Coined by the journalist Dan Bloom in 2007, “cli-fi” (climate fiction) is not an established genre but one in the making. Axel Goodbody and Adeline Johns-Putra write that cli-fi

This is an effective working definition, sufficiently narrow to capture clifi's distinctive features and sufficiently open-ended to consider novel and unprecedented formulations.

While the definition is capacious, the emerging cli-fi “canon” tends to focus on a few Euroamerican texts (Trexler 2015; Johns-Putra 2019).1 To quote Goodbody and Johns-Putra again: “While most cli-fi originates from North America, Britain and Australia, it is (unsurprisingly, given the global reach of climate change) a transcultural phenomenon, with films such as the Korean action movie Snowpiercer and a significant production of novels in Germany and Scandinavia” (2018: 6). Published in 2019, it is surprising that they focus on a breakthrough Korean film with a recognizable transnational cast as their only example of a “transcultural” text, although the essay on Waanyi nation citizen Alexis Wright's The Swan Book (2013) in their collection is a welcome addition.