[{"id":5509,"date":"2025-02-03T23:47:37","slug":"notes-from-the-zone","type":"letter","link":"https://kubicki.org/?letter=notes-from-the-zone","title":{"rendered":"Notes from the Zone"},"categories":[2],"acf":{"letter_content":"

Notes from the Zone

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A questionable filming expedition into the Chernobyl Zone of Alienation.

\r\n $\"Notes$ \r\n

☢️ From the archives: Revisiting a formative film shoot in Ukraine’s Chernobyl Zone of Alienation, in quieter times.

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One of the last landmarks on the road from Kyiv to Chernobyl is the egg. It’s just that, a concrete egg maybe a meter and a half long, sitting on its side in the middle of a ridiculously oversized traffic circle. The egg is there to remind you: you are small. Or more probably, because leaving such a big empty space without decoration offended someone’s sensibilities, and an egg is as good as anything else.

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The traffic circle itself is probably eight to ten times larger than it has any reason to be, and, like the rest of the roads in Ukraine circa 2007, not really fit for wheeled transport.

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We’d spent the previous day in Pripyat on an official filming expedition with an official car, official guide, official permit from the Ministry for Chernobyl and finally, official—if sketchy—radiation dosimetry. Pripyat is the largest town in the Zone, the place you see in all the pictures. The posterchild for the catastrophe. Despite what you may read on the ‘tubes, access to Pripyat isn’t particularly difficult to get. At least one tour operator runs bus tours from Kyiv, and if you pull some strings—as we did—you can get a permit, a car, and private guide for a few hundred dollars.

\r\n $\"\"$ \r\n

Which is all good and fine, but we need more material for the film and a friend of a friend is originally from one of the smaller abandoned towns, one that has figuratively and literally disappeared from the map. So the day after visiting Pripyat we head back to the Zone of Alienation on an unscheduled visit, just five shady fellows in a ridiculously overpowered, natural gas-powered Chrysler minivan full of film gear.

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There are a few checkpoints scattered around the border of the Zone aside from the main one outside Chernobyl. They all share the same characteristic roadblock: a heavy metal bar nearly foot in diameter attached to a lifting mechanism far too small for the weight. The guard lifts the barrier and one senses that he’s just daring you to try. Are you feeling lucky? But at present the barrier is down and a guard in Soviet block blue and white urban camouflage is eyeing us with the sort of expression you generally want to avoid at any roadblock, anywhere. The “and what have we here” expression, slightly amused, dangerously bored. He has a few questions which he would like answered, preferably inside the guardhouse. Would we mind?

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Yura (the cameraman) and our driver Sasha share a dubious look and step out into the guardhouse. We wait. We wait some more. Some 20 minutes later they both come out accompanied by two guards now.

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Where are you going? To Polis’ke.
\r\nAnd whatever could you possibly be going there for?

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A story, mostly true. Our guide Kot—the friend of a friend—once lived there, and he would like to visit the family graves, the house from childhood.

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And all this? Oh, about $100,000 worth of film equipment.

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Not actually voiced, but that’s the idea. The guards have a chat between themselves while I idly begin to wonder if this whole adventure won’t land me somewhere I’d rather not land. Time for another consultation in the guardhouse. Seeing where this is going, the ever practical Yura takes a bottle of vodka out of his backpack before heading over. Another ten minutes go by. Should I be worried? To tell the truth, I’m more amused than anything else.

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Yura, Sasha, and Guard #1 come back out. We’re almost there, apparently. The guard takes a look at the rest of us passengers.

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All Ukrainians?

\r\n

Da. Of course. Just don’t ask to see my passport. But with the vodka it’s clear that we are in the less I ask, the less I know, and the less I know, the less I’m responsible for territory now and after a bit more work the roadblock finally goes up.

\r\n

Which is how we got free rein to the entire Zone.

\r\n $\"\"$ \r\n

The sky is a heavy grey and it’s cold for October. Approaching the our destination through a forest I don’t pay much attention to what’s outside until Yura tells me to look out the window. It takes a while to see it, but it’s no forest. We’re already there. There are houses among the trees, just a short distance away from the road. One after the other. Some have collapsed roofs from years of snowy winters, others look like they could be inhabited, but there are no lights, no smoke, few windows. It’s strange because unlike Pripyat, Polis’ke was evacuated as late as 1999 due to significant radiation contamination from the Chernobyl plant several kilometers to the east. Radiation that somehow went unnoticed or ignored for more than a decade.

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You don’t expect nature to reclaim a place so quickly, but eight years is all it takes.

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We drive slowly, because all the manholes have been stolen to sell as scrap metal and the streets are covered with branches and dead leaves. We pass a massive hospital, rows of 70s era apartment blocks. Nearly all of the windows are gone, leaving massive facades of square black holes. We stop at a large intersection with a school on one corner, some of its walls covered with paintings by children. A green dinosaur.

\r\n

With the car engine off the peculiar silence of the place stands out. It’s the sound of wind, but unlike any other wind I’ve heard. Wind blowing through apartment buildings mixing with the wind rustling the trees. It sounds like deep, distant wolves. Or singing dunes. I silently wish we’d brought a sound recorder.

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Polis’ke, or Chabno as it was once known, has a long history. It was founded in the 15th century and by the end of the 1800s was both home to a sizable Jewish population and a Polish noble family. Then the Soviets came and destroyed its castle and its churches, building in their stead a model Soviet town. And without people the place feels even more like some state planner’s idea of a town than an actual one. Like something you would build in Sim City – the obligatory hospital, school, stadium, housing, parade ground, Great Patriotic War memorial. All that’s left of old Chabno are the wooden houses, some probably centuries old, and the cemeteries.

\r\n

There’s a fun perk related to driving around in a forgotten city. You can go anywhere your vehicle can physically go. Suddenly wide sidewalks, parks, city squares and even certain buildings are accessible to anything with enough ground clearance. Enjoying this freedom we finally begin to look for signs of people.

\r\n

To say the Zone is abandoned isn’t accurate. People still live here, with varying degree of legal status. Aside from soldiers and cleanup personnel there are several dozen mostly elderly people who refused to evacuate and live isolated or in small groups, without electricity or running water. And then there are the squatters. I hear rumors of refugees from Chechnya moving into abandoned villages on the Belarus side of the border. Criminals also, I’m told. So it’s with some apprehension that upon finding a Lada in decent condition parked outside a large building with most of its windows still intact we decide to investigate.

\r\n

Or rather, we send Kot, the local guy, to investigate while the rest of us wait in the car. Five minutes go by before our driver extraordinaire starts inexplicably honking. Now, honking in any big city is no big thing, just part of the soundscape. But honking in a place as abandoned and almost silent as Polis’ke feels like breaking some implicit law of the universe, to say nothing of attracting possibly unwanted attention, given that our own status driving around inside the Zone without a guide or even permission is questionable at best.

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Kot finally emerges from the building, defusing some built up tension, but with inconclusive results. After a brief discussion in fast Russian it’s somehow decided that we’ll try again, but this time I’ll be going with Kot.

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The building is clean and well-kept inside, and looks just like any generic Eastern Bloc mixed-use interior – offensive pastel green walls, concrete stairwells, 70s curtains and cheap aluminum doorknobs. It could be a hospital, or a small hotel, or a police station. Going up the stairs we hear noises on the next floor up, and coming out into the corridor we meet two burly fellows with shaved heads in camouflage pants next to a ping-pong table.

\r\n

Kot defuses a tense moment of silence by explaining who we are, what we want, and after a few minutes we are on our way again with a rough set of directions to a street where apparently a few elderly people still live. It seems implicit the whole time that these men in camouflage are certainly not the people we are looking for.

\r\n $\"\"$ \r\n

The whole thing seems hopeless until we come across another large structure in good order, apparently a fire station but with no one in sight. A quick reconnaissance by Kot ends with his swift disappearance and a pair of men in military uniform coming out from behind the building and eyeing us, who are moments later joined by another two, while back inside the van we watch this quickly materializing army in bemusement sprinkled with something just short of panic. Our cameraman looks back at me from the front seat smiling nervously and gives a voice to the atmosphere: “o, kurwa,” roughly “oh, shit.”

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The standoff continues, film crew in car vs. now six men in military uniform across the street, though nobody seems in any hurry to do anything but watch and wait.

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Finally, Kot returns triumphantly with… an armful of yellow apples, our first but not last encounter with the apples of Polis’ke.

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“So?”

\r\n

“It’s a fire station, they’re all firefighters.” Kot takes a bite of an apple, passes the others around. We seem to be split 50/50 between those who are hungry and those who find the idea of consuming produce from the Chernobyl zone to be a questionable proposition. “They have a few trees.”

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An older man with gray hair and a well-trimmed mustache, also in uniform, walks up to us. It turns out he’s the chief of the firehouse and one of the town’s original inhabitants. We ask him what a bunch of firefighters are doing out here, and it turns out the Zone has a serious problem with forest fires. But because emergencies are few, most of their work involves measuring radiation levels in the area.

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He offers to give us a tour. Seats are rearranged and we head off again, this time with some idea of where we’re going.

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Our first stop is a tiny Orthodox church hidden behind a thick wall of bushes and trees and accessible only by a narrow footpath. Aside from the fire station, it’s the only building in Polis’ke I’ve seen in decent, clearly looked-after condition. The inside is spotless, floors washed and what look like fresh flowers at the front. We ask our guide how many people still live here. Around ten, he tells us, scattered throughout town. All elderly who refused the evacuation order. We say we’d like to find someone for the film, and that’s how we came to meet Józefa.

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We find her on the road to the church, just outside her house; a babushka with a blue headscarf carrying a bouquet of flowers.

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It turns out no introductions are needed because upon seeing this group of poorly-dressed, unshaven men with a camera her eyes light up. A film? Poland? She disappears quickly into her wooden cottage. I tell Yura to roll the camera as she comes out again, hands full of the yellow apples we’re familiar with, a present for all of us. Accepting one is not enough, and she isn’t satisfied until our pockets are loaded.

\r\n

Before I know it I’ve been given the bouquet meant for the church and am being led by the hand as she shows off her garden full of more flowers and vegetables, the last of which have been gathered ahead of the approaching winter. Then we’re led next door to an abandoned house repurposed as storage, its floors torn out to reveal the dirt two feet below, wooden planks crisscrossing here and there to allow access to the various rooms. The walls are lined floor to ceiling with chopped firewood for the winter. But this and everything else we’ve seen doesn’t prepare us for the apple room—what I suppose used to be the kitchen full of, well, apples. All over the floor, the table, the shelves. Hundreds of them.

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Yura goes off to change the film in the camera so we can shoot inside while I’m left among the apples with Józefa, trying to understand her story across the language barrier. Luckily she needs little encouragement, and I catch just enough to ask questions to keep her going. She insists the radiation hasn’t had any ill effects. Actually, she says, her neighbors only got sick after they were moved to another village just outside the Zone, she she feels it’s better for her health here than elsewhere. Seeing her energy and enthusiasm it’s hard to disagree. I wonder if the apples have something to do with it. I ask her about food. Sometimes the fire chief brings her something, but usually it’s a 10 km bike ride to the nearest store just outside the Zone for necessities like bread.

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With the camera loaded again we film Józefa in the room with her apples. The attention doesn’t bother her; she stands for a portrait as though posing for a photo.

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Before we leave someone asks her if she doesn’t get lonely out here by herself. She smiles. She has a few neighbors, the church. Sometimes the firemen come by to check up on her. Why would she be lonely?

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On the way back our guide asks if we want to see the old stadium. He notes that the radiation levels in the mud there are significantly elevated, several dozen times the amount considered safe. We pass and drop him off back at the fire station. He asks us to wait for a moment and comes back with four copies of his book, a parting gift. Only then do we find out that our guide was a poet.

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Our last bit of work in the city is filming a drive through the town. With the camera rigged off the side of the van we go through the outskirts, through the city center and stop as the film runs out again. We all get out. The Ukrainians share a joint while I walk over into one of the houses intending to use the toilet, but the path through the living room is blocked with a fallen tree. I settle for the tree instead.

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We make one stop on our way out of Polis’ke, for Kot. After more than a few wrong turns we end up at the cemetery. As he’s getting out I realize I still have Józefa’s flowers. I hand them to him, and Kot promptly disappears. After 20 minutes go by we start calling him. It’s already getting dark. He finally comes back after half an hour. We don’t ask about it.

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The guards at the checkpoint give us some trouble on the way out again, checking to make sure we aren’t bringing anything—or anyone—out with us. It’s a fair precaution given that Belarus shares a long, unguarded stretch of border with the zone. The road back is quiet. From time to time we pass a bus stop out in the middle of nowhere. At each one there’s a small fire burning next to the road, with a few bundled up figures warming themselves, waiting.

\r\n","letter_description":"A questionable filming expedition into the Chernobyl Zone of Alienation.","letter_issue":"002"},"_links":{"self":[{"href":"https://api.kubicki.org/wp-json/wp/v2/letters/5509","targetHints":{"allow":["GET"]}}]}},{"id":5511,"date":"2024-06-30T11:30:21","slug":"a-letter-about-nikolai-fyodorov","type":"letter","link":"https://kubicki.org/?letter=a-letter-about-nikolai-fyodorov","title":{"rendered":"A letter about Nikolai Fyodorov"},"categories":[2],"acf":{"letter_content":"

A letter about Nikolai Fyodorov

The Russian philosopher-librarian who wanted to resurrect the dead to live among the stars.

\n $\"Fyodorov$ \n

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“He was a searcher for universal salvation. In him the feeling of responsibility of all for all reaches the ultimate and acutest expression… there was no man on earth who felt such sorrow at the death of people and such thirst to return them to life.” —Nikolai Berdyaev
\n

Why Common Task? Blame it on a 19th century Russian called Nikolai Fyodorovich Fyodorov.

I’ve been thinking about Fyodorov a lot over the past few years. Nobody on earth has taken utopia as seriously, on an intellectual, spiritual, and practical level, as the Russians. We have the Brits (by way of Sir Thomas More) to thank for the name and a general distrust of the idea, and America may have been founded on some ostensibly utopian notions, but it’s the Russians who ultimately took the idea with the seriousness it merits and followed it to its (tragic, in their case) conclusion.

Fyodorov was a contemporary of the intellectual and literary heavyweights we sometimes just abbreviate to “the Russians”: Tolstoy, Dostoyevsky, Chekhov, Turgenev. Half a century after Fyodorov’s death, Camus would write that if you wanted to be a philosopher, you should write novels. These writers were the embodiment of that observation. It’s strange, then, to think that just a few decades earlier, Russia was considered an intellectual wasteland:

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“Standing alone in the world, we have given nothing to the world, we have learnt nothing from the world, we have not added a single idea to the mass of human ideas; we have made no contribution to the progress of the human spirit, and everything that has come to us from that spirit, we have disfigured.… Today we form a gap in the intellectual order”
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That’s Pyotr Chaadayev writing about his homeland in a magazine called Teleskop, circa 1836. It’s a quintessentially Russian statement: overly dramatic, full of tragic feeling, yet recognizably true. The name of the periodical (Telescope) is prescient, given the role Russia would have in opening space more than a hundred years later, and the direct role Fyodorov would have in inspiring those who paved the way.

Very few people knew the name Nikolai Fyodorov while he was alive. Even fewer knew of him after he died, and practically nobody outside of the country had heard of him until well into the 1970s. He lived an ascetic life, working as a museum librarian in Moscow and sleeping on a trunk in a tiny rented room, forgoing warm food for months and owning as close as possible to nothing — not even a winter coat (this is pre-warming Russia, remember).

Yet this lowly librarian somehow managed to attract the admiration and respect of the greatest Russian thinkers of his day. Tolstoy said of him: “I am proud that I live at the same time as such a man.“ Dostoevsky wrote of Fyodorov’s work: “I am in complete agreement with these thoughts. I read them as though they were my own.” Konstantin Tsiolkovsky, the father of manned spaceflight, met Fyodorov when he was a teenager and was also deeply influenced by him: “I regard Fyodorov as an exceptional individual, and my meeting him as my good fortune. For me he took the place of university professors, with whom I did not associate.”

\n $\"Fyodorov$

Fyodorov hanging with Tolstoy and Vladimir Solovyov.

Fyodorov rejected private property both materially and in the realm of ideas. He wrote no books and sought no recognition. His writings, when they were finally published after his death by two of his students, were released for free (the originals are labeled “not for sale”) as the two-volume Philosophy of the Common Task. It’s a strange and powerful body of work, the sort of stuff you can dismiss as the ravings of a lunatic during the daytime and be moved to tears by late at night — the stuff of genius, in other words.

In it, Fyodorov described a comprehensive vision of humanity’s “common task”. The first step was to bring the climate and nature itself under man’s control. Russia in his time was plagued by drought and famine, and he envisioned the use of science and military technology to manipulate the weather (sound familiar?) and ensure the well-being of all people through a reliable food supply.

Then it gets really interesting.

Once famine and other natural disasters were vanquished and people no longer had to struggle for survival, they would finally be able to roll up their sleeves and unite to focus on the real task: the physical resurrection of the dead. All of the dead. Every human being who has ever lived. Not in an afterlife, not in some metaphorical sense, but here and now on Earth. And because this would inevitably lead to crowding and strain the limited resources available on our planet, humanity would colonize space to make room for everyone. The hundreds of generations who toiled and suffered and procreated and died in the great human relay race would be resurrected by their children to live among the stars. Whether they liked it or not.

Though he was a deeply religious Orthodox Christian, Fyodorov rejected mysticism and divine involvement in the world. He considered the task of resurrection and humanity’s expansion into the cosmos to be a human project: a task for men, not God. This is crazy, but not as crazy as it sounds. You have to remember that he wrote in the 1800s, at a time when Newtonian cause-and-effect still reigned supreme, before Einstein and Heisenberg and uncertainty turned everything upside down. The problem of resurrection was a problem of physics to him: a restoration of previous configurations of matter, which could be extrapolated backwards from the present. He believed that museums, whose role it was to preserve the past, would play a fundamental role in this. He also thought that the proper place of museums was in cemeteries, which makes a perfect sort of sense.

Fyodorov was obsessed with kinship. Humanity to him wasn’t a mass of individuals but rather an intricate web of fathers, sons, and daughters (but mostly fathers and sons – he was an unabashedly patriarchal thinker in the long tradition of Russian patriarchy, and mothers are almost entirely absent from his vision). This idea of kinship is central to the common task: he wrote that “we live not only at the expense of others, not only at the expense of blind nature, but also of others like oneself, even the closest, replacing and supplanting them; and such an existence makes us not only unworthy, but also transgressors.” Each person, in his view, lives at the expense of his ancestors, and owes a debt to be repaid. The common task is the repayment of this debt, and in the settling of accounts we will be made free. How’s that for a quintessentially Russian statement?

In Fyodorov, the idea of a universal utopia found its ultimate expression: a utopia for all, and that includes not just the living, but all who have ever lived. Humanity’s common task as the obliteration of death and, in some real sense, time as well. This wasn’t just some philosophical exercise for him: he felt it in his bones, and singlemindedly devoted his life to advancing the idea.

The word “task” is important, here. A task is not something to be thought or believed, but something to be done. It is not a question of faith, but of action. Fyodorov insisted that knowledge without action was worthless, and he disliked Western philosophy for its endless arguments and intellectual gymnastics that he felt led to nothing. His “common task” of resurrecting the ancestors was something to be enacted by all the living, together. It was to be the first and final common human project.

Fyodorov died in 1903, but his ideas would resonate through the entire 20th century and well into ours. He’s considered the founding figure of Russian Cosmism, a term retroactively applied to a loose intellectual movement that combined science, art, religion, and utopian socialism to explore a limitless human future at a time when it seemed just out of reach, before the darkest days of Stalinism and WWII. Transhumanism is just one of many descendants of the cosmists: cybernetics (now gutted, redecorated and being sold as “systems theory”) is another branch on the tree of cosmism, along with upstarts like simulation theory and accelerationism.

Fyodorov’s project was such a specific and singular vision that it had to die with him, and despite its outsize influence, it was very much a product of its time and place. But we can, echoing Bruce Lee, take what is useful and discard the unnecessary. The very idea of a common task, a universal human undertaking that we are all participants in, may be Fyodorov’s greatest legacy.

I’ll let Nikolai Berdyaev, who wrote what is probably still the best summary and critique of Fyodorov’s thought way back in 1915, have the final word:

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“All the contradictory thoughts of the XIX Century spoke of a philosophy of the common task, all mixing up in it the old with the new and that to come. And in the XX Century the future philosophy will work at extracting the true kernel of the ‘philosophy of the common task’ and toss away the old trappings.”
\n

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Notes from the Zone→

A letter about Nikolai Fyodorov→

Pirate Utopia