Manzhouli is a city lost in translation. It’s a city where two countries—China and Russia—share a border but don’t quite meet, and where notions of modernity, identity, and tradition jostle together in surprising ways.

When you first arrive in Manzhouli, you’re greeted by European-style buildings rising incongruously from the endless Mongolian steppes, more like products of an overactive imagination than buildings that exist in space and time. On the outskirts of town, colorful replicas of onion-domed cathedrals and colossal matryoshka dolls sprout from the grasslands. The city has reinvented itself as a Russian playground, but why?

Manzhouli might be seen as an encapsulation of China’s rise. Entranced by the idea of growth, the city has pursued development with little thought to its consequences. A feeling of incompleteness, of unmet expectations, hangs in the air. For all its enthusiasm for a foreign culture, the city seems stranded, stuck between a Russian fantasy and a Chinese reality.

Since the 1980s, following a thaw in Sino-Russian relations, Manzhouli has thrived as an important trading town. Accordingly, it shows the influence of its closest neighbors. Storefronts in the city center display Cyrillic and Mongolian script alongside Chinese characters, and shopkeepers draw you in with pidgin Russian. Restaurants with names like Café Dryzhba and Restaurant Maksim advertise genuine Russian waitstaff and play Russian hip-hop while Chinese families feast on shashlik and take selfies.

Only a few decades ago, before it was retrofitted with European buildings, Manzhouli was a provincial backwater on the edge of China. First settled in 1901 as a stop on Russia’s Chinese Eastern Railway, it never achieved the growth or prosperity enjoyed by its southern neighbors.

Until 1992, Manzhouli was largely closed to outsiders. But when the state recognized its potential as a hub for trade and tourism, it proposed to reinvent the city through fantastical architecture. One resident named Zhou, who moved to the city in 2001, recalled that back then the journey from Beijing took over 40 hours. The airports and giant matryoshka dolls had yet to be built, and the city felt more rural than urban: dirt roads were dotted with low-rise brick homes that had only communal lavatories. Today Manzhouli boasts apartment towers and shopping complexes, and Matryoshka Square, a pseudo-Russian fantasyland, brims with painted mass-produced Fabergé eggs, Soviet memorabilia, and larger-than-life Russian dolls, including the world’s biggest.

Tourist advertisements portray Manzhouli as a lively, cosmopolitan trading city. Yet step outside the center with its pseudo-European architecture and you find yourself in the old Manzhouli, the city of Zhou’s memories. Here the market stalls serve wonton soup instead of pelmeni, and old homes still line unpaved roads. Apartment complexes sit half-empty and perpetually under construction, as though a town destined for great heights had somehow been left behind.

Despite the grandiose architecture, a quiet stagnation is setting in. Russia’s economy slumped after 2014, and with it so did Manzhouli’s tourism. Only a handful of small-time Russian traders and Chinese tourists wander through the downtown. To be sure, the city offers all the modern amenities, but the people are missing. The Wanda shopping complex feels likes a ghost mall, its newly opened restaurants already closed. Low-end shopping centers with fluorescent lighting and tightly packed stalls attract a little more foot traffic, but they also have a lot of shuttered storefronts. The Diplomat Hotel, its sprawling, manicured lawns originally designed to accommodate large groups of Russian visitors, sits elegantly and eerily empty; the only luxury hotel in town, the Shangri-La, is likewise quiet, and is a dire reflection of the general economic atmosphere. Locals say that many people have left the city in search of better opportunities, sending apartment prices plunging and developers scrambling.

In a study of trust between Chinese and Russian communities in Manzhouli, anthropologist Ivan Peshkov notes that the town engenders a distinct feeling of ahistorical and atemporal emptiness. Architecture and other cultural symbols lack any meaningful connection to the past, and consequently, the past becomes “a hostage not only to the present, but also to the economic expectations of the future.” With its bright lights, Manzhouli makes a show of excitement, modernity, and prosperity, according to the state’s vision of a globalized border town. Yet one can’t escape the feeling that something is out of place.

Feelings of displacement are amplified across the border in the much smaller Russian town of Zabaykalsk. Here the past lingers in the present. The town’s timeworn wooden houses and quiet, leafy streets contrast with the garish artificial lights of Manzhouli.

Even after centuries of contact, the Russian and Chinese retain a feeling of separateness. One Mongolian-Chinese owner of a Russian café has an easy rapport with her Russian customers, yet she maintains that marriages between the two groups are ill-advised: Russians are sensualists prone to infidelity, while the Chinese are pragmatic and faithful. A Chinese shopkeeper claims that the stereotype that Russians like to drink is well-founded, and that they can only be seen at night at bars, like an exotic nocturnal species. A group of Russian traders complain it’s impossible to genuinely befriend the Chinese, since any relationship is based solely on economics. Other Russians say their European heritage and consciousness are fundamentally incompatible with Asian culture.

Still, both sides share a widespread curiosity about the other. In Krasnokamensk, a town a little ways in from Zabaykalsk, Chinese tourists gape at the city that looks so different from those in China, while locals marvel that tour groups would come to see their small city, best known for its uranium mine and its labor camp, which once held Mikhail Khodorovsky a prominent oligarch-turned-dissident.

Manzhouli appears to still be trying to find its place in the 21st century. It’s chased modernity by building a fantasy version of its neighbor’s culture. Yet this adaptation doesn’t necessarily lead to comprehension, and in this far-flung Chinese outpost, identity often gets lost in translation.

Contributor & Photographer: Yvonne Lau