-markets of Tubal-Cain’s city, a veritable Sodom and Gomorrah of human and animal flesh sold and consumed. Aronofsky’s Deluge is as much a commentary on the inevitability of contemporary environmentalapocalypse, as it is biblical exegesis. Noah and his family are culpable as agents in the destruction of humanity, and the Patriarch sees only a difference in degree, not kind, between him and his nemesis, Tubal-Cain. The animals are innocent, we are not.
Aronofsky’s apocalyptic discourse further appears in the computer animation sequence accompanying Noah’s own retelling of
Contemporary environmental crisis fiction and the post-theory era
threat of the end
of our species should we fail to change our ways.
Of the novels that employ ecological death-facing as a thematic
device, some, such as the three books of Atwood’s trilogy, nonetheless
do make certain use of environmentalapocalypse, linking the ends of
humanity, or of the Earth that sustains us, to our environmentally
destructive behaviours. Yet they also tend to play off this apocalyptic
trope, employing it as a device by which to introduce layers of ambiguity. In the MaddAddam trilogy, the question of perspective is raised in
the entwining of two