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 > control, that will most likely lead to the end of our civilization as we know
 > it. [@no-one-is-too-small, p. 82]
 
-Catastrophic models of ecological futures are so dominant, that it can be hard
-to imagine any other kind of story. This is eloquently demonstrated by the
-novelist, Charles Foster, who set himself the challenge to 'reignite' his
-readers' imaginations:
-
-> I don't believe in climate change. \[…\] 'Yes, it's very bad. Yes, we're all
-> going to die. Pass the salt, please. How's your homework going, Rachel?' \[…\]
-> This exhaustion of our intellect, our compassion and our capacity for alarm
-> is desperately dangerous. Only imagination can reignite them. And only story
-> \[…\] can do the necessary imaginative job. We're dying for want of a story.
-> [@cry-of-the-wild, pp. xi-xii]
-
-The result was _Cry of the Wild_, a short story collection. One of those stories
-follows a fictional orca called Eeschin as she lives through the extinction of
-her pod due to marine pollution. The denouement of the story sees Eeschin
-swimming alone, the last of her clan, unable and unwilling to adopt a new clan,
-facing with courage her grief and her own inevitable death. Even a talented
-writer such as Foster, intentionally seeking to break new imaginative ground for
-conceptualising green crises, seems unable to escape the motif of catastrophe.
-
 The word 'apocalypse' is sometimes used as if to stand for 'catastrophe.' Of
 course, the vision recounted in the Apocalypse of John has a great deal in
 common with the concept of a geological catastrophe. Cosmos-scale world-changing