KIEV -- The apocalyptic visions begin just inside the doors of the Ukrainian National Chernobyl Museum and many of them lead into the Book of Revelation.
The final pages of Christian scripture are full of angels, trumpets, flames, thunder, lighting, earthquakes and catastrophes that shake heaven and earth.
In this museum, the key is in the eighth chapter: "And the third angel sounded, and there fell a great star from heaven, burning as it were a lamp, and it fell upon the third part of the rivers, and upon the fountains of waters. And the name of the star is called Wormwood: and the third part of the waters became wormwood; and many men died of the waters, because they were made bitter."
When Ukrainians translate "wormwood" into their own language it becomes "chernobyl." It's easy to connect the two when discussing the legacy of pain that followed the 1986 disaster at the Chernobyl Power Station north of Kiev, when explosions and fires at the reactor core released a plume of radioactive debris that drifted over Russia and into Europe.
Soviet officials claim a mere 31 died. Ukrainians mock this number, saying it's impossible to calculate the long-term fallout in cancers, birth defects and other forms of human suffering.
"The catastrophe at Chernobyl station took its victims before their time," said Archpriest Andrei Tkachev of St. Agapit of Pechersk Orthodox Church in Kiev. "Man is supposed to meet death in his own time, when he has a chance to prepare to meet God. That kind of death is a gift from God -- a good death.
"That is not what happened for many of the victims of Chernobyl."
The museum opened on April 26, 1992, the sixth anniversary of the disaster and soon after the Soviet Union's collapse. The exhibits include 7,000 artifacts from the 76 towns and villages -- with 76 churches, in this historically Orthodox culture -- that were razed in the radiation-tainted resettlement zone.
The door into a large chamber dedicated to the families and children of Chernobyl leads to the church iconostasis, with a radiation suit hanging in place of the Archangel Michael and barbed wire and a contamination sign blocking the way to the altar. High overhead is an icon of St. Nicholas, the patron saint of endangered children.
The altar is gone, replaced by a boat -- to carry souls over the waters of death -- full of children's toys. Under the boat, the blackness is full of the icons of saints.
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