Theoretically, this article is based on the assumption that literary representation of settings and objects is influenced by contemporary ideas about matter; when an author describes the material world, there is an implicit reference to the science (popular science, pseudoscience) of matter. This is generally related to the New Materialist approach, particularly in contemporary criticism of nineteenth-century fiction, poetry, and nature writing. The more general theoretical approach is remotely rooted, perhaps, in European phenomenology (Bryant 2011; Bello 2015; Shaviro 2014), with its interest in the cultural determination of perception, even on the most basic level of everyday observation of nature: the experience of looking at objects and landscapes is controlled by the load of presuppositions, superstitions, accepted ideas and cultural legacies. In the American context, the approach was recently developed, among other critics, by Monique Allewaert (2013) and Dana Luciano (2014), who both focused on American nature writing as their source of examples. Allewaert proposes "reconsidering the relation between material and literary processes" (61), focusing on "the partial" (an incomplete, isolated observation) or "the relation between the part and the whole" (61) in literary representation of materiality. Luciano presents a study on nineteenth-century speculations about spirituality of matter, exemplified by The Soul of Things (1863) by William and Elizabeth M.F. Denton (according to which, geological specimens can directly affect the human retina, visual nerves, and the brain, in a material manner suggested by photography, so that geologists can share memories with rocks). For the history of American fiction and poetry, the importance of material figuration is similarly asserted, among other authors, by Branka Arsić (2016), Cristin Ellis (2018), and Juliana Chow (2022). Although these authors are interested in a very wide range of themes in nineteenth-century nature writing, they all suggest that representation of matter, the very perception of the material world, is shaped by a complex cultural background.