Abstract

Environmentality teases out the multilayered human-environment contacts and connections in terms of human agency and governmentality, ecological objects and their (in)dependence, power/knowledge and environmental (in)justice. “Sustainable Development Goals” recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our environment. This paper outlines the scopes, scales, and methods of Chinese storytelling and multimedia exhibitions on deforestation and afforestation, pollution and purification, and wastelands and eco-systems in industrial, de-industrial, and post-industrial times. The author considers short stories, novellas, novels, reportages, nonfiction writings, and visual artworks, with specific focus on trees, forests, and plant writing. By reading Kong Jiesheng’s “Forest Primeval,” Ah Cheng’s “King of Trees,” Xu Gang’s Loggers, Wake Up!, Yan Lianke’s Garden No. 711: The Ultimate Last Memo of Beijing, and Chen Yingsong’s The Forest Is Silent, the author aims to bring to light the awakening and formation of Chinese ecological consciousness, the token of marred humanity and ecocritical reflection, the manifestation of biophilia-biophobia experiences, as well as the structural transformation of private feelings and public emotions in modern and contemporary China.