My time in Kyïv1 last week was both enlightening and reassuring, even as it featured some of the most dramatic events of the 3+ year full-scale war — Operation Spider Web being one of them (see my previous post on that), the ramping up of Russian drone and missile attacks being the other. The latter — sometimes reaching up to 500 drones and ballistic or cruise missiles in a 24-hour period — reflects the utter vacuousness of Donald Trump’s oft-stated goal of a peaceful end to the conflict. (For an astute recent analysis of the reasons behind Trump’s favoritism toward Russia, see Arthur Snell’s recent piece “Let’s Talk About Krasnov.“)
I have tried to make a habit of visiting Kyïv every 4 to 5 years or so on average, since my year spent as a youthful Canada-USSR Scholar in 1989-90, when everything was beginning to come apart (the USSR, at least) and to seem very much up for grabs. Over that 35 year time period, the city has changed dramatically, not always for the better (uncontrolled development being a problem), but certainly for the more colorful, dynamic, and lively.
My impressions this time were that the city remains as vibrant as ever, its music, arts, and cultural scenes remaining quite active, and plenty of reading and informal discussion adding to the edginess of wartime to make it feel rather more alive than most places. Kyïv, in fact, seems to have more bookstores and bookstore-cafés per capita than almost any city I’ve been to — despite the fact that you can get 30 to 60 rides on the metro (8 UAH per ride) for the price of a single book. For anyone considering visiting, I especially recommend seeing the Pinchuk Art Centre’s current exhibition, which features a few of the artists in my forthcoming book, Terra Invicta: Ukrainian Wartime Reimaginings for a Habitable Earth (they include Kateryna Aliinyk, Kateryna Lysovenko, and Yuri Yefanov), and the remarkable exhibition “ProZori” at the Ukrainian House (former Lenin Museum), which is the first exhibition to adequately feature the work of five of the most fascinating late Soviet era Ukrainian artists, all “futurists” or “cosmists” of a sort that’s quite different from the Russia-based movement known by that name.
One thing that has changed, probably more since the full-scale invasion of 2022 than during any of my other between-visit intervals, is that the city’s background hum, its thought processes, now take place largely in Ukrainian, not in the Russian that had been the dominant language back in 1989. This has been a remarkable shift, all but entirely creditable to Putin’s onslaught, which has made Russian the language not of “high culture” (virtually guaranteed by the Russian empire’s and then the USSR’s Russification policies), but of the senseless barbarian invader.
Admittedly, my impression of the city was shaped in part by my own activities attending and participating in the Knyzhkovyi Arsenal (International Book Arsenal Festival), held at the country’s largest museum-gallery complex. The festival featured over 200 events and was attended by nearly 30,000 visitors, including by President Zelensky, whom I apparently walked by at one point (I was told), though I was too busy talking to notice. (See photo below.) I found the number of Ukrainian book publishers to be remarkable, and some of the panels and conversations I heard, as well as the ones I participated in — one on the war’s impact on cultural and ecological landscapes, the other on decoloniality and art, with a focus on Kateryna Botanova’s excellent anthology Reclaiming History, which I’ve got a chapter in — were enlightening.
Historian Marci Shore, recent relocatee from Yale University to the University to Toronto alongside her partner Timothy Snyder and fellow fascism scholar Jason Stanley, commented that in contrast to her experiences traveling around North America, she was finding visiting Kyïv a profoundly “uplifting” experience. That despite the daily and especially nightly air raids — which many Kyïvans ignore because they have to in order to sleep and live their lives, but which visitors like me were hardly able to ignore. I lost a few nights of sound sleep, but lucked out in that my visit followed Russia’s massive three-night bombing campaign of the previous weekend and preceded its recent, even more massive “response” to Operation Spider Web. All of that is nothing compared to what other Ukrainians have faced for over three years now, and in some places for over a decade.
For all the difficulties posed by the continuing military aggression, Ukrainians, or at least the Kyïvans, Lvivans (I spent a few days there), and displaced others that I met, seem to be holding up well in spirit, in ways consistent with what I describe in Terra Invicta, which will be coming out later this year. That’s not to say that Ukrainians aren’t also exhausted by the war, its viciousness, and the loss of faith in getting the kind of support they need from the West anytime soon. That they continue to broadly support the war effort, and Zelensky’s leadership (irrespective of whether they’re Ukrainian- or Russian-speaking), speaks volumes.
Here’s a photo of Zelensky posing alongside Marci Shore (second from the right) at the Arsenal Book Festival:
And here’s Canada’s former ambassador to Ukraine Roman Waschuk (an old friend of mine from Toronto days) posting about the festival’s “Canadian content”:
- On why I spell Kyïv the way I do: Following the Ukrainian spelling of “Kиїв” rather than the Russian “Киев,” the customary spelling has now become “Kyiv,” but that too often ends up sounding as a monosyllabic “Keev.” The double-dotted diaeresis over “i” is available in English, as in the word “naïve” — The New Yorker even uses the same diaeresis to separate syllables in words like “coöperate” — and it enables a closer approximation to the bisyllabic Ukrainian pronunciation, which sounds more like “Ki-” as in “kit,” followed by “yeev.” Similarly, the writer Леся Українка is best spelled Lesia Ukraïnka. ↩︎
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