The essay attempts to rethink the widely acknowledged notion that the ecologial writing is a minium writing weapon to tackle the European writing and limit of modernity. Most of the intellectuals paying attention to decolonial theory have arrived in limited ideas about the recent decolonialism. As a result, the recent debates on decolonialism have been deployed under the so-called “troika of decolonial theory”, advocated by Frentz Fanon, Edward Said, and Homi Bhabha. From this point of view, the essay purports to demonstrate that the unfamiliar theory of ecology and ecological writing is widely helping to overcome the limits of established decolonial wiriting and interpretation of text. To do this, from a ecological viewpoint, the essay attempts to re-read the irish text and irish decolonial poet Seamus Heaney's poem “Gifts of Rain,” who was awarded a Nobel Prize for Literature 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 and tongue of his irish people. But his imagination and attitude of writing is based on not just a decolonial method and idea, but a ecological preoccupation on his “Mother Land.” He looks forward to finding out integrated moments in his land beyond the political, religious, and topological separations. From the view point of the ecological attitude, he finally enters into the deterritorial region against its dichotomous and counter-discursive tendency in decolonialism. Roughly speaking, some say that this new writing and epistemological method is just a utopian thought, but his ecological writing suggests that this is the most effective ways of making a new writing code and ethics moving from a silent spectator to a speaking actor/actress in the world.