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Biblical apocalypse has long been a source of contention in environmental criticism. Typically, ecocritical readings of Biblical apocalypse rely on a definition of the genre focused on eschatological themes related to species annihilation precipitated by the judgement of the world and the end of time. In this article, we offer an alternative engagement with Biblical apocalypse by drawing on Christopher Rowland and Jolyon Pruszinski’s argument that apocalypse is not necessarily concerned with temporality. Our case study is The Book of Enoch. We compare natural history in Enoch to Jean-Luc Marion’s phenomenological analysis of Biblical apocalypse as a way of seeing the world that worries human assumptions about the nature of things and thereby instigates an “anamorphosis” of perception. Following Timothy Morton’s adaptation of Marion’s idea of anamorphosis as an example of the ecological art of attention, we show how apocalypse achieves “anamorphic attention” by encouraging the cultivation of specific modes of perception—principally, openness and receptivity—that are also critical to political theology. In turn, this analysis of anamorphic attention will inform our rethinking of the relationship between environmentalism and apocalyptic themes in climate fiction today, with special reference to Megan Hunter’s The End We Start From.

Rethinking Environmentalism and Apocalypse: Anamorphosis in The Book of Enoch and Climate Fiction