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The term ecophobia, which was introduced by Simon, points out the fear from or hate of nature without any logical basis. Ecophobia is deeply cultivated in the Turkish culture, so it is easy to see its traces even in the works of writers who have a certain level of nature awareness. For instance, Faruk Duman, a contemporary Turkish writer, specifically mentions a fear of the forest in his works, which can be considered as an ecofiction. This situation creates a contradiction. Faruk Duman is one of the authors with an awareness for nature. Nature is definitely not a background in his novels; however, nature has its own personality and directs the fiction. Moreover, Duman builds his novels on the unity of nature and humans. The fear of nature can be seen quite clearly in his works, where the forest stands against the reader with all of its frightening characteristics. Fictional characters are filled with apprehension regarding the forest, for which they entered for some reason. In this study, complicated characteristics regarding the relationship between nature and human will be revealed, even in ecofiction.

One of the reasons that Annie Dillard’s Pilgrim at Tinker Creek remains very important to the environmental issues we face, even fifty years after its publication, is that it actively rejects the demonizing, anthropomorphizing, gendering, and ecophobic gestures that pervade so much of our understandings and representations of the natural environment. Dillard stresses the importance of seeing, and while some critics have characterized Pilgrim as disengaged and Dillard herself as ambivalent, if we stick to the facts, then we see something else?namely, a book that encourages its readers to broaden their view of nature and to dive deeply into the experience of it. We also see an author who is acutely committed to precisely that nature. The dive is not without risks, Dillard warns. We will see things that will unsettle our comfortable assumptions about the natural world. We will see that while we may congratulate ourselves on our understanding that our wasteful ways have led to enormous losses in the world and that our seemingly infinite desires simply don’t jive with a finite world, our behaviors may be less unnatural than they seem: we will witness, in short, “a crushing waste [in Nature] that will one day include our own cheap lives” Dillard (Pilgrim at Tinker Creek. HarperPerennial, 1985, p. 160). We will see parasites in whopping numbers. We will see suffering victims. We will see beauty and life, slime and death. We will see that we are missing a lot and that what we do see we are seeing wrongly every time we impose our ecophobic templates. Pilgrim is the pause button on that ecophobia.

With the rise of ecocriticism and environmental studies, a proliferation of research has surfaced addressing the myriad implications of the environmental crisis, ranging from the imperative for conservation to the impacts of environmental degradation on human life. In this context, ecogothic has emerged as a novel genre, presenting nature as a malevolent force that disrupts human tranquility. Ecogothic narratives foster an intricate relationship between the human and the non-human world. This paper aims to explore the effect of the physical environment on the human psyche and character formation, specifically in Krasznahorkai’s Sátántangó. The novel alludes to Hungary’s disastrous foray into enforced agricultural collectivism, and it conveys the brutal physical conditions of rural Hungary, where the land is incessantly battered by rain. This, in turn, becomes a potent symbol for the repressive political regime of the era. Sátántangó’s depiction of a haunted landscape, domineering male characters, and subjugated women contributes to its Gothic attributes. The narrative’s transgressive male figures and the decaying estate illuminate the exploitation of the land, while the portrayal of Gothic female characters symbolizes nature’s retaliation against the depredations inflicted by the inhabitants.