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 . . .
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.
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.
I remember the soil first. When I reached in and filled a farm trowel with it, damp, red, breathing under the greenery, it clung to my fingers like memory. It felt like something alive. It was alive, duh. But I mean something different. The soil felt like it was intelligent. Like it knew what was going on. Like it knew what was about to happen, the evil that was about . . .
I remember the soil first. When I reached in and filled a farm trowel with it, damp, red, breathing under the greenery, it clung to my fingers like memory. It felt like something alive. It was alive, duh. But I mean something different. The soil felt like it was intelligent. Like it knew what was going on. Like it knew what was about to happen, the evil that was about to befall it. From we humans, of course.
In Abronoma, we didn’t just walk on the land—we listened to it. The forest spoke in rustling leaves. Insects were part of nature’s low hum. Crickets were the flutists of the forest knowledge orchestra. My father used to say the trees had tongues, and if you were quiet enough, they’d tell you secrets older than the city.
I was eighteen the day the forest whispered its final warning.
The morning began like any other. I woke to the sound of my mother grinding maize. The rhythm was steady and familiar. My younger siblings—Kweku and little Ama—chased each other around the compound. Their laughter bounced off the clay walls. My father was already in the grove, tending to the cocoa trees. I joined him after breakfast. I had one of our farm machetes in hand, ready to clear the underbrush and check for pests.
We worked in silence. We usually do. It was the kind of silence that only comes from years of shared labor. The sun filtered through the canopy in golden shafts. And the air smelled of damp earth and ripe fruit. I loved that smell. It was the scent of home, of history. Our farm wasn’t just land—it was legacy. And it was lineage. My grandfather had planted the first trees here. My father added the yam beds. I had just begun carving out a corner for cassava. Already, I was dreaming of building a small hut there one day. Maybe with Abena, if she ever said yes.
But the forest was uneasy that morning.
Birds flew low and fast, their calls sharp and erratic. The wind carried a metallic tang, like rust and smoke. I paused, listening. There it was again—a low, grinding sound, unnatural, like metal chewing stone. My father looked up, his brow furrowed.
‘You hear that, dad?’ I asked.
He nodded slowly. ‘That’s not the forest.’
We followed the sound. With our machetes gripped tight in our hands, our hearts pounded. There had been rumors. But nothing had happened on our side so far. The disquiet in our hearts said it might be, it was our turn. The path led us past the yam beds, beyond the sacred grove where no one was allowed to cut trees. That was where we saw them—men in yellow boots, helmets, and vests. Machines roared behind them, tearing into the earth like hungry beasts. The trees fell like wounded animals, their trunks splintering, roots exposed and bleeding.
Galamsey.
I’d heard the word whispered in the village, always with fear, always with dread. Illegal gold miners. They came like cannibal ghosts, digging in secret, poisoning rivers, bribing chiefs. But this—this was no secret. It was an invasion.
My father stepped forward, shouting. ‘This is sacred land! You have no right!’
One of the men turned, his face hidden behind a mask. He raised a rifle.
I grabbed my father’s arm. ‘Let’s go. We need the elders.’
The man fired into the air, and the forest went silent.
We ran.
Back at the compound, my mother was already gathering the children. My sister Abena had returned from the stream, her face pale. ‘They’re everywhere,’ she said. ‘They’ve blocked the road.’
The elders came quickly, their staffs clutched like weapons. They tried to reason, to speak of land rights and ancestral covenants. But the men in yellow boots didn’t care. They had papers—forged, no doubt—and guns. One of them laughed when Nana Kwame spoke of the spirits.
‘Your gods can’t stop progress,’ the stranger said. ‘Gold is gold.’
That night, we didn’t sleep. We kept watch, machetes and bows in hand. The forest groaned under the weight of machines. Smoke rose in the distance. I held Ama close, whispering stories of the river god who protected children. She asked if the god would protect us. I said yes. I lied.
At dawn, they appeared in our compound. No warning. No mercy.
Shots rang out. My father fell first, clutching his chest. My mother screamed, shielding Ama. A bullet tore through her shoulder. Abena tried to run, but they caught her. Kweku—my brave little brother—threw a stone and was shot in the back.
I charged, machete raised, heart pounding. I didn’t think. I didn’t feel. I just moved.
I reached one of them, slashed his arm. He cried out. Another raised his gun. I saw the muzzle flash. Then—nothing. No pain. No sound. Just silence. It was like plunging into a deep pond from a formidable height. It was the same deafening silence. The same weightlessness.
And then I was floating.
Above the compound. Above the blood-soaked soil. My body lay twisted, eyes wide, mouth open. My mother crawled toward me, dragging Ama. Abena screamed. The forest burned.
I tried to speak. To shout. To move. But I was air. Smoke. Memory suspended in wind. I hovered above the ruins of my life, watching the men laugh, watching the trees fall, watching the river turn black.
The forest whispered again.
But this time, it spoke to me. But it wasn’t words it spoke. It spoke images. In timeless sequence I saw words as images. Coming. Going. Tractors. Rifles. Shootings. Trees. Streams. Rivers. The ocean. Farms. Yam. Corn. Cocoa. Pests. Pets. Violence. Blood. Harmony. Disharmony. Cadence. Broken. Greed. Shame. Shameless. Cruel. Brutal.
It felt scorching to read images of communication not supposed to be carried with sounds. Then the sounds hit, with sensory overload. The words quickly reassembled themselves. It was like being dashed into ice-cold water. I started screaming. But even though I floated above them, the men that shot us continued laughing and smoking, almost as if I had stopped existing.
I woke up from the nightmare, screaming.
2.
I used to think evil wore a suit, that it came in the form of men with briefcases and polished shoes, speaking English too clean for the red soil of Abronoma. But I was wrong. Evil came to us in yellow boots.
They arrived three days after the first explosion. Not quietly. Not respectfully. Their trucks roared through the village like beasts, kicking up dust and drowning out the birdsong. The elders gathered at the square. Worry carved their faces with dread and powerlessness. I stood behind my father, machete in hand. My heart thudded like a drum.
The men wore helmets and reflective vests, their boots thick with mud. One of them—tall, pale-skinned, with a clipboard—stepped forward and smiled like he was selling soap. ‘We’re here to help,’ he said. ‘Your land is rich. We want to make you rich too.’
Nana Kwame, our oldest elder, stepped forward. His voice was calm, but firm. ‘This land is not for sale. It is sacred. It feeds us. It buries our dead. And raises our children. We have nothing else but the land.’
The man laughed. ‘We have permits. Signed by the government district office. We’re backed by investors. You’ll be compensated.’
Compensated. As if the river could be paid for. As if the trees could be bought. As if the forest could be replaced by the men in yellow boots. They never replaced anything. The rumors that arrived before them said so.
They offered bribes first. Bags of rice. Bottles of schnapps. Envelopes thick with cedis. Some of the younger men hesitated. Hunger makes the soul soft. But the elders refused. My father spat at their feet.
That night, the threats began.
Men in dark clothes walked the village paths, whispering. Chickens vanished. A hut burned. My friend Kojo found a bullet casing on his doorstep. Abena, my sister, woke to find a dead bird nailed to our door.
We knew what it meant. They weren’t just here for gold. They were here to erase us, to displace us.
So we organized.
Kojo and I formed a group—just five of us at first, youths who knew the forest better than any map. We called ourselves ‘Asase Tumi’, The Power of Land. Abena joined too, her eyes fierce, her voice sharper than any blade. We met in secret, beneath the old baobab, where the spirits were said to listen. We planned sabotage. We mapped the mining paths. We tracked their trucks. We learned their routines.
But the land was already changing. The river turned cloudy. Frogs died. Fish floated belly-up. Children began coughing. Ama, my little sister, refused to drink. She said the water tasted like metal. Crops wilted. The yam beds turned yellow. The cocoa pods shriveled. My mother wept as she dug up a row of cassava—each root black and soft. The elders prayed. They poured libations. They sang to the spirits.
But the forest was restless, the prayers useless. I felt it in the wind. It no longer whispered—it hissed. The trees leaned away from the mining site, as if recoiling. Birds stopped nesting. Even the ants moved their colonies.
One night, I dreamt of fire. The grove was burning. My ancestors stood in the flames, silent. When I woke, my hands smelled of smoke.
Kojo said he had the same dream.
We knew we had to act.
That evening, under the cover of darkness, Kojo and I crept toward the mining camp. We wore black, smeared our faces with charcoal. The machines were silent now, sleeping like monsters. Guards patrolled lazily, their rifles slung low.
We slipped past them, hearts pounding. The camp was a maze of tents and metal containers. We found one labeled ‘Operations’. Inside, maps and documents littered a table. Kojo held the flashlight while I scanned the papers.
That’s when I saw it: a map. Detailed. Precise. At the top, in bold red letters: ‘Abronoma: Extraction Zone.’ Our village. Our farms. Our sacred grove. All marked for destruction.
I felt something break inside me.
Kojo swore under his breath. ‘They’re planning to take everything.’
I nodded, my fists clenched. ‘We need to show the elders.’
But before we could move, we heard footsteps. Heavy. Fast.
We ducked behind crates as two men entered. One of them was the pale-skinned man from before. The other wore a suit—clean, pressed, out of place. They spoke in low tones.
‘The villagers are resisting,’ the suited man said. ‘We may need to escalate.’
The pale man shrugged. ‘We have the permits. The police are on our side. If they push, we push harder.’
‘And the spirits?’
The pale man laughed. ‘Superstition. Trees don’t fight back.’
I wanted to scream. To leap out and show him how wrong he was. But Kojo grabbed my arm.
We waited until they left. Then we took the map and fled.
As we ran through the forest, the wind howled. The trees shook. I swear I heard a voice—low, ancient, angry. Abronoma is bleeding. But it was just my inner fear escalating through my thoughts. I am hearing my own fear.
We reached the village breathless, the map clutched in my hand. The elders gathered. We showed them everything.
Nana Kwame’s face darkened. ‘They mean to erase us.’
My father nodded. ‘Then we must become become difficult to erase.’
That night, the forest didn’t sleep. And neither did I.
But we saw flashlights tear at the sky over us. It was from the new work site of the invaders. I remember the plan I stole. The contents said it was done for Groupa Company Ltd. I knew Groupa. It was a drilling and mining company owned by a group of powerful capitalists operating out of Accra. Even as I was thinking this, a helicopter roared into earshot. I ran outside, as did my father and mother. Lights bleeped and beeped from the monstrous mosquito. It was headed to the new mine site.
3.
I used to think my grandmother’s stories were just that—stories. She’d sit under the moonlight, her voice low and thick like palm wine, telling us about the spirits that lived in the silk-cotton trees and the river gods who punished greed. I’d listen, half-believing, half-dreaming. But after the map, after the whispers in the wind, I stopped doubting.
The forest was speaking.
It began with the trees. They creaked at night, even when the air was still. Leaves rustled without wind. I’d walk past the grove and feel watched—not by animals, but by something older. Something buried deep in the roots.
One morning, I heard a voice. Not loud. Not human.
It came from the baobab. ‘They dig. We bleed.’
I froze. Kojo was beside me, sharpening a blade. I turned to him. ‘Did you hear that?’
He looked up, confused. ‘Hear what?’
I didn’t answer. I just stared at the tree, its bark pulsing like a heartbeat.
We had no time to dwell on ghosts. The resistance was growing. Nsuo Tumi had swelled to twelve members—young, angry, determined. We met every night, planning sabotage, mapping escape routes, gathering tools. Abena had drawn up a list of targets: fuel tanks, generators, water pumps. We didn’t want blood. We wanted disruption.
‘If we hit their machines,’ she said, ‘we hit their money.’
Kojo nodded. ‘And if we hit their money, they’ll feel us.’
Our first strike was simple. We poured sugar into the fuel tanks of two bulldozers. By morning, they were coughing black smoke and grinding to a halt. The miners cursed and kicked the machines. We watched from the trees, silent and satisfied.
The second strike was bolder. We cut the cables to their water pumps, the ones draining the river to wash gold. That night, the frogs returned. The river sang again.
But they retaliated. They brought more guards. More guns. They patrolled the village, flashing permits and sneering. One of them spat at Nana Kwame’s feet. ‘This land belongs to the state now,’ he said. ‘You people are just squatting.’
The elders called for a protest. It was peaceful, at first. We marched to the edge of the mining site, holding signs made from old cassava sacks. We sang songs of the land, of ancestors, of justice. My father led the chants, his voice strong despite the years. ‘Abronoma is not for sale!’
But they didn’t care.
Police arrived in trucks, faces hidden behind masks. They fired tear gas without warning. The air turned white. People screamed. Children ran. I saw Abena fall, clutching her eyes. Kojo dragged her away.
My father stood his ground. A baton cracked against his ribs.I ran to him, coughing, blind. I grabbed his arm, pulled him back. He collapsed beside me, gasping.
‘They beat me,’ he whispered. ‘They beat the land.’
We hid in the grove that night, nursing wounds and rage. The forest wrapped around us like a blanket. The air was thick with fog—unnatural, dense, glowing faintly. It moved like it had purpose. Kojo stared at it. ‘Where did this come from?’
I didn’t answer. I just listened.
‘Protect. Resist. Remember.’
The voice again. Clearer now. It came from everywhere—the trees, the soil, the wind. I looked up. The branches swayed, though the air was still. ‘The forest is helping us,’ I said.
Kojo frowned. ‘You sound like your grandmother.’
I smiled. ‘Maybe she was right.’
We used the fog to strike again. It covered our movements, muffled our steps. We snuck into the camp, slashed tires, stole documents. The guards couldn’t see us, couldn’t hear us. It was like the land wanted revenge.
But revenge has a price.
The next day, I returned home to find smoke rising from our farm. The yam beds were ash. The cocoa trees were black skeletons. Our farm hut was gone.
I dropped to my knees. A bullet casing lay in the soil. I picked it up. It was warm.
That was when I knew. They weren’t just mining gold. They planned to exterminate us. We had tried to warn the elders. But it was useless. We had to do something ourselves.
That night we went out to the mining site again. We moved in silence, crouched low beneath the ridge, the mine site glowing like a wound in the earth. Kojo checked his watch—2:17 a.m. The guards were rotating. Abena handed me the wire cutters. Our target was the generator powering the water pumps. ‘Quick in, quick out,’ she whispered. ‘No more, no less.’
We split into pairs. I followed Kojo through the shadows, heart thudding. The air reeked of diesel and river rot. We reached the fence, clipped it clean, and slipped through. The generator hummed like a sleeping beast.
Kojo knelt, pulled out the sugar packets. I kept watch.
Then—crack. A gunshot split the night.
‘Run!’ someone shouted.
Lights flared. Alarms screamed. I saw Mensah drop, clutching his chest. Blood soaked his shirt. He didn’t move. Abena screamed. Kojo grabbed her arm and dragged her toward the fence. I turned to help Mensah, but another shot rang out. Something hot tore through my shoulder. I hit the ground hard.
‘Addo!’ Kojo was back, pulling me up. I staggered, pain blinding. We ran, bullets slicing the air. The fence loomed ahead—Kojo shoved me through, then Abena.
Mensah was still inside.
We couldn’t go back. We sprinted into the bush, branches slashing our faces, lungs burning. Behind us, the mine roared to life, guards shouting, dogs barking.
We collapsed near the river, bleeding, broken. Kojo didn’t speak. Abena sobbed quietly.
Mensah was gone.
When day broke, we found his body on the road leading to the Accra Highway. We carried it back to the village to give it a proper burial. The elders remonstrated with us. But we were past caring now. It was war—and we were not the ones who declared it.
4.
I knew they would come. After Mensah’s death, after the sabotage, after the sugar in their fuel tanks and the cables we sliced clean, there was no question. The mine site had become a fortress overnight. More guards. More guns. Fewer questions. We had struck a nerve.
But I didn’t expect them to come for my family.
It started with the dogs. I heard them barking just after midnight—low, guttural, not the usual village strays. These were trained, angry, and close. I sat up in the hut, heart pounding. My father was already awake, machete in hand. My mother clutched Ama to her chest. Abena peeked through the window. ‘They’re here,’ she whispered.
Outside, the moon lit up the compound in pale silver. Shadows moved between the trees. Boots crunched on dry leaves. I counted at least six men—rifles slung, flashlights sweeping.
Kojo had warned me earlier that day: ‘They’re not just protecting the mine anymore. They’re hunting.’ I didn’t want to believe him.
My father stepped outside first, hands raised. ‘This is our home,’ he said. ‘We are not criminals.’
A flashlight blinded him. A voice barked orders. ‘Down! On the ground!’
I stepped out behind him, fists clenched. Abena followed, her voice steady. ‘We haven’t done anything wrong.’
The man in front—tall, broad-shouldered, face hidden behind a mask—raised his rifle. ‘You sabotaged government property. You’re harboring fugitives. You’re done.’
My father didn’t move. ‘This land is ours. You have no right.’
The man fired. The sound split the night. My father staggered, clutching his side. Blood soaked his shirt. My mother screamed. Ama cried out. I lunged forward, catching him before he hit the ground.
‘Baba!’ I shouted.
Another shot rang out—this time toward the hut. The wall splintered. Abena pulled Ama back inside.
I dragged my father behind the water drum, pressing cloth to his wound. He was breathing, barely. ‘Stay with me,’ I whispered.
Outside, chaos erupted. More gunfire. Screams. I saw Nana Kwame fall near the grove, his staff broken beside him. Two other elders collapsed in the dust. The guards moved like a swarm, kicking down doors, dragging people out.
The forest didn’t make a sound. No birds. No wind. No insects. Just silence.
I ran toward the back of the compound, hoping to flank them, maybe draw them away. I didn’t think. I just moved. A guard spotted me, raised his weapon. I ducked behind the cassava shed, grabbed a rusted hoe, and hurled it. It missed. He fired. The bullet grazed my leg. I fell hard, rolled, and crawled toward the bush.
Behind me, I heard Abena shouting. Then a crack. Then nothing. I reached the edge of the grove and collapsed.
The next morning, the village was ash. The elders were dead. My father was unconscious. My mother had fled with Ama. Abena was missing. The compound was burned. The yam beds were gone. The cocoa trees were black stumps.I walked through the ruins, limping, dazed. The air smelled of smoke and blood. Chickens pecked at the dirt, confused. A dog whined near the stream.
Other farmers had fled. The ones who stayed moved like ghosts.
Kojo found me near the broken drum. ‘They killed Nana,’ he said. ‘And Elder Badu. And Elder Serwaa.’
I nodded. I couldn’t speak.
‘Your sister?’
‘I don’t know.’
He sat beside me, silent. We didn’t cry. We didn’t scream. We just stared.
That night, I couldn’t sleep. My leg throbbed. My hands shook. I kept replaying the moment—my father falling, the gunfire, the silence. I lay on the floor of Kojo’s hut, staring at the ceiling.
And then I dreamed.
I was back in the compound, but everything was frozen. The trees were still. The air was thick. The sky was gray. I walked through the ruins, barefoot, bleeding.
A figure stood near the grove, not glowing, not floating, just standing, old, tall, wrapped in cloth, face hidden in shadow. He didn’t speak at first. Then he turned to me. ‘You are not done.’
I woke with a jolt, drenched in sweat.
Kojo stirred beside me. ‘You okay?’
I nodded. ‘Just a dream.’ But it didn’t feel like one. It felt like a warning.
The next morning, I limped to the stream. The water was low, cloudy. Frogs were gone. The trees leaned away from the bank, as if ashamed. I washed my face, stared at my reflection. I didn’t recognize myself. My cheek was bruised. My eyes were hollow. My hands trembled.
I thought of my father, still unconscious. My mother, somewhere in the hills. Abena, missing. I thought of Nana Kwame, lying in the dust. And I thought of the man in the mask. I clenched my fists.
We had tried peace. We had tried protest. We had tried sabotage. They answered with bullets.
I walked back to the village square. Kojo was there, speaking to the remaining youths. Some were wounded. Some were angry. All were afraid.
‘They want us gone,’ he said. ‘They want the land. The gold. The silence.’
I stepped forward. ‘Then we give them noise.’
They turned to me.
‘We regroup. We rebuild. We fight smarter. No more direct attacks. No more open protests. We hit their supply lines. We expose their lies. We document everything.’
Kojo nodded. ‘We go public.’
Abena had once mentioned a journalist in Accra—someone who covered land rights and mining corruption. I remembered her name. I wrote it down. We would send photos. Names. Maps. Testimonies.We would make Abronoma visible.
That night, we buried the elders. No drums. No songs. Just silence. And resolve.
5.
The morning after the burial, the village was quiet. Not peaceful—just hollow. The kind of silence that comes after something has been taken and nothing has replaced it. The elders were gone. The farms were scorched. The river was poisoned. And the people of Abronoma were tired. But not broken.
Kojo and I sat under the charred remains of the baobab tree, the one where we used to meet with Nsuo Tumi. He was sharpening a blade, not for farming, but for defense. I was scribbling names on a torn piece of cardboard—names of villagers who had witnessed the attacks, who had lost someone, who had something to say.
‘We need to document everything,’ I said. ‘Photos. Testimonies. Dates. Names. If we can’t fight them with weapons, we fight them with truth.’
Kojo nodded. ‘And we need to get it out. Beyond Abronoma. To Accra. To the world.’
We remembered the journalist Abena had mentioned before she disappeared—Efua Mensimah, known for exposing corrupt land deals and illegal mining operations. Kojo had a cousin in the city who owed him a favor. We decided to send a package: a flash drive with photos of the destruction, a handwritten letter, and a copy of the map we’d stolen from the mine site.
That afternoon, we gathered what we could. I borrowed Kojo’s old phone, cracked but still working. We walked through the village, taking pictures—burned huts, poisoned crops, the graves of the elders. We interviewed survivors. My mother, still shaken, spoke softly about the night they fled. A farmer named Yaw showed us the bullet holes in his water tank. A young girl, no older than ten, described the taste of the river water: ‘It burns my throat.’ We compiled everything.
Kojo’s cousin came at night, on a motorbike, wearing a hoodie and carrying a backpack. He didn’t stay long. Just took the package, nodded once, and sped off into the dark.
‘If she’s real,’ Kojo said, ‘she’ll know what to do.’
But we couldn’t wait for help.The mine was expanding. We saw new trucks arrive, loaded with equipment. The guards were more aggressive, patrolling the village perimeter, stopping people at random. They built a new fence—taller, barbed, with floodlights that lit up the forest like a prison yard.
We needed eyes inside.
That’s when we found Kwabena. He was seventeen, quiet, and worked as a cook’s assistant at the mine site. His uncle had forced him into the job, saying it was better than starving. But Kwabena hated them. He’d seen too much—guards beating workers, chemicals dumped into the river, bribes exchanged in plain sight. ‘I’ll help,’ he said. ‘But if they catch me, I’m dead.’
We gave him a burner phone and instructions. Every night, he sent us updates—photos of documents, audio recordings of conversations, even a video of a guard threatening a farmer.
One night, he sent a message that changed everything. “They’re planning a full-scale expansion. They want to clear the rest of the grove by next week. They’re bringing in explosives.”
Explosives. That meant they weren’t just mining anymore. They were erasing.
We called an emergency meeting. Only fifteen people showed up. The rest were either too scared or had fled. We laid out the plan: a blockade. We’d gather at the grove entrance, chain ourselves to the trees, and refuse to move. Peaceful. Visible. Defiant.
‘They’ll bring the police,’ someone said.
‘Let them,’ I replied. ‘We’ll have cameras. We’ll have witnesses. If they attack us again, the world will see.’
We spent the next two days preparing. We made signs from old roofing sheets. We printed photos and taped them to sticks. We rehearsed chants. Kojo taught the younger ones how to link arms and hold formation.
The night before the blockade, I couldn’t sleep. I walked to the grove alone, flashlight in hand. The trees stood tall, silent. I touched one, its bark rough against my palm. I thought of my father, still recovering. My sister, still missing. The elders, buried beneath the soil. I whispered, not to spirits, but to myself. ‘We won’t let them win.’
The next morning, we gathered at dawn. Twenty-seven villagers. Some old, some young. All determined. We stood at the grove entrance, signs raised, voices loud.
‘Abronoma is not for sale!’
‘Protect our land!’
‘No more blood for gold!’
The guards arrived first, confused, unsure. Then the police—four trucks, riot gear, tear gas. They formed a line, shields up, batons ready. A man in a suit stepped forward. I recognized him from the mine site—the operations manager. ‘You are trespassing on government property,’ he said. ‘Disperse immediately.’
I stepped forward. ‘This is our land. Our farms. Our homes. You are the trespassers.’
He didn’t respond. Just nodded to the police. They moved fast.
Tear gas canisters flew through the air. Smoke filled our lungs. People screamed. I held my ground, coughing, eyes burning. Kojo grabbed my arm. We fell back, regrouped behind the trees. Then the batons came.They beat us, dragged us, arrested five people. One woman collapsed. A boy was knocked unconscious.
But we didn’t run. We filmed everything. Kojo’s phone caught the entire assault: the signs, the chants, the violence.
That night, we uploaded the footage. We sent it to Efua Mensimah. We sent it to every journalist we could find. We sent
it to the world.
And the world responded. Within forty eight hours, the video went viral. Thousands of views. Comments. Shares. People were outraged. Activists reached out. Lawyers offered help. A local radio station invited Kojo to speak.
But the mine didn’t back down. They doubled security. They issued a statement calling us ‘agitators’ and ‘saboteurs.’ They claimed we were endangering national development.
Then they sent a warning, a note, slipped under Kojo’s door. “You’re next.”
We didn’t flinch. We planned another blockade. But this time, they didn’t wait.
The night before the protest, I was walking back from the stream when I heard footsteps, fast, heavy. I turned. Two men in black rushed me.
I ran. Through the bush, over the ridge, toward the village. They chased me, shouting.
I tripped, hit the ground hard. One grabbed my shirt. I kicked, scrambled, broke free.
I reached Kojo’s hut, slammed the door behind me. He looked up, startled. ‘They tried to grab me,’ I gasped.
He didn’t speak, just handed me a machete.
6.
I didn’t sleep after the attack. Every sound outside Kojo’s hut felt like a footstep. Every shadow looked like a man with a gun. I kept the machete beside me, blade dull but comforting. Kojo slept with one eye open, twitching at every creak of the wooden walls.
We were being hunted.
The next morning, we gathered what was left of the resistance. Only nine of us now. The rest had either fled or gone silent. Some were afraid. Some were grieving. Some were just tired.
Kojo stood in front of the group, arms crossed, voice low. ‘They’re trying to break us. One by one. Door by door.’
‘Then we hit back,’ I said. ‘Not with machetes. With exposure.’
We had one advantage left: the footage from the last protest had gone viral. Efua Mensimah had published a scathing article, naming the mining company, the district officials, and the police. She quoted villagers, showed photos of the destruction, even included a map of the planned expansion. It was everywhere.
But the mine didn’t flinch. Instead, they accelerated. By midday, bulldozers were clearing the last stretch of forest near the river. The grove was gone. The trees were gone. The birds were gone.
And then the real shock came. Kojo’s cousin, the one who had delivered our package to Efua, was found dead. His body was discovered in a ditch outside the next town. No ID. No phone. Just a broken wristwatch and a cracked helmet.
We got the news from a trader passing through. ‘They said it was a robbery,’ she told us. ‘But no one believes that.’
Kojo didn’t speak for hours. When he finally did, his voice was hollow. ‘They’re killing anyone who talks.’
I felt something shift inside me. Not fear, not grief. Resolve.
We couldn’t wait for justice. We had to force it.
That night, we planned our most daring move yet. A full infiltration.
Kwabena, our contact inside the mine, had sent a message: the company was holding a private meeting with government officials at the site. No press, no oversight, just deals and signatures. “They’re finalizing the expansion,” he wrote. “Once it’s signed, it’s over.”
We had one chance. Kojo, Abena—who had returned quietly two days earlier, bruised but alive—and I would sneak into the site during the meeting. We’d record everything. Names. Faces. Documents. We’d get proof of corruption, of collusion, of violence.
And we’d leak it.
We spent the next day preparing. Black clothes. Burner phones. A stolen ID badge from Kwabena. A route through the bush, mapped by memory and desperation.
We moved at dusk.
The mine site was lit like a stadium. Guards patrolled the perimeter, rifles slung, eyes scanning. Trucks rumbled. Generators hummed. The air smelled of oil and fear.
We crawled through the underbrush, hearts pounding. Kojo led, I followed, Abena covered the rear. We reached the fence, clipped it silently, and slipped through.
Inside, the camp was a maze of tents and containers. Kwabena had marked the meeting tent with a red cloth. We spotted it near the center, guarded by two men.
‘We need a distraction,’ Abena whispered.
Kojo nodded. ‘Give me five minutes.’ He vanished into the shadows.
Abena and I waited, crouched behind a stack of crates. My hands shook. My leg still ached from the bullet wound. I thought of my father, still recovering. My mother, still hiding. Kojo’s cousin, lying in a ditch.
Then—bang. A loud crash echoed from the far end of the camp. Guards shouted. Lights swung. The two men at the tent ran toward the noise.
Kojo returned, breathless. ‘I knocked over a fuel drum. They think it’s sabotage.’
We slipped into the tent.
Inside, five men sat around a table. One wore a district uniform. Another had a company badge. The rest were in suits. Papers were spread out. A laptop glowed. We hid behind a stack of boxes and began recording.
‘Once the expansion is approved,’ one man said, ‘we’ll clear the rest of the valley. The villagers will be relocated.’
‘What about the protests?’ another asked.
‘Handled. We’ve got the police on payroll. Anyone who resists disappears.’
Abena’s hand tightened around the phone.
‘And the journalist?’
‘We’re tracking her. She won’t be a problem.’
Kojo’s eyes widened.
We had enough. We slipped out, retraced our steps, and fled into the bush. By dawn, the footage was uploaded.
Efua called us directly. ‘This is explosive,’ she said. ‘I’m sending it to every outlet I know.’
We thought we’d won. But we were wrong.
That afternoon, the mine site exploded. Not metaphorically. Literally.
A blast shook the valley, sending smoke and debris into the sky. The ground trembled. Trees fell. The river surged. We ran toward the site, fearing the worst.
What we found was chaos. The meeting tent was gone. The containers were twisted metal. Guards screamed. One man lay on the ground, bleeding from his ears.
And then we saw Kwabena. He was slumped against a truck, eyes wide, chest still. Dead.
I dropped to my knees. Kojo stared, silent. Abena turned away.
We didn’t know what had happened. Sabotage? Accident? Retaliation?
But we knew one thing: they would blame us.
7.
We buried Kwabena in silence, no drums, no songs, just a shallow grave near the river, where the water still ran cloudy. His mother wept quietly, her hands trembling as she placed a stone on the mound. Kojo stood beside me, fists clenched, eyes hollow. ‘They’re not stopping,’ he said. ‘They’re escalating.’
I nodded. ‘Then so do we.’
The explosion at the mine site had rattled the valley, but it hadn’t stopped the company. If anything, it made them more aggressive. They blamed us publicly, called us terrorists, accused us of sabotage. The district office issued a statement declaring Abronoma a “security risk zone.” Police patrols doubled. Drones buzzed overhead. The grove was gone. The river was dying. And the people were being erased.
But the footage we leaked had done something. It had sparked a fire.
Journalists arrived. Activists reached out. Lawyers offered support. A human rights organization sent observers. Efua Mensimah published a second exposé, naming names, showing faces, quoting documents. The world was watching now. And the company knew it.
We intercepted a memo from inside the mine—Kwabena’s last gift. It outlined their final plan: a full-scale clearing of the remaining farmland, followed by forced relocation of the villagers. They had approval from the district. They had security. They had a deadline. Three days.
We had three days to stop them.
We called a village assembly. Not in the square—too exposed—but in the old school building, half-collapsed but still standing. Everyone came. Farmers. Mothers. Youths. Even the elders who had survived the last raid.
Kojo stood at the front, voice steady. ‘They want to finish us. We either fight now, or we lose everything.’
I stepped forward. ‘This isn’t just about Abronoma. It’s about every village like ours. Every river poisoned. Every tree cut. Every voice silenced.’
We laid out the plan. A coordinated blockade. Not just at the mine site, but at the access roads, the fuel depot, the district office. We would divide into teams. Some would hold the line at the grove. Others would intercept supply trucks. A third group would march to the district office with petitions, photos, and testimonies. And we would livestream everything.
We had phones. We had networks. We had eyes.
‘If they attack us,’ Kojo said, ‘the world will see.’
The villagers agreed.
We spent the next two days preparing. We built barricades from logs and scrap metal. We printed signs. We rehearsed chants. We trained the younger ones in nonviolent resistance—how to lock arms, how to stay grounded, how to protect each other.
The company prepared too. We saw new trucks arrive—armored, tinted. More guards. More weapons. Rumors spread of mercenaries hired from outside. The district office issued a curfew. Police checkpoints sprang up overnight. The air felt heavy, like something was about to break.
On the morning of the third day, we took our positions.
I stood at the grove entrance, machete sheathed, sign in hand: “This Land Is Our Life.” Kojo led the road blockade, twenty villagers strong, dragging logs across the path and chaining themselves together. Abena marched toward the district office with a group of women, carrying petitions and photos.
The company moved fast. Trucks rolled in, engines snarling. Guards stepped out, rifles raised. A man in a suit shouted through a megaphone. ‘Disperse immediately. This is a restricted zone.’
We didn’t move. Kojo shouted back. ‘This is our home. You are the trespassers.’
The guards advanced.
We locked arms.
The first clash came at the roadblock. Police fired tear gas. People screamed. Kojo held the line, coughing, eyes red. A woman collapsed. A boy was dragged away. But the cameras were rolling. The livestream showed everything.
At the grove, the guards tried to push through. I stood my ground.
One of them raised a baton. I braced for impact. Then—shouts.
Journalists arrived, cameras flashing. Observers from the human rights group stepped in, demanding restraint. The guards hesitated.
At the district office, Abena’s group was denied entry. They sat on the steps, chanting, holding signs. Police tried to remove them. They resisted peacefully. The footage went viral.
By midday, the mine was paralyzed. Trucks couldn’t move. Roads were blocked. The district office was flooded with calls. The company issued a statement denying wrongdoing. But the damage was done.
And then the final shock came. A whistleblower from inside the district office leaked documents—signed approvals, bribe records, emails between officials and the company.
It was all there: corruption, collusion, cover-ups. Efua published it within hours.
The government responded. An emergency investigation was launched. The mine’s operations were suspended. The district commissioner was arrested. The company’s license was revoked. We had won. Not with machetes. With truth.
The next morning, the trucks left. The guards disappeared. The machines went silent. And the forest, what was left of it, breathed again.
We stood in the grove, Kojo beside me, Abena holding Ama’s hand. My father, still weak, smiled for the first time in weeks. The villagers gathered, not to protest, but to plant. Yams. Cassava. Cocoa. The land was scarred, but alive.
And we were still here.
Six months after the final confrontation, Abronoma is no longer a forgotten dot on a corrupted map. The mine is gone. The machines were dismantled, the guards withdrawn. The district commissioner was tried and sentenced. The company’s license was revoked, and its name became a cautionary tale in every newsroom from Accra to Abuja.
The villagers rebuilt slowly. The land, though scarred, began to heal. Yams sprouted again. The river, once poisoned, ran clearer each week. Children returned to school. The grove, though reduced, was replanted with saplings—each one named after someone we lost.
Kojo now leads a regional coalition against illegal mining. Abena teaches environmental law in the city, returning every month to walk the paths she once defended. My father recovered, though he walks with a limp. My mother still hums when she cooks, her voice softer but steady. And me? I remain a name carved into a stone near the grove. A story told at dusk.
“After Gaza” does not mean that the Gaza genocide is over—not only because the genocide is ongoing, but because Gaza, like the Shoah and the Nakba, will never be over. “Never again” feels like “the hope” that Benjamin said was for those who have none.
Theodor Adorno said that poetry “after Auschwitz” is barbaric, but you only live “after . . .
“After Gaza” does not mean that the Gaza genocide is over—not only because the genocide is ongoing, but because Gaza, like the Shoah and the Nakba, will never be over. “Never again” feels like “the hope” that Benjamin said was for those who have none.
Theodor Adorno said that poetry “after Auschwitz” is barbaric, but you only live “after Auschwitz” if you realize that you do. It becomes a way of seeing things. My mother was a Jewish refugee who left Romania for Switzerland in 1941. For me, now 78, much of my life has been lived after Auschwitz began to shape my sense of the world. But what has “after Auschwitz” become “after Gaza”? Afterthe realization that Gaza will never be over, and that now, in the light of the Gaza genocide, Auschwitz will also appear in its light.
I live in a safe, protected space, but the desolations of Gaza (even from a distance) can transform the look (and the life) of things. Using a camera phone, I start with photographs of things I live with—trees, chairs, wall-shadows, burnt matches, cannabis ashes. As I work with the limited editing technology that the camera phone provides, I find icons in the photographs that seem to witness ongoing catastrophes—Gaza, Ukraine, Sudan . . . to witness and to be witnessed. I find what I can see but have hardly been prepared to know how to see.