Linda Kinstler
speaker
115 appearances
1 recordings
1 series
first heard Dec 2025
last heard 20 Dec
Linda Kinstler’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Dec 2025 with 1.
Appearances
Every time you go to Bobinyar, you walk right by the TV tower, you walk right by the TV station, which is where, you know, journalists were actively working.
And, you know, it was kind of part of the fabric of the city.
And so that's how I kind of started getting interested in, you know, how you think through this history in this new chapter for Ukraine, where it was, you know, trying to become...
what it is now, which is a candidate member of the European Union and what that would mean for its relation to its own history.
And I, you know, had the great pleasure of meeting Maxim in Kiev when I was last there in September to kind of report on the grand unveiling of many, many years of work by the foundation, you know, with different people at its home to actually make this a place where
With what they thought would be, you know, a fitting series of memorials and like, you know, different museums, such that you couldn't, you couldn't navigate the space without being aware of what would happen.
And I do think they were successful in that in some ways, even though of course there's like very many critiques that you could levy against what was built there.
You know, I think one of the things that's interesting about Babiniar is and why that poem by Evgeny Evtushenko keeps coming up, right?
No monument stands over Babiniar is because it kind of has remained somehow correct in different ways in the many decades since it was written.
You know, when it was released first, of course, it was banned.
And then as more memorials came up,
you know, each memorial was dedicated to a different group of people and it didn't, you know, it didn't unify the crimes that had occurred there or really contextualize them.
And I think that's what Maxime was helping to work on in thinking through like, okay, first we need to ensure that people understand what happened there and they think
you know, part of what's interesting, if you think about this war is that so much is unknown, and it takes so many decades, because there are these crimes of negation that deliberately try to obstruct truth.
And so Maxime's work is kind of an effort to fill in those gaps, which I think is extremely valuable.
And of course, the Yevtushenko poem now it's like,
Absolutely chilling to think about because it literally interrupted one of the biggest memorial efforts at this site, which up to that point really hadn't been adequately considered, you know, of course, by historians it had been, but not certainly not by the general public.
Yeah.
And if I can add, basically what happened was, you know, Maxime and I met because I was reporting on his work and the work of the BYHMC more broadly.
But then, you know, obviously we were talking and I happened to have studied with forensic architecture and have a degree from their master's program and, you know, had,
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