“Starvation… starvation… starvation… died at front…”

Reading The Forbidden Garden: The Botanists of Besieged Leningrad and Their Impossible Choice by Simon Parkin. For Nature, 14 January 2025

Past Simon Parkin’s account of the siege of Leningrad, and the fate there of the world’s first proper seed bank, past his postscript and his afterword, there are eight pages which — for people who know this story already — will be worth the rest of the book combined.

It’s the staff roll-call, meticulously assembled from Institute records and other sources, of what Parkin calls simply the Plant Institute. That is, more fully, the Leningrad hub of the Bureau of Applied Botany, the Vsesoyuzny Institut Rastenievodstva, founded in the nineteenth century by German horticulturalist and botanist Eduard August von Regel and vastly expanded by Russian Soviet agronomist Nikolai Vavilov.

It does not make for easy reading.

“Starvation… starvation… starvation… died at front…” Between 8 September 1941 and 27 January 1944, while German forces besieged the city, the staff of the Institute in St Isaac’s Square sacrificed themselves, one by one, to protect a collection whose whole raison d’être<OK?Good! SI] was to one day save humanity from starvation.

While, just around the corner, Leningrad’s Hermitage art museum’s two million artefacts were squirreled away for safety, the Plant Institute faced problems of a different order. Its 2,500 species — hundreds of thousands of seeds, rhizomes and tubers — were alive and needed to be kept a degree or two above freezing. And among those, 380,000 examples of potato, rye and other crops would only survive if planted annually. This in a city that was being shelled for up to eighteen hours at a time and where the temperature could — and in February 1942, did — fall to around -40degC.

Iogan Eikhfeld, the institute’s director following Vavilov’s disappearance (his arrest and secret imprisonment, in fact), was evacuated to the town of Krasnoufimsk in the Ural mountains. A train containing a large part of the collection was to follow<OK? Yes SI], but never made it. Eikhfeld eventually got word to the Institute, begging his staff to eat the collection and save themselves. But they had lost the collection to hunger once before, in the dreadful winter of 1921-1922; they weren’t going to again.

January and February 1942 were the worst months. In the dark, freezing building of the Institute, workers prepared seeds for long-term preservation. They divided the collection into several duplicate parts, while bombs burst around them.

The Germans never did succeed in overrunning Leningrad. The rats did. That first winter, hordes of vermin swarmed the building. No effort to protect the collection proved rat-proof: they’d break into the ventilated metal boxes to devour the seeds. Still, of the Institute’s quarter of a million accessions, only 40,000 were consumed by vermin or failed to germinate.

The collection survived, after a fashion. The plantsman and Stalinist poster-child Trofim Lysenko — Vavilov’s inveterate opponent — maintained that the whole enterprise was disordered and for a long time, until the 1970s, it was allowed to deteriorate.

Contributions from abroad helped sustain it. It once received potatoes from the Tucaman University in Argentina, thanks to a chance meeting between its director Peter Zhukovsky and a German plant collector, Heinz Brücher. [It turned out that Brücher had been an officer in the SS Nazi paramilitary group in the late 1990s, Slightly garbled here. “In the 1990s it emerged that during the war, Brücher had been an officer” etc. etc.] leading a special commando unit charged with raiding Soviet agricultural experimental stations. So Brücher hadn’t really been donating valuable varieties of potato after all: he had been returning them.

The fortunes of war
The Forbidden Garden of Leningrad is a generous and desperately sad account of human generosity and sacrifice. If it falls short anywhere, it’s at exactly the place Parkin himself identifies. In this city laid to waste, among the bodies of the fallen, the frozen — in some hideous cases, the half-eaten — starving people make for rotten witnesses of their own condition. The author only had scraps to go on <OK? Good! SI].

And, you can’t research and produce at the pace Parkin does without some loss of finesse; his last book, The Island of Extraordinary Captives, about the plight of foreign nationals interned by the British on the Isle of Man, only came out in 2022. Parkin can tend to turn incidental details into emblems of things he hasn’t got time to discuss. The passing mention that Vavilov’s calloused hands are “an intimate sign of his deep and enduring connection to the earth”, for example, leaves the reader wanting more <OK? Good SI].

Sensation will carry your account so far, and Parkin’s horrors are few and carefully chosen. “Some ate joiner’s glue,” he writes, “made from the bones and hooves of slaughtered animals, just about edible when boiled with bay leaves and mixed with vinegar and mustard.” A nurse is arrested “on suspicion of scavenging amputated limbs from the operating room”. At the Institute, biochemist Nikolai Rodionovich Ivanov prepares some raw-hide harnesses, “cut into tagliatelle-like strips and boiled for eight hours”, for a dinner party.

But hunger hollows out more than the belly. Soon enough, it hollows out the personality. In the relatively few interviews Parkin was able to source, he tells us, survivors from the Institute “spoke in broadly emotionless terms of how the moral, mortal dilemma they faced was, in fact, no dilemma at all”. Their argument was that, in the end, purpose sustained them better than a few extra calories. Vadim Stepanovich Lekhnovich, curator of the tuber collection, can speak for all here: “It was impossible to eat up [the collection], for what was involved was the cause of your life, the cause of your comrades’ lives.”

Parkin applies skill and intelligence to the (rather thankless) business of recasting familiar stories in a fresh light and has a reputation for winkling out obscure but important episodes of wartime history. It is reasonable, then, that he should cut to the chase and condense the science. Two 2008 books on Vavilov’s arrest amidst scientific disagreements with Lysenko do a better job on that front <OK? Good SI]: Peter Pringle’s The Murder of Nikolai Vavilov and Gary Paul Nabhan’s brilliant though boringly titled Where Our Food Comes From. For example, Parkin dubs Lysenko’s theories of developmental plasticity an “outlier theory”, even though it wasn’t. Vavilov had wanted translated into English an Institute report that contained a surprisingly positive chapter about Lysenko’s ideas.

Parkin does get the complicated relationship between the two agronomists <OK? Yes SI], though. What perhaps caused the most friction between the two biologists was Lysenko’s ineptitude as an experimentalist. Parkin, to his credit, nails the human and political context with a few adept and well-timed asides.

And he broadens his account to depict what, to a modern audience is a very strange world indeed — a pre-‘green revolution’ world in which even the richest nations lived under the threat of starvation, even in times of peace; and a world which, when it went to war, wielded famine as a weapon.

The Forbidden Garden of Leningrad is a greatly enjoyable book. Parkin’s chief accomplishment, though, has been to unshackle an important story from its many and complex ties to botany, genetics and developmental science, and lend it a real edge of human desperation.

A snapshot of how a city survives

Watching Occupied City by Steve McQueen for New Scientist, 31 January 2024

Artist and director Steve McQueen’s new documentary unfolds at a leisurely pace. Viewers will be glad of the 15-minute intermission baked into the footage, some two hours into the film’s over-four-hour runtime. If you need to make a fast getaway, now’s your chance — but I’ll bet the farm that you’ll return to your seat.

McQueen, a Londoner, now lives in Amsterdam with his wife Bianca Stigter, and Occupied City is based on Atlas of an Occupied City, Amsterdam 1940-1945, Stigter’s monumental account of the city’s wartime Nazi occupation.

Narrator Melanie Hyams recites the book’s gazetteer of the occupation, address by address, while McQueen films each place as it appears today. Here is the street market where they used to hand out Star of David patches to the city’s Jews. (60,000 of the city’s 80,000 Jews were expelled during the second world war, and almost all of those taken were subsequently murdered.) Outside this now busy cafe, someone once found a potato in the gutter, and burned a book to cook it. At this site, in the “Hunger Winter” of 1944-1945, the diving boards at a since demolished swimming pool were chopped up for firewood. Here, a family was saved. There, a resistance worker was betrayed.

Though many of the buildings still stand, the word “demolished” recurs again and again, and it’s rare that McQueen’s street photography does not capture some new bit of demolition or construction. Amsterdam does not stay still. So how does a living, changing city remember itself?

There are acts of commemoration of course — among them a royal visit to a Jewish holocaust memorial, and a municipal apology for the predations of the city’s participation in the slave trade. But a city’s identity runs deeper than memorials surely? Do drinkers at this bar remember the Jews who were beaten outside their windows? Do the occupants of that flat know about the previous owners, a Jewish couple who committed suicide, sooner than live under Nazi occupation?

Stigter’s Atlas is an act of remembrance. Her husband’s film is different: a snapshot of how a city survives being managed and choreographed, corralled and contained. Some of Occupied City was shot during a five-week Covid lockdown. We see the modern city beset by plague, even as we hear of how, in the past, it was brought near to destruction by foreign occupation. McQueen draws no facile parallels here. Rather, we’re encouraged to see that restrictions are restrictions and curfews are curfews, whoever imposes them, and whatever their motives. What’s interesting is to see how people react to civil control, as it becomes (whether through necessity or not) increasingly heavy-handed.
At a big anti-fascist rally, conducted outside the city’s Concertgebouw concert hall, a speaker announces that “Democracy is more fragile then ever.”

Is it, though? Occupied City would suggest otherwise. It’s a film full of ordinary people, eating, playing guitar (badly), playing videogames, smoking, sheltering from the rain, and walking dogs in the mist. It’s a film about citizenry who survived one lethal onslaught now handling another one — not so obviously violent, perhaps, but pervasive and undoubtedly lethal.

Occupied City is not about what people believe. It’s about how they behave. And, lo and behold, people are mostly decent. Leave us alone, and we’ll go tobogganing, or skating, or cycling, or dancing. We’re civically minded by nature. The nightmares, the riots, the beating and betrayals — these only surface when you start putting us in boxes.

A spirit of anarchism pervades this monumental movie. It’s not anti-authoritarian, exactly; it’s just not that interested in what authority thinks. Reeling as we are from the dislocations of Covid, it’s a comfort, and a challenge, to be reminded that cities are, when you come down to it, nothing more than their people.

Not our Battle of Britain

Watching Andrew Legge’s film Lola for New Scientist, 12 April 2023

Two sisters, orphans, play among the leavings of their parents’ experiments in radio, and by 1938 the one who’s a genius, Thomasina (Emma Appleton), is listening to David Bowie’s “Space Oddity” on a ceiling-high television set that can tune in to the future.

The politics of the day being what it is, Thom’s sister Martha (Stefanie Martini) decides that this invention (named Lola after their dead mother) cannot remain their personal plaything — it belongs to the world. With the help of Sebastian, a sympathetic army officer (soon enough Martha falls in love with him) the sisters are soon collaborating with British intelligence to fox Nazi operations a day before they happen.

Drunk on success, Thom lets her ambition get the better of her, and starts sacrificing the civilians of tomorrow in order to draw out the Wehrmacht. When a horrified President Roosevelt catches wind of this, it spells the end of Churchill’s efforts to draw the US into the war against Hitler.

Good intentions, ambitious plans and unintended consequences usher the world into Hell in this often stunning piece of micro-budget science fiction. As high concept movie ideas go, Lola’s counterfactual 20th-century history is up there with Memento and Primer and Source Code.

Attentive readers will feel a “but” hovering here. For some reason the director and co-writer Andrew Legge took a day of rest after fleshing out this winning idea; he seems neither to have finished the script, nor given his actors much directorial guidance. Lola is more a short story narrated to a visual accompaniment than a fully fledged film. Thom and Mars are supposed to be nice 1930s gals transfigured by their access to glimpses of 1960s pop culture — but it’s impossible not to see them for what they are, personable young actors from the 2020s let loose to do their thing in front of the camera.

This makes Lola a good movie, rather than a great one — and it’s a shame. Some extra scriptwork and a spot of voice coaching would have added hardly anything to Lola’s admittedly tight budget. In 2009, Legge made The Chronoscope, a 20-minute foray into the same territory. Lola is more solemn than that short outing, but no more serious, as though Legge were intimidated, rather than inspired, by the possibilities offered by the feature format.

Elsewhere, the film’s resources are deployed with flair and ingenuity. The film is an historically and technologically impossible but highly convincing assembly of found footage and home movie. (Among Thom’s other incidental inventions is a hand-held camera that records sound.) Famous radio broadcasts of the period are repurposed to chilling effect. (Lola’s “Battle of Britain” is not our battle of Britain). The Zelig-like manipulations of newsreel footage are fairly crude in purely technical terms, but I defy you not to gasp at the sight of Nazi invaders waving their Swastika over a bombed-out London, or Adolf Hitler being driven in state down the Mall. And Neil Hannon (the maverick musical talent behind The Divine Comedy, not to mention Father Ted’s “My Lovely Horse” song) has a quite indecent amount of fun here, cooking up the beats of a counterfactual 1970s fascist Top 10.

These days the choice confronting British and Irish filmmakers is stark: do you want to make your movie as quickly as possible, on the lowest possible budget, get it seen, and generate interest? Or do you want to spend twenty years in development hell, working with overseas production companies who don’t know whether they can trust you, and — with many millions of dollars on the line — are likely to homogenise your project out of all recognition?

I wish Lola had impressed me less and involved me more. But in a business as precarious as this one, Legge’s choices make sense, and Lola is an effective and enjoyable industry calling card.