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The below procedure is inflation in another guise – information we reported to the Authority in 2017 and which it appears KPMG agreed was occurring – hence Kier wish KPMG’s ‘Project Verde’ report kept secret.Ġ3/2021 we obtained the ‘COST’ figures, after 5 years of being kept from them. The process seen in the below examples replaced Kier initial grossly profiteering methodology ‘1153’. Kier never complied with the agreed methodology and the Authority failed to address this. The Authority knew the rules (cost + uplift) conversely, neither Kier nor National Highways disclosed the process by which to charge Third Parties ‘no more than’. Whilst Kier presented their charges to National Highways broken down to display ‘COST’ and ‘UPLIFT’, when billing a Third -Party (as below) hourly rates (without breakdown) were presented. The process to be engaged by Kier when billing Third Parties was set out in Appendix A to Annex 23 of the contract: Whilst the Authority provided workbooks, they have yet to supply the linked ‘source’ workbooks /worksheets or, if deleted, when, how, and why. These predicaments inevitably find expression in contemporary British climate fiction (henceforth cli-fi).National Highways disclosure following a request for sub-threshold information, records that they had previously stated were not held on their behalf. Show lessĮnvironmental disasters, and societal collapses are part of the unprecedented crises of the twenty-first century. By expanding on contemporary ecotheories about green and dark ecologies, I shall argue that the unlikely places in the novel emerge as an interzone between dark and green ecologies, underlying the anthroponatural transformation of environments and ruins, which constructs an "anthropoaesthetics." Presenting the novel as a dystopian climate change fiction, this study concludes that When the Floods Came is not only a stunning meditation on anthroponatural ecologies and survival, but also a haunting parable about drastic climate change. I approach anthroponatures in When the Floods Came through the prism of ecocritical aesthetics, regarding permeable boundaries between the pastoral vision of a green, idyllic nature and an ugly, horrifying, dark nature. Anthroponatures, arguably, indicate a relational hybridity, green and dark, human and nonhuman. For these narratives emphatically highlight both the way that late capitalism and human cultures have manipulated and exploited the "natural" world and the way that humans have based their cultures on an anthropocentric understanding of "nature." Drawing on Morrall's climate change novel, the essay will propose that contemporary British cli-fi narratives reveal about the portrayal of an "anthroponature" as the necessary in-betweenness of the natural and the cultural.
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In this posthuman ecocritical analysis, I contend that twenty-first-century British climate change novels deploy flood narratives not just as the very repercussion of climate change, but as cautionary fables of the Anthropocene. In the context of the literary challenges posed by the Anthropocene as the new "human" era, I scrutinise such complex interrelations between human and nonhuman actors in Clare Morrall's When the Floods Came (2015). In such imaginaries of climate change, the fixed boundaries of natural and artificial worlds are negotiated, only to suggest a more complex relationship between landscapes and humans. Cli-fi, broadly speaking, crystallises around the ramifications of drastic climatological alterations, such as drought, acid rain, floods, and desertification. These predicaments inevitably find expression in contemporary British climate fiction (henceforth cli-fi). Environmental disasters, and societal collapses are part of the unprecedented crises of the twenty-first century.