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In her article "Wu's The Man with the Compound Eyes and the Worlding of Environmental Literature" Shiuhhuah Serena Chou discusses Mingyi Wu's novel in the context of ecocriticism's transcultural turn. Chou presents an overview of the cultural milieu in which Wu rises onto the world literary scene and proceeds by examining the problematics and potentials of ecocritical studies' transnationalization. Chou argues that while Wu's desire to understand the local through the vocabulary of the global, his readership reveals a sense of ecocosmopolitanism. The globalized local or localized global in Wu's novel reveals a cosmopolitan sense of the world and the readership of The Man with the Compound Eyes reveals the worlding of ecocriticism as a process of cultural adaptation and translation. Shiuhhuah Serena Chou, "Wu's The Man with the Compound Eyes and the Worlding of Environmental Literature" page 2 of 9 CLCWeb: Comparative Literature and Culture 16.4 (2014):  Thematic Issue New Work in Ecocriticism. Ed. Simon C. Estok and Murali Sivaramakrishnan Shiuhhuah Serena CHOU Wu's The Man with the Compound Eyes and the Worlding of Environmental Literature Taiwanese ecocritic and environmental writer Mingyi Wu (吳明益 1971-) made history with his novel The Man with the Compound Eyes, which, in addition to receiving numerous Taiwanese literary awards, was widely distributed on the world literary market. The international debut in 2013 of The Man with the Compound Eyes in Beijing was followed by Harvill Secker's 2013 and Pantheon's 2014 English-language versions and Stock's 2014 French version and translations are being undertaken in in other languages (see Tan ). Unlike previous translations of Taiwanese literature circulated beyond its national borders, Wu's novel was the first book published by a mainstream English-language publishing house without government sponsorship. The transnational recognition of The Man with the Compound Eyes plays an integral role in the ecocritical thinking of global ecology and the problematization of the worlding of environmental literature. While capturing local differences, Wu writes a text of global and universal value. The international visibility of The Man with the Compound Eyes may perhaps have as much to do with the transnational literacy of Wu's ecological imagination as with the cultural capital of his writing as an exotic Other who locates the Indigenous and the local at the center of a contemporary environmental apocalypse narrative. For a cosmopolitan writer such as Wu, however, worlding also serves as an efficient strategy for entering and intervening in the international sphere of literature: in configuring the globality of the natural world as a "compound eye" of multiplicities of difference, he constructs a heterogeneous mode of reading attuned to the inherent tensions and frustrations of global-local encounters. Set in Haven, a fictional Taiwanese coastal town, The Man with the Compound Eyes is an apocalyptic novel about the transnational solidarity between Alice, a local literature professor, and Atile'i, an outcast washed ashore from a shipwreck. The alternating narrative structure moves back and forth between the two protagonists of disparate cosmologies capturing their direct, immediate experience of surviving earthquakes, tsunamis, climate change, and transboundary environmental disasters in the form of what Timothy Morton calls "hyperobjects" massively distributed in time and space (1). The cross-cultural exchange ends with a climax where Atile'i sails towards a new wave of borderless marine debris that also wiped out the entire Pacific Wayo Wayo island and its civilization thousands of kilometers away. The central narrative plot reveals The Man with a Compound Eyes as a revision of James Cameron's 2009 Avatar where in the classic plot of colonial encounter and resistance the solidarity between the Native (Alice) and the foreign (Atile'i) and the survival of the two culturalecological traditions is shaped by the environmental dynamics of the global capitalist economy. As in Avatar, one of the critical appeals of Wu's magical-realist novel is indeed the planetary scale and the cultural and ethical possibilities is sketched out for global ecology as a new model for environmental citizenship. Published two years after the premiere of Cameron's science fiction fantasy, Wu has a keen eye for local manifestations of transnational entanglements of human-induced, environmental catastrophes and captures local endemic feelings of trans-hemispheric environmental disasters such as the tsunami that brings ashore the ever-swirling trans-Pacific garbage patch. As in Avatar, The Man with the Compound Eyes is an epic tale that evokes ecological destruction of global proportions. Reading the local as the nodal point of a complex global ecological system, Wu extends the thematic and conceptual framework of the ecocritical field of inquiry into the global space (on systems thinking and ecocriticism see, e.g., Estok, "Tracking"; on systems and the study of culture and literature, see, e.g., Tötösy de Zepetnek). Echoing Cameron's imaginary portrayal of the Indigenous Na'vi coalition at the level of the Pandora planet, Wu's novel celebrates stories of transnational crosscultural alliance evoking (the fictional Wayo Wayo people's) nature-based spirituality as a strategic tool central to effective local cultural-environmental mobilization. In the face of globalized environmental crisis, Cameron and Wu take a global turn to seek inspirations from Indigenous traditional knowledge in transnational grassroots solidarity. In the attempt to reimagine globalized environmental catastrophes, Wu's novel has become an essential part of the rising global interest in what Joni Adamson calls an "indigenous cosmovision" (148) or what environmental Bron Taylor names a "dark green religion" (4) and that configure environmental globality as a "multinatural" superorganism (AdShiuhhuah Serena Chou, "Wu's The Man with the Compound Eyes and the Worlding of Environmental Literature" page 3 of 9 CLCWeb: Comparative Literature and Culture 16.4 (2014):  Thematic Issue New Work in Ecocriticism. Ed. Simon C. Estok and Murali Sivaramakrishnan amson 146) or a "Gaia-like superorganism" (Taylor 4) of wholeness and spiritual connectedness. As Taylor argues, "Avatar was a reflection of the global emergence of dark green religion [and] it might even effectively advance such spirituality and ethics" (5; emphases in original). Both Avatar and The Man with the Compound Eyes correspond to what Ursula K. Heise notes with regard to ecocriticism's recent global expansion of "its objects of study" ("Globality" 638). In view of Wu's body of work and his rising international reputation, I discuss what accounts for the international attention to The Man with the Compound Eyes, a novel that could be briefly summarized as the cross-culture alliance of a displaced intellectual woman and an Indigenous boy with deep feelings of belonging and affinity to the biosphere. Also, what is ultimately "global" about the perspective of an environmental novel that approaches the entrapments of ecological disasters, although trans-hemispheric in scale, through the invocation of local/Indigenous traditional knowledge and, unfortunately, cultural otherness? Ecocriticism over the past five years witnessed a growing awareness of the need to challenge the limits of the overshadowing influence of place-rooted US-American centered ecocriticism in addressing humanity's future in the face of globalized environmental crises. Ecocritics from different regions of the world dedicate themselves to developing a transnational discourse of "deterritorialization." Critics such as Heise focus not only on decentering the U.S. as the dominant ideological and epistemological center of ecocriticism, but also on destabilizing the local-as-sustainability versus global-as-disenfranchisement dichotomy prevalent since the 1980s (Sense of Place 10). This transnationalization could be construed as an "ecocosmopolitan" critical project committed to "investigat[ing] by what means individuals and groups in specific cultural contexts have succeeded in envisioning themselves in similarly concrete fashion as part of the global biosphere, or by what means they might be enabled do so" (Heise, Sense of Place 62). If the popularity of Wu's novel can be understood as a fraction of ecocriticism's progressive transnationalization in terms of its objects of study, then what does Wu's novel reveal about this global turn? How do we approach a non-Western literary imaginary that is already globally-informed and, more importantly, how do we promote a transnational environmental consciousness through literary texts that invest in different cultural traditions? In the words of Philip J. Deloria, "can one truly act as a planetary citizen in the context of local knowledge and local politics that are structured by transnational flows of capital, goods, and people—even while the power of the nation-state exerts itself on local (and thus global) life? What would such acts look like" (xvii) and "what might a new ecocriticism look like" (xv)? In this sense, what alternative modes of representation and critique might we derive from The Man with the Compound Eyes? The purpose of my inquiry is not to assert that the engagement in Indigenous or non-Western classics as new theoretical possibilities leads necessarily to the romanticization of the Other, but to initiate discussions along the lines of Heise and Deloria at this crossroads of ecocriticism's transnationalization. One might also ask what might "ecocosmopolitanism" or "environmental world citizenship" look like? And, more importantly, what roles have traditional categories of the Indigenous and the non-Western taken on or been given to in the formulation of an environmental ethics that aims to transcend cultural and national borders? Wu's success corresponds to