Its origins have long been a puzzle for paleontologists. During the 1990s and the early part of this century, a great battle was fought between those who thought that death had come from above and those who thought something more complicated was at work.Paleontologist Peter. D. Ward, fresh from helping prove that an asteroid had killed the dinosaurs, turned to the Permian problem, and he has come to a stunning conclusion. In his investigations of the fates of several groups of mollusks during that extinction and others, he discovered that the near-total devastation at the end of the Permian period was caused by rising levels of carbon dioxide leading to climate change. But it's not the heat (nor the humidity) that's directly responsible for the extinctions, and the story of the discovery of what is responsible makes for a fascinating, globe-spanning adventure.In Under a Green Sky, Ward explains how the Permian extinction as well as four others happened, and describes the freakish oceans—belching poisonous gas—and sky—slightly green and always hazy—that would have attended them. Those ancient upheavals demonstrate that the threat of climate change cannot be ignored, lest the world's life today—ourselves included—face the same dire fate that has overwhelmed our planet several times before.

    But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyperobjects”—entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art.Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning.Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, Hyperobjects takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.