It was an eight hour overnight train ride with two additional hours of delays in a 6×6 foot cabin containing me and three girls who collectively would not Shut the Fuck Up all night. In moments when I did manage to doze off, it was to the sound of conspiring whispers that would not have been misplaced in a Macbeth production. One said she was a former dancer for the Cleveland Cavaliers; her phone chimed all night despite denials that it was hers.
Anyway.
I finally arrived in the so-called Pearl of the Black Sea, a city of wide, tree-lined streets between sculpture-adorned facades. This imposing plateau looking out over the water is a vacation spot for Ukrainians, even more so now that travel out of the country is restricted for most men. The cool early-autumn breeze rustles the beaches, where a few swimmers get their last contact with salt water before the temperature plunges; every bar terrace in the historic city center is completely filled from about 7pm.

It’s actually kinda trashy.
Recorded DJ tracks played at unreasonable volumes clash as you walk between bars, and strip clubs prominently feature on the main streets. Whereas in Kyiv any mention of sex work – or even illicit activity generally – prompts the same look as the word “fuck” dropped in polite company,* Odesa displays no such conservatism in its historic center. Jaywalkers casually traverse the road in a manner more befitting home than anything I’ve grown used to in Ukraine. The boisterous behavior of revelers under the eaves of 19th century houses reminds me of what I have seen of people on Bourbon Street or in Split.**
Odesa was first settled around the 6th century BCE by Greeks trading in the Black Sea. Over the next two millennia the city enjoyed a sense of security as it was exchanged between various medieval powers, before the Ottoman Empire assumed control on its path to Vienna and its greatest imperial height in 1529. Odesa and Crimea would remain under the Ottoman’s Tatar Khanate puppet state until Catherine the Great’s conquest in 1792. The result of this parade of stewards over centuries is a city built in layers, with extensive catacombs consisting of each previous regime’s structures running under the city and its environs. The latest sit on top: the Russian Empire’s largely late-19th century limestone houses and rows absolutely dripping with bas-relief. A window into an excavation site behind the city council’s administrative office lets one look down at the remnants of an ancient Greek house and up to the ornate balconies of the Londonskaya hotel. Odesa is still no stranger to war; these catacombs would become havens for partisans resisting the Romanian-led siege in 1941, after which Romanians backed by the Nazis would kill tens of thousands of Odesa’s Jewish community. The monuments to Odesa’s Jews in both sculpture and art carry a particular sense of loss – these people were their own.
The food carries its own range, reflecting the sheer variety of cultures that have made this place home. I tend to miss fresh fish quite a lot in Kyiv, and Odesa restaurants all carry a stock in abundance; beyond that Odesa restaurants tend to compete for the most inventive preparations of dough. One Bessarabian restaurant carries a phyllo roll filled with pumpkin puree; upon unravelling, it more or less gives the impression of pastry intestines. I get Odesa’s traditional spiny flounder at a hotel called the Bristol, the vast dining room empty except for me and the bartender since the place only just reopened after a rocket strike. He tells me that he nearly moved to Alaska as a fisherman, and so I tell him my favorite Alaska joke through a translator app. He sputters with laughter as he fetches my food from the kitchen; dirty humor tends to get a better reception here.†
The center of Odesa’s old town surrounds the opera house, an ornate fixture that is every bit the rival of its other European counterparts. The interior is obsessively baroque, without any repetition between sculptures or frescos that decorate every tier – best observed with champagne in hand, courtesy of the remarkably friendly ushers who are happy for an American just to stand and gaze in awe. Though one can hear choral rehearsals while drinking coffee in a lush courtyard next door, I stay to watch a national competition of soloists reciting arias. Particular joy and reception is reserved for local contestants, whose friends and family light up in various corners of the orchestra level at their announcement.


Inseparable from Odesa’s identity is a tight sense of community, to the point that Ukrainians who have relocated due to the war feel left out. The whole city’s population is only a million people, which is to this guy from Brooklyn downright parochial. Monuments tend to memorialize local figures and events, including one plaque next to the opera house marking the residence of an honorary citizen of Odesa who worked on the train lines for 45 years. Though so many events of this war have reverberated around the world, Odesa’s sense of place in the wider context remains undiminished to its citizens. This sensation is manifested quite clearly in Odesa’s museums, badly battered by shelling from the beginning of the full scale invasion but still maintaining their charter to preserve the city’s and the world’s culture. I go to the archaeological museum first, with most of its few open spaces dedicated to Zmiinyi Island.
This tiny island – also known as Snake Island – about 75 miles southwest of Odesa in the Black Sea, is the site of a Greek temple to Achilles thought to date to the 5th century BCE. Discovered in 1823, the small shrine provided a wealth of artifacts and material from the generations of sailors that worshiped here. In 2022, the dig, a marine observatory, and a small garrison of border guards – many of whom were part time – represented the entirety of the population. The garrison’s response to a Russian call to surrender on the first day of the war is memorialized on trucks, cigarette lighters, and a postage stamp that sells out every time it is printed: “Russian warship, go fuck yourself.” What followed was a savage bombardment that leveled every structure on the island, including the archaeological site; at least one museum mourns not just the loss of world cultural heritage, but an icon of its community’s history.
The fine arts museum is equally battered, and walking through the former estate of the Polish magnate Seweryn Potocki that houses this institution is at times surreal. The catacombs beneath this structure were not part of any ancient network, but were dug out so Potocki and his pals would have a private tunnel to the sea. His cave system featured a German-style beer hall and a grotto-like entrance to the tunnel, meant to look like an ancient Greek shrine replete with fake stalactites but looking a little more like the Temple of Doom.


Above ground, darkened hallways where the windows have been replaced by particle board sport ornately patterned wood floors and portions of the ceiling where the latticework is not exposed are richly patterned with molding and putti. What artwork that is not put into safety and storage as the war rages is lovingly curated and captioned in English and Ukrainian; the dedication that forged institutions like these is undiminished. At the end of my visit I stop by the front desk, where a woman with poor English was the only person who could communicate with me over my admissions package. I brought her a message via translation app:
“Thank you,” I said. “What you are doing here is beautiful and important.”
She looked me square in the eye and simply responded, “We know.”













*Granted, your dispatcher probably drops a few “fucks” in the context of any conversation about sex work or crime. Confounding variable, I know.
**Comparing the mines that beachgoers here risk to the sea urchins all over Croatian beaches would be in very poor taste and so I have definitely not done that here.
†A man takes a new job in a remote Alaskan mining facility. The pay is excellent, but this straight man quickly notices that there are no women around, and leave to civilization is rare. He asks what people do to relieve tension and the foreman tells him, “Well, every month we get real drunk, take our ATV’s across the river, and fuck the moose that roam there.”
The new hire thinks he’s joking but plays a good sport when he rides out across the river with them. There he watches horrified as a host of burly Alaskan miners stage an unbridled orgy with a herd of moose. He returns to base sullen and disgusted, swearing he will never stoop to such measures.
Still, the pressure builds. Our hero is frighteningly lonely while the rest of the facility’s men keep their spirits up. Each month his resolve dims, until he tells his coworkers, “Alright, I can’t take it anymore. I’m joining this time.”
His coworkers are understanding and supportive of him in spite of his original judgement, and they cheer him on as he drinks his weight to buck himself up. When they head out across the river, he’s ahead of the crowd lest his momentum fail; this man struts right up to the first friendly moose he meets and starts going at it, but as he looks up he sees his comrades frozen in place as they stare at him incredulously.
“What’s the problem?” He shouts the question between grunts – “I’ve been watching you all do this for months!”
“There’s no problem,” the foreman steps up, “you just picked a fucking ugly moose.”




















