Laurence Buell, a leading eco-critic in America, proposes a way of seeing the World--if we agree that ”where of existence precedes the what of social practice, a text's environmental unconscious is more deeply embedded even than its 'political unconsciousness '” (44). To make ”conscious” the environmental unconscious, therefore, an eco-critic might approach the reciprocity between text and environment, with diverse rhetoric skills and imaginative world-making, to illustrate how art claims environmentality through acknowledging the present reality (including inner, outer, natural or non-natural body) as essential components to rethink the nature, danger and flexibility of one's being.With the above perspective, this essay will study the impressive environmental spectacles in three fantastic stories by Ursula K. Le Guin to discuss how Le Guin's versatile writing strategies make us aware of the hidden force of environment as a vital power to shape our collective and individual self. The discussion will include the following sections:1. The Left Hand of Darkness (1969) is a science fiction most praised for the creation of ”androgynous” people on an exotic planet called ”Winter.” The story reaches its climax when the two heroes escape together to the deadly Gobrien Ice. However, it I seldom discussed about how the natural wonder of Ice-fire coexistence spectacle on the Ice plateau is deliberately created to illustrate the central theme of this novel-the Chinese Taoist philosophy of ”Yin-Yang” forces as opposite but complimentary forces.2. ”Vaster than Empire and More Slow”(1971) is a short story about an exploration team landing on a strange planet, ”World 4470.” This planet has no animals, only planets. Thus no voices could be heard here besides infinite silence and wind blowing. Humans have a strong feeling of intruding this serene planet. And for this, a fear grows among them and the fear grows bigger after a sudden attack happens. The unusual imagination concretizes the mysterious green as an active, powerful and omnipresent force.3. The Dispossessed (1974) is a future story in which the hero exiles himself from his home Anarres, an ”anarchistic communism” utopia, to escape to the neighbor planet Urras, on which the dominant living value and economic-political system is ”capitalistic consumerism.” With the literary devices of exaggeration, re-arrangement and sarcasm, the geography and civilization on Urras are condensed epitomes of our postmodern world. The author seeks to ”de-familiarize” the ”capitalistic consumption” epistemology we take for granted with the hero's shocking experience of ”nausea” when he is exposed to the overwhelming spectacle of ”shopping mall” on Urras.The fictional spectacles in these stories are impressive dramatized pictures-including the subversion of ”dualistic” gender bias, the counter-attack of the mysterious green world, the abolishment of capitalistic politics and the revolutionary ”anarchist” ”communist” utopia-which are also persuasive green discourses of ”deep ecology.” Ursula K. Le Guin's diverse environmental rhetoric, viewed all together, points to one common destination: the journey of the physical self will never complete until it leads to the revelation of the ecological ”Self.”