The essay attempts to rethink the widely acknowledged notion that the ecologialwriting is a minium writing weapon to tackle the European writing and limit ofmodernity. Most of the intellectuals paying attention to decolonial theory havearrived in limited ideas about the recent decolonialism. As a result, the recentdebates on decolonialism have been deployed under the assumptions that theso-called "troika of decolonial theory" advocated by Frentz Fanon, Edward Said, andHomi Bhabha.
From the point of view, the essay thus purports to demonstrates that theunfamiliar theory ecology and ecological writing is widely helping to overcome thelimit of established decolonial wiriting and interpretation of text. To do this, from aecological viewpoint, the essay attempts to re-read the irish text and Irish decolonialpoet Seamus Heaney's poem "Gifts of Rain," who was awarded a Nobel Prize forLiterature in 1996.
Heaney concentrates primarily on the origin and mother land of the conflict in"Gifts of Rain" through elegiac poems celebrating the identity, history, territory andtongue of his irish people. But his imagination and attitude of writing is based onnot just a decolonial method and idea but a ecological preoccupation on his "MotherLand." He looks forward to finding out integrated moments in his land beyond thepolitical, religious, and topological separations. From the viewpoint of the ecologicalattitude, he finally enters into the deterritorial region against its dichotomous andcounter-discursive tendency in decolonialism.
Roughly speaking, some say that this new writing and epistemological method isjust a utopian thought, but his ecological writing suggests that this is the most effective and creative means of making a new writing code and poetics movingfrom silent spectator to speaking actor/actress in the world.