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Morton demonstrates that because most ecocriticism assumes nature/environment as a concept, most ecocritics perpetuate the assumptions of the literature that they purport to critique. He argues that nature is an arbitrary rhetorical concept whose modern origins can be traced to Romantics writing during the Industrial Revolution—essentially, that ecocriticism fetishizes "nature." He contends that a "really deep ecology" would let go of the idea of nature because it marks the difference between "us" and "it." Drawing on writers from Adorno to Zizek, and considering literature and art from the 18th century to the present, Morton offers a complex, important, and often playful argument that lays the groundwork for new directions in ecocriticism.
— G. D. MacDonald