Moving away from extraction and production zones to the ‘infrastructure of violence’ (Deckard, 7), the crisscrossing oil pipelines and automobile road infrastructure, this chapter turns to the consequences of production: oil spills and road kills. Examining literary and visual affective encounters, I turn to Steve Baker’s photography, Roadside, Helon Habila’s Oil on Water, and Cindy Mochuziki and Rita Wong’s graphic novel Perpetual. These cultural works move from Norfolk country lanes, Baker recording the animal lives at the mercy of the automobile, the dead animal left on the roadside, to Habila’s literary exploration of the oil spills covering the Niger Delta, ravaging flares and the dead flora and fauna, to Perpetual’s detailing of the tar sands contaminated waters and Indigenous resistance to its pollution. Anchored through my cultural readings of the consequences of petromodernity and infrastructure, will be a focus on affect, the encounter with the vulnerability of different species and the land itself. In Sara Ahmed’s words, I look to how these cultural works allow us to come to feel that which we cannot know. The specific affects I turn to are grief, disgust and the sociality of pain, as key encounters and moments which forge contact and proximity zones with nonhuman suffering. Opening with theoretical exploration on affect, of how hope can be discovered in environmental ruin through a focus on these affective encounters, I look to Judith Butler, Sianne Ngai and Sara Ahmed’s as theorists who consider how particular framings and modes of address, who is addressed and who is edited out, shape a biopolitics of who and what lives matter. Weaving my focus on a politics of attention, I suggest the literary and visual sources address the violence of petroculture, exposing its effects, as well as offering modes of resistance through an attunement to vulnerability, a recognition of the finitude and corporeality of other living matter and fellow creatures.