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This article considers what it means to give plants a voice as witnesses to nuclear events. It examines two texts that attempt to represent the nonverbal testimony of irradiated plants through a hybrid approach of text and image: Sugihara Rieko’s  Pilgrimage to the A-Bombed Trees  ( Hibakuju junrei , 2015) and Michael Marder and Anaïs Tondeur’s  The Chernobyl Herbarium: Fragments of an Exploded Consciousness  (2016). Published a year apart, both texts focus on the afterlife of nuclear catastrophes: the atomic bombing of Hiroshima in 1945 and the Chernobyl nuclear disaster in 1986. Sugihara’s book is an account of the  hibakujumoku  – trees that survived the atomic bombing of Hiroshima and continue to produce new growth to this day. Combining maps, photographs, interviews, and short essays,  Pilgrimage to the A-Bombed Trees  is intended as an immersive guidebook to the nearly 170 irradiated trees located within a two-kilometer radius around Hiroshima’s ground zero. It presents these trees as “living witnesses” whose subsequent flourishing has provided human survivors with a conceptual figuration of destructive plasticity. Marder and Tondeur’s  The Chernobyl Herbarium  formally resembles Sugihara’s  Pilgrimage to the A-Bombed Trees , and likewise combines text (a combination of short theoretical essays and personal remembrances of the Chernobyl meltdown) and images (Tondeur’s photograms of plants grown in the exclusion zone) into a slim volume that calls for a rejection of language as the sole means of bearing witness. According to Marder, Tondeur’s photograms “bring out the testimony of the plant,” and yet the same procedure renders these plant witnesses “specimens,” full of radioactivity but devoid of life (something Sugihara’s book avoids through the medium of photography).  The Chernobyl Herbarium  is an attempt to capture, in fragmentary form, the limits of language in the conceptualization of plant life and in the proper conceptualization of the Chernobyl disaster. Ultimately, both texts are experiments to “think the unthinkable and represent the unrepresentable,” to borrow Marder’s words, through a deep, speculative engagement with the botanical realm. As wordless testimony is given voice through human–botanical intra-action, the plasticity of plant life (its capacity to adapt and change) is highlighted, and this allows us to locate moments of phytomorphism – the attribution of vegetal qualities to the human – in these two self-proclaimed “guidebooks.”

Documenting Wordless Testimony botanical witnesses of hiroshima and chernobyl