This article analyzes works of fiction, particularly speculative and science fiction, using the theory of ecocriticism, a field of literary studies that emerged in the late 20th century, as its methodological basis. The theoretical foundation of the research is built upon Cheryll Glotfelty and Lawrence Buellʼs definitions of ecocriticism; Greg Garrardʼs concepts of “pastoral” and “wilderness”; Darko Suvinʼs theory of “cognitive estrangement” and “novum”; Serenella Iovino and Serpil Oppermannʼs concepts of “material ecocriticism” and the Anthropocene; as well as Amitav Ghoshʼs philosophical views on the climate crisis. From American science fiction, Frank Herbertʼs “Dune”, Ursula K. Le Guinʼs “The Word for World is Forest”, and Kim Stanley Robinsonʼs “Mars Trilogy” are analyzed. From Russian literature, the Strugatsky brothersʼ“Roadside Picnic” (Пикник на обочине), Valentin Rasputinʼs “Farewell to Matyora” (Прощание с Матёрой), and Sergey Zalyginʼs “An Ecological Novel” (Экологический роман) are examined, alongside existing Uzbek, foreign, and Russian literary scholarship on these works. The research findings indicate that, through its genre features of cognitive estrangement and “novum,” science fiction possesses a unique potential for the artistic representation of ecological problems that is superior to other genres; however, the extent to which this potential has been academically explored is unevenly developed across American, Russian, and Uzbek literary studies.