Tim Robinson’s Stones of Aran diptych takes the reader on a journey that first circumnavigates the coast and then delves into the interior of the island of Árainn, the largest of the Irish Aran islands. In its sustained focus and wealth of detail it represents an extraordinary piece of landscape-writing. At the heart of the work is the motif of the “good step,” an image Robinson uses to explore human “dwelling,” and of particular significance is his insistence on the spatiotemporal frames he uses to discuss that step. He proposes that we hold in our minds, as the ultimate contexts for all the other spans of space and time that occur in the narrative, the beginning of time and the horizon of the visible universe. In its reading of Stones of Aran, this chapter explores the implications for ecocriticism of Robinson’s expansive framework, assessing this in terms of recent concepts such as Timothy Clark’s “derangements of scale,” Ursula Heise’s “eco-cosmopolitanism” and Timothy Morton’s “thinking big.” It suggests that Robinson’s cosmic framing might potentially assist us in making sense of the kind of scales involved in the consideration of contemporary environmental issues, but that at the same time it also works to diminish our sense of the importance of the human species, ultimately and perhaps paradoxically focusing renewed – but valuably deterritorialised – attention on the “segment of home-planet” we each inhabit.