The article begins by establishing the context of climate change's root cause—human activities, particularly the burning of fossil fuels—and highlights the underrepresentation of the detrimental effects of oil extraction in the Global South within oil fiction studies. It positions Mbue's *How Beautiful We Were* as a significant contribution to this field, offering a multifaceted exploration of the consequences of contemporary global capitalism and its associated environmental, social, and epistemic injustices. The authors argue for the importance of incorporating inquiries of memory, environmental justice, and empathy within the eco-narratological approach to address the urgent issues in Energy Humanities. The introduction then reviews existing literature on oil fiction, highlighting the hidden and pervasive nature of the oil industry's influence on society, politics, culture, and knowledge. It discusses the challenges in creating and interpreting narratives around fossil fuels and climate change, referencing works by Amitav Ghosh, Imre Szeman, Dominic Boyer, Elizabeth Barrios, and others. It also introduces the concept of 'spatial amnesia', the overlooking of the detrimental effects of oil extraction in the Global South. The introduction also explores the role of the novel in representing climate change and postcolonial experiences, referencing scholars such as Adam Trexler, Benedict Anderson, Timothy Brennan, and Bartosch. Finally, it acknowledges the severe environmental and ecological damages caused by oil exploration in Africa, specifically mentioning the Niger Delta region and referencing Rob Nixon's work on 'slow violence'. The introduction concludes by introducing Imbolo Mbue's *How Beautiful We Were* and its international recognition, mentioning previous critical analyses of the novel.

The literature review section extensively discusses existing scholarship on *How Beautiful We Were*, highlighting Nare's article using Grosfoguel's concept of 'global coloniality' to analyze the novel's portrayal of a fictional Cameroonian post-colony. It also summarizes Xausa's article, which focuses on the portrayal of young protagonists and their role in shaping the future, and Gasztold's article, which highlights the disruption of Indigenous ways of life due to oil extraction and the critique of Western modernity. The review section then defines and explains the concept of 'eco-narratology' and its applicability to the study of oil and carbon footprints. It explains the methodology of eco-narratology, drawing from Erin James' work, and emphasizes its potential in understanding contemporary petroculture by analyzing narrative structures, environmental themes, and socio-political contexts. The review further outlines the intertwined concepts – chronotope, environmental justice, post-memory, and affect – that will be used for a holistic understanding of Mbue's portrayal of the oil world.

The methodology section explains how eco-narratology is employed as the main critical lens for analyzing *How Beautiful We Were*. This involves examining how Mbue conveys environmental themes and concerns through narrative techniques and structures. The analysis includes examining the portrayal of natural landscapes, resource extraction and its impacts, marginalized communities, and the challenges posed to dominant power structures. The analysis considers the broader social, political, and historical contexts, including environmental justice issues, the role of corporate and governmental actors, and the struggles of grassroots movements. The analysis also draws upon Bakhtin's concept of the chronotope to examine the interplay of time and space in shaping meaning and identity within the novel. The article further incorporates the concept of 'petro-environmental memory' drawing from Buell's work on environmental memory, analyzing how collective experiences of harm and resistance shape communal identity and become integral to the narrative. The analysis examines how the novel portrays collective memory, focusing on the 'Children' as focalizers and symbolizing the fragility of life and inherited trauma. The role of women, especially Thula, as agents of resistance and activism is also analyzed. The methodology then explores the concept of environmental justice within the novel, drawing upon Schlosberg and Shrader-Frechette's definitions and referencing movements like MOSOP and the Green Belt Movement to showcase the blend of ecological and social justice. The section further examines the character of Konga ('the madman') as a representation of the community's collective pain and anger and a symbol of resistance against corporate rationalizations. Finally, the methodology introduces Keen's 'Strategic Empathizing' to analyze the affective dimensions of environmental injustice in the novel, particularly through the character of Austin, the journalist, who provides an 'outsider' perspective.

The key findings section analyzes Mbue's narrative techniques, emphasizing the apocalyptic tone established in the opening lines and the use of collective voice ('The Children') to immerse the reader in Kosawa's environmental crisis. The analysis shows how Mbue employs negatively connotated words to describe the devastating impact of oil contamination and the government's complicity. The analysis of Bakhtin's chronotope reveals how Mbue's narrative structure interweaves time and space to highlight the long-term consequences of oil extraction and colonial legacies. The examination of different generations (Yaya's, Malabo's, and Bongo's) and their experiences illustrates the cyclical nature of harm and resistance. The analysis of 'Petro-memory' shows how the elders' memories serve as warnings and lessons, while the 'Children's' memories reflect pain, despondency, and erasure. The section analyzes Thula's journey from a passive observer to an active political activist, highlighting her role in challenging the dominant narratives. It also analyzes the role of women in the novel, showcasing their importance as caretakers and agents of change. The section further delves into the theme of environmental justice, highlighting the various forms of injustice faced by the Kosawa people and the community's responses, including resistance and rebellion. The analysis of Konga, 'the madman', reveals his function as a voice of truth and a symbol of resistance. Finally, the analysis using Keen's 'Strategic Empathizing' explores the affective dimensions of environmental injustice through the character of Austin, the journalist, who provides an outsider perspective and actively supports the Kosawa community.

The discussion section explains how the findings address the research question by demonstrating how Mbue's *How Beautiful We Were* offers a powerful critique of oil culture and its devastating consequences in the context of climate change and postcolonial exploitation. The analysis shows how the novel's narrative techniques effectively convey the environmental, social, and epistemic injustices suffered by the Kosawa people. The discussion emphasizes the significance of eco-narratology as a critical lens in understanding the interplay between narrative structures and ecological concerns. The discussion highlights the novel's contribution to literary criticism by broadening the scope of analysis to include ecological ethics and sustainability, offering a powerful tool for exploring and challenging environmental injustice. It also emphasizes the role of memory, collective action, and intergenerational trauma in shaping the community's response to environmental degradation. The discussion further underlines the importance of amplifying marginalized voices and challenging dominant narratives, contributing to a deeper understanding of petroculture and its impact on marginalized communities globally.

The conclusion summarizes the paper's main contributions by showing how the analysis of *How Beautiful We Were* through the lens of eco-narratology reveals the novel's powerful critique of environmental injustice, corporate greed, and neo-colonial exploitation. It highlights the effectiveness of Mbue's narrative techniques in conveying the complex interplay between memory, space, and the consequences of environmental degradation. The conclusion emphasizes the importance of collective action, resilience, and the enduring power of memory in the face of adversity. It also notes the significance of the title, "How Beautiful We Were," as a commentary on loss, collective memory, and the potential for a sustainable future. It concludes by suggesting potential future research directions focusing on comparative studies of oil fiction from the Global South, further exploration of the role of memory and affect in environmental narratives, and the application of eco-narratology to other forms of environmental storytelling.

The limitations of the study include the focus on a single novel, which may not fully represent the diversity of experiences related to oil extraction and environmental injustice. Further research could expand the scope to include a wider range of literary works and case studies. Another limitation is the inherent subjectivity in literary analysis; the interpretation of narrative techniques and themes can vary among readers and critics. Despite these limitations, the study offers valuable insights into the use of eco-narratology in analyzing environmental narratives and understanding the complex relationship between literature and environmental justice.