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FOCUS: Russia-Ukraine War

Maryinka As Memory: How A City In Ukraine Has Been Blown Out Of Existence

Citizens of the now destroyed Ukrainian city of Maryinka are left struggling to remember what their town used to look like.

Photo of the destroyed city of Maryinka

The destroyed city of Maryienka by Russian forces

Mykhailo Krygel

As Yulia Semendyaeva looks at a photo of the Ukrainian city of Maryinka, the place where she was born and lived 29 of the 30 years of her life, she cannot recognize a single street.

"The ponds are the only things that are still where I remember them," she says.

As Yulia’s hometown had become unrecognizable, the world, for the first time, was beginning to notice it.

When people began to share photos of the completely destroyed city, where seemingly not one building remained untouched, the Russian military boasted of the "impressive" results of what it calls the "denazification" project in Ukraine.

Today, Maryinka only exists on maps. Its streets still have names. But in reality, it is all only rubble.


The city’s old telephone directory is still available online. These maps and telephone directories are a curious thing: form without content. What is the purpose of street names, house numbers, and apartment telephones, if the city has no surviving streets, no houses, no apartments and no people?

City's ghost 

On Jan 1, 2014, 9,829 people lived in Maryinka.

By Jan. 1, 2023, that number was zero.

Since 2014, citizens of Maryinka have been under regular Russian fire. Still, they did not flee. Not even in July 2014, when the city was shelled by Russian militants, or in the summer of 2015 when fierce battles swamped the city. They did not leave until the full-scale invasion in 2022.

All these years, Maryinka remained the last border between the Ukrainian-controlled part of the Donetsk region and the territory annexed by Russian proxies.

As shells rained down, the city gradually became a ghost. It’s not the only one: there are dozens of these settlements in Ukraine which remain only on maps — and sometimes, if it pleases the Russians, they disappear from maps altogether. This is the result of Putin’s war.

Today, the most reliable, and sometimes only, form of travel to these places is not in space, but in time. To get there, there are no trains or planes or cars — only memories.

Back in 2013

In the spring of 2013, Maria Makarevych, a Kyiv-based artist-architect, arrived in Maryinka for the first time. For the next three months, she and other artists painted the faces of saints on the walls of a newly built church.

I see in colors

“I am an artist, so I see in colors,” she says. “Maryinka for me is yellow-green and green-blue. And also buzzing insects, bumblebees, summer, heat. Apricots, cherries, apples, plums.”

“There was something mystical, indescribable about this place. Perhaps because of the absolute darkness of the nights in Donbas, which gave birth to a new day - bright, flooded with sun.

“We painted the temple every day from 7 am to 7 pm. Then we were brought home, and as respite from work, we went to the pond.

“While swimming, I felt incredibly light. The sort of lightness that only comes in dreams.

“It was surprising that, despite the myths about the united Donbas, the majority of local residents spoke Ukrainian.

“The city center is a typical Soviet architecture. And private houses are all different and well-kept. Old, but very authentic. Light walls, wooden carvings, curtains with ornaments, wooden fences.”

Maria hoped to return soon after she left Maryinka in August 2013. She dreamt of making a photo collection on the windows of Maryinka. But she managed to immortalize only one thing.

"We lived here, we were happy, we worked a lot. In the evenings we swam in the lake, on weekends we went to Mariupol to the sea. We loved this city so much. But we had no idea just what would happen," she wrote on Feb. 27, 2023.

A few days before, on February 23, Russian propagandists reported on the destruction of the cathedral she had painted as a result of "high-precision" shelling.

Dust and small fragments of walls are all that remain.

Photo of Maria Makarevych painting the Cathedral of All Saints in 2013

Maria Makarevych painting the Cathedral of All Saints near Maryinka, summer 2013

Ukrainska Pravda

The new normal

It is difficult for Yulia Semendyaeva to remember the pre-war city. Too much has happened in the last nine years.

For her, the war began on the night of July 11, 2014, when militants fired at the city for the first time.

Then there were the years when stray bullets could arrive unexpectedly at any moment, from anywhere.

Houses were destroyed in some places, and windows were boarded up almost everywhere. We did not lose faith that soon peace would come to Maryinka,” she says.

On Feb. 24, 2022, Yulia received a phone call from the Ukrainian military, who had been stationed in Maryinka since 2017. They said: "Now it's definitely not going to go well. You need to leave." Her mother still refused to go: "Where am I going? I have cats, dogs, chickens."

At the beginning of March last year, they finally left, having collected all of their most important belongings in just half an hour.

Photo of Yulia Semendyaeva's father embroidered

Portrait of Yulia Semendyaeva's father

Ukrainska Pravda

All form of life is gone 


After the evacuation, they first lived for a month at a school in a nearby village. Then they went to Kurakhovo, and from there by evacuation bus to Dnipro. They are now in Zhytomyr Oblast, west of Kyiv.

"What fascinates me the most about coal and dust is that it is actually the remains of long-lost forms of life. A time capsule that has to be burned," Oleksandr Mykhed writes in his book about trips to the east of Ukraine called "I Will Mix Your Blood With Coal."

Today, all forms of life in Maryinka have turned into remnants, fossils, coal and dust. Buildings, trees — destiny, even. Burnt up in a time capsule, along with streets, phone books and all forms of life, except memories.

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Society

Where 'The Zone Of Interest' Won't Go On Auschwitz — A German Critique Of New Nazi Film

Rudolf Höss was the commandant of Auschwitz concentration camp who lived with his family close to the camp. Jonathan Glazer's The Zone of Interest, a favorite to win at the Cannes Festival, tells Höss' story, but fails to address the true inhumanity of Nazism, says Die Welt's film critic.

Where 'The Zone Of Interest' Won't Go On Auschwitz — A German Critique Of New Nazi Film

A still from The Zone of Interest by

Hanns-Georg Rodek

-Essay-

BERLIN — This garden is the pride and joy of Hedwig, the housewife. She has planned and laid out everything — the vegetable beds and fruit trees and the greenhouse and the bathtub.

Her kingdom is bordered on one long side by a high, barbed-wire wall. Gravel paths lead to the family home, a two-story building with clean lines, no architectural frills. Her husband praises her when he comes home after work, and their three children — ages two to five — play carefree in the little "paradise," as the mother calls her refuge.

The wall is the outer wall of the concentration camp Auschwitz; in the "paradise" lives the camp commander Rudolf Höss with his family.

The film is called The Zone of Interest — after the German term "Interessengebiet," which the Nazis used to euphemistically name the restricted zone around Auschwitz — and it is a favorite among critics at this week's Cannes Film Festival.

The audacity of director Jonathan Glazer's style takes your breath away, and it doesn't quickly come back.

It is a British-Polish production in which only German is spoken. The real house of the Höss family was not directly on the wall, but some distance away, but from the upper floor, Höss's daughter Brigitte later recalled, she could see the prisoners' quarters and the chimneys of the old crematorium.

Glazer moved the house right up against the wall for the sake of his experimental arrangement, a piece of artistic license that can certainly be justified.

And so one watches the Höss family go about their daily lives: guiding visitors through the little garden, splashing in the tub, eating dinner in the house, being served by the domestic help, who are all silent prisoners. What happens behind the wall, they could hear and smell. They must have heard and smelled it. You can see the red glow over the crematorium at night. You hear the screams of the tortured and the shots of the guards. The Höss family blocks all this out.

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