Cake art had appeared on the horizon just before the end of civilisation as we know it. They had begun making cakes in shapes and colours unimaginable so far. They were perfect replicas of things one would never have associated with cake or anything edible: jewellery, vehicles, mattresses, kanjeevaram silks, snakes, the kind of people who keep pet snakes, a child’s laughter, nostalgia, the infinite compassion of the world’s richest.
This cakey mess (resembling a party thrown for a Global Southern, nouveau-riche brat leaving for America to get a management degree) may have been more correlation than cause for the last strike of the hammer of Shiva to fall on the anvil of modern society, but the appearance of the cakey mess, on the horizon like UFOs (which were probably just cake), ensured the symbolism was stark. The downward slide of society was attributed to the discovery of fondant and the reckless mining of mountains and rainforests for the precious shapeshifting mineral that destroyed the tribes that worshipped it.
When the end came it was not with the spectacle and special effects of a high-budget, apocalyptic film – giant waves tossing ships like so many leaves in the sea, the tide rushing...
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