The Ecophobia Hypothesis grows out of the sense that while the theory of biophilia has productively addressed ideal human affinities with nature, the capacity of “the biophilia hypothesis” as an explanatory model of human/ environment relations is limited. The biophilia hypothesis cannot adequately account for the kinds of things that are going on in the world, things so extraordinary that we are increasingly coming to understand the current age as “the Anthropocene.” Building on the usefulness of the biophilia hypothesis, this book argues that biophilia exists on a broader spectrum that has not been adequately theorized. The Ecophobia Hypothesis claims that in order to contextualize biophilia (literally, the “love of life”) and the spectrum on which it sits, it is necessary to theorize how very un-philic human uses of the natural world are. This volume offers a rich tapestry of connected, comparative discussions about the new material turn and the urgent need to address the agency of genes, about the complexities of 21st century representations of ecophobia, and about how imagining terror interpenetrates the imagining of an increasingly oppositional natural environment. Furthermore, this book proposes that ecophobia is one root cause that explains why ecomedia—a veritably thriving industry—is having so little measurable impact in transforming our adaptive capacities. The ecophobia hypothesis offers an equation that determines the variable spectrums of the Anthropocene by measuring the ecophobic implications and inequalities of speciesism and the entanglement of environmental ethics with the writing of literary madness and pain. This work also investigates how current ecophobic perspectives systemically institutionalize the infrastructures of industrial agriculture and waste management. This is a book about revealing ecophobia and prompting transformational change.
Well researched, vigorously argued, and capaciously framed, The Ecophobia Hypothesis culminates years of careful work by Simon Estok on the intimacy of contemporary environmental catastrophe to an enduring human fear of the natural world—a horror that needs to be thought alongside the much documented love of life which occupies much environmental writing. This book will deeply unsettle its readers. Yet it also offers wider historical, psychological, and material understandings of how we arrived at our state of unremitting crisis … and why disruption of our comfortable eco-epistemological frameworks is so necessary now. —Jeffrey J. Cohen, Co-President, Association for the Study of Literature and Environment (ASLE), Dean of Humanities, Arizona State University, USA
At the conclusion of his much anticipated, deeply learned, and clearly written study Simon Estok writes that "Understanding how ecophobia prompts environmental injustice (and environmental racism) produces a more comprehensive and wider understanding of the mutually reinforcing ethics that bring about oppression and suffering—social and environmental. Understanding this is what the ecophobia hypothesis seeks." Beginning with exposing the human fear of nature, Estok considers a fresh methodological model in the examination of our complicity in climate change, the most pressing concern of our times. The Ecophobia Hypothesis is essential reading for all students of interdisciplinary literary studies, critical theory and concepts, feminist literature and theory, and of course environmental studies. —William Baker, Distinguished Professor Emeritus, Northern Illinois University
Simon Estok has written his long-awaited, masterful, invigorating, exhaustive, and unequivocally convincing thesis that confronts and corrects the notion of biophilia. Estok is at his very best here. Sure-footed on the slopes of theory, graceful on wing in the skies of controversy, and unrelenting in the arts of persuasion, Estok dazzles with his wide-ranging discussions about ecophobia—discussions that range from the dangerous shoals of genetic materialism to the more calm waters of ecomedia, animal studies, and evolutionary psychology. From its startling insights about "hollow ecology" and "junk agency" to its unapologetic stance arguing the necessity of acknowledging the dark, antagonistic, and exploitative responses and reflexive fears that characterize so much of the collective human response to nature, The Ecophobia Hypothesis is a "must-read" for anyone in the environmental humanities. —Dr. Jonggab Kim, Director of the Body Studies Institute, Konkuk University, Seoul.
Human interactions with the nonhuman world exhibit affinity, antagonism, and a vast array of complicated emotions between the two extremes. The psychology of human attitudes and actions toward nature is fascinating and difficult to explain. Relying on the evidence he finds in a wide range of cultural texts, Simon Estok explores the dark and fearful part of the emotional spectrum in this provocative study of "ecophobia." This may help to explain why our civilization treats the planet so callously. —Paul Slovic, Professor of Psychology, University of Oregon
The irrational fear of the things and beings of the natural world finds its best conceptualization in Simon Estok’s The Ecophobia Hypothesis. Estok’s riveting conjectures on ecophobia are not only theoretically cogent but also provide affective and cognitive insights into the darkness of human reflexes that induce what he calls "hollow ecology." Estok entangles the reader in the ecopsychological and ecocultural swings of the ecophobia condition through the intersecting mirrors of genetic materialism, animal studies, ecomedia, and ecopsychology. This book will open many eyes to the disquieting reality of humanity’s ecological unconscious and liberate the reader from the existential trouble that this unconscious represents. —Serpil Oppermann, President, the European Association for the Study of Literature, Culture, and the Environment of (EASLCE).
This bracing and wide-ranging book demonstrates the importance of Estok’s concept of ecophobia not only for ecocriticism and ecomedia studies, but for combating the proliferation of waste, the systemic violence toward nonhuman creatures, and the degradation of planetary life. — Stacy Alaimo, Co-President of ASLE (Association for the Study of Literature and Environment ).
Foreword by Sophie Christman Lavin
Chapter 1 - Material Ecocriticism, Genes, and the Phobia/Philia Spectrum
Chapter 2 - Terror and Ecophobia
Chapter 3 - Ecomedia’s Enabling of Globalized Ecophobia: Marketing concerns
Chapter 4 - From Ecophobia to Hollow Ecology
Chapter 5 - Animals, Ecophobia, and food
Chapter 6 - Madness and Ecophobia
Chapter 7 - The Ecophobic Unconscious: Indifference to Waste and Junk Agency
Since the dawn of human artistic and cultural expression, the natural world and our complex and often vexed relationships with the other-than-human have been essential themes in such expression. This series seeks to offer an encompassing approach to literary explorations of environmental experiences and ideas, reaching from the earliest known literatures to the twenty-first century and accounting for vernacular approaches throughout the world. In recent decades, it has become clear that highly localized, non-Western forms of literary expression and scholarly analysis have much to contribute to ecocritical understanding—such studies, as well as examinations of European and North American literatures, are encouraged. Comparative treatments of literary works from different cultures, cultural expression in various media (including literature and connections with visual and performing arts, ecocinema, music, videogames, and material culture), and interdisciplinary scholarly methodologies would be ideal contributions to the series. What are the lessons regarding human-animal kinship that can be gleaned from indigenous songs in Africa, Amazonia, Oceania, the Americas, and other regions of the world? Which discourses of toxicity in the urban centers of contemporary East Asia and the post-industrial brownscapes of Europe and America might gain traction as we seek to balance human and ecological health and robust economies? What are some of the Third World expressions of postcolonial ecocriticism, posthumanism, material ecocriticism, gender-based ecocriticism, ecopoetics, and other avant-garde trends? How do basic concepts such as "wilderness" or "animal rights" or "pollution" find expression in diverse environmental voices and become imbricated with questions of caste, class, gender, politics, and ethnicity? The global circulation of culturally diverse texts provides resources for understanding and engaging with the environmental crisis. This series aims to provide a home for projects demonstrating both traditional and experimental approaches in environmental literary studies.