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In this article, I analyse how a focus on cumulative violence grants us a new perspective on extractivism that discloses its link to the larger project of the construction of racialised, extractable, and disposable bodies. By engaging with Robert Nixon's call to think about new ways to represent cumulative violence and with Elizabeth A. Povinelli's assertion about how subscribing to a geological inertness can generate a different relationship to temporality, I will discuss how two distinct objects – the poem "A montanha pulverizada" by Carlos Drummond de Andrade and the photographs by the Brazilian artivist Júlia Pontés – can help us think about mining and extractivism by and through the textual and material forms of art. While the first allows us to discuss how the usual discussions around extractivism that are focused on on the catastrophe can obscure its inherent tie to racialised bodies, the latter can help us think of a possible approach to extractivist violence closer to the idea of the cumulative quasi-event. Finally, I argue that Pontés's photographs engage with the geological in a way that questions the very cleavage between life and nonlife and the fears evoked by the idea of an apocalyptical barren Earth. [ABSTRACT FROM AUTHOR]