistance.
The raging, long-suffering river is witnessing the landscape of Ukraine being radically changed. This time, battles between those who try to actively colonise and decolonise are happening simultaneously. The curators’ sincere and truthful language resonates deeply with visitors, reflecting the complexities of discussing the nuances of imperial dominations amidst the ongoing war.
Both the exhibition and the documentary make the observer cry for the battered river. By doing so, they are questioning Soviet colonial legacies and their enduring impact on both human and non-human entities.
These are examples of healing journeys, where making art, in its manifold forms, is an attempt to process the unspoken. Both examples show that the Soviet colonial violence and its aftermath is not a matter of perspective. It is a lived reality that has silently stamped the fate of humans and non-humans (and, predominantly, non-Russians).
How to decolonise without the coloniser?
As an anthropologist, I am deeply committed to feminist ecocritical and decolonial thinking. But in my work, I focus on people, their activism and resistance, and local discourse, not on dissecting theories. In this light I cannot help but think about how these critical discussions, especially those that are developing in Western(ised) platforms, often fail the people I work with.
While many intellectuals who were actually touched by the reverberations of the Soviet Regime have been trying to question Russian “imperial innocence” for decades, this job has not been easy, even after the Empire “struck again” in 2022. I often saw how experiences with Russian imperialism resembled a childhood trauma: subconscious and hard to put into words. Nevertheless, it always has the inexhaustible power to pull down those it encroaches upon.
For a long time, attempts to analyze the oppressive dynamics of Russia’s global influence and to describe it as “colonial” were dismissed as “melodramatic” or “overstated.” The discussion was mainly confined to the narrow circles of “Slavic Studies”. Now, it is often labelled (at least in personal conversations) as ‘reactionary’. Presenting my research before the war, I heard questions formulated as bluntly as “don’t you just use trendy concepts to justify your research?”. Often, these rhetorical questions were predicated upon an assumed lack of hierarchies of domination between Russian and “non-Russian” subjects of the Soviet Union.13
The Soviet regime diligently followed the colonial textbook of domination: culture over nature, the civilisation of the uncivilised, “educating” and “socialising” of the peasant, “normalising” all the othered: non-male, non-white, non-Russian.14 However, the USSR, which identified as socialist and anti-capitalist, claimed to be anti-imperialist and anti-colonial. This branding successfully masked the colonial practices within its own borders. Consequently, in contemporary Russia (which, as coloniser-successor of the USSR, has dominant knowledge-producing resources) postcolonial and decolonial approaches could not be on the table in mainstream public debates, art, policymaking and academia.15 Russia has yet to acknowledge its colonial impact on Ukraine, post-Soviet states, Indigenous people, Central Asian and Finno-Ugric Republics in Russia. And it likely never will. Instead, it continues to occupy and repeat Soviet-era rhetoric of being a “liberator”.
I was invited to contribute to this issue* as one of the curators of the Ukrainian Decolonial Glossary.16 UDG is an online platform that is a compilation of concepts from de- and postcolonial theories, featuring examples specific to the Ukrainian context. The first edition of this glossary showcases 20 terms, each contributed by diverse Ukrainian researchers, thinkers and artists. We had a goal to create a toolkit for dialogues about our convoluted past within and outside Ukraine.
I undertook this project because I believe that developing language to name our traumas is absolutely necessary for making sense of the past, for healing, and for building a future. However, the language of decolonisation is being erupted, misused where it is not appropriate, and denied to those who need it to claim their suffering. The healing process (and resistance that it carries) gets so much more complicated under the constant gaslighting of the perpetrator.
Not to commend Western imperialisms, but the relentless struggles and sacrifices of those who suffer under the ongoing effects of Western imperial modernities are starting to yield results. Recently, after long suffering and resistance, the Amazon River and the Whanganui River were granted personhood. Who will apologise to the Dnipro, the Aral Sea, or the River Daugava?
Tracing the metempsychosis of Soviet manipulations in its peripheries, I suggest focusing on what colonialism is in its essence: domination and subjugation in all spectrums of human relations (with humans and non-humans). Armed by the extensive multidisciplinary, plural, and multicultural bodies of work, I believe we are capable of reflecting on the multiplicity of modernities and their relation to each other. Recognising the power hierarchies that Western hegemonies dictate, we absolutely must recognise how the peculiarities of alternative modernities and colonialities, including the Soviet one, shape histories.
Decolonial, anti-colonial and postcolonial thinkings make sense when they are accessible to those whose rights and freedoms these theories are fighting for. These anti-colonial rhetorics can be tools for understanding the history and position of Ukraine (and other post-Soviet people) in the world, for dialogue (internal and external) and finding a common working language to deal with our past and present.
Whether they employ a decolonial vocabulary or not, people must have space to remember that decolonisation is a process, not an end result.17 The damage from centuries of oppression is irreversible. The Aral Sea’s breeze is forever gone, but the recent project of reforesting the lakebed is already yielding positive results for the community. When Ukraine liberates the land from the Russian occupation, a complete “cleansing” from the coloniser and return to some “untouched” state is unfortunately impossible.
Decolonisation is a movement forward—a complex, dialogic, and communal, long process of rethinking and critiquing the past and constructing new meanings. The artistic projects I discussed here poetically examine both the historical and contemporary traumas of the river and its people. This therapeutic, healing-through-art process is crucial. It is crucial for today’s resistance and the battles against empires that are yet to come.
This essay and the accompanying artwork originally appeared in WunderKombināts III, Latvian Art Yearbook, December 2024.
2. O. Bazhan, P. Bondarchuk, Y. Vermenych, V. Danylenko, K. Yeremieieva, Y. Zhuravlov, O. Koliastruk, et al., “Ukrainske Suspilstvo v 1960-1980-kh rr.: Istorychni Narysy: Kolektyvna Monohrafiia” (Ukrainian Society in the 1960s-1980s: Historical Essays: Collective Monograph), 2022. Accessible at: https://ekmair.ukma.edu.ua/handle/123456789/26881.
3. M. Chornyi, Vplyv Budivnytstva Ta Diialnosti Kanivskoi HES Na Dovkillia Tarasovoi Hory [(Environmental Impacts of the Construction and Operation of the Kanivska HPP on Tarasova Gora). Materialy 3-4 Naukovo-Kraieznavchykh Sorokopudivskykh Chytan. Kyiv: Panmedia, 2023.
7. J.O. Pohl, Ethnic Cleansing in the USSR, 1937-1949. Bloomsbury Publishing USA, 1999.
8. N.K. Kupensky, “Mova Zaperechennia Holodomoru: Slipota, Hipnoz, Oderzhymist, Fetish.” Translated by Yevhen Gulevych [Blindness Hypnosis, Addiction, Fetish: The Language of Holodomor Denial] Україна Модерна, March 19, 2019. Accessible at https://uamoderna.com/md/kupensky-holodomor/.
This article was first presented as a paper ‘Blindness Hypnosis, Addiction, Fetish: The Language of Holodomor Denial’ at the Danilov Research Seminar on Contemporary Ukraine at the University of Ottawa on 9 November 2018.
9. A. Krenak, Ideas to Postpone the End of the World. House of Anansi, 2020.
10. Par Staburaga glābšanas mēģinājumu. Publicēts oficiālajā laikrakstā “Latvijas Vēstnesis”, 13.08.1999., Nr. 256/257 Accessible at: https://www.vestnesis.lv/ta/id/18441
15. V. Chernetsky, Postcolonialism, Russia and Ukraine, in: Columbia University Slavic Department, vol. 7, 2023, p. 32–62. Accessible at: https://www.jstor.org/stable/25748122.
*This essay and the accompanying artwork originally appeared in WunderKombināts III, Latvian Art Yearbook, December 2024.