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-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 environmental apocalypse, 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
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 environmental apocalypse, 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