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Nathaniel Hawthorne's metaphorical attitude toward forests involves his geographical setting and characterization in his selected tales and romances. In his earlier tales, forests often metaphorize an evil concept that originates from American Puritanism whereas goodness is associated with unthwarted nature depicted predominantly in “Ethan Brand,” “The Birthmark” and “Rappaccini‘s Daughter”, which were written in the middle of his literary career. Such a binary view of forest culminates in the characterization of The Scarlet Latter no less than in its geographical setting, enriching its thematical complexity, and continues down to The Blithedale Romance and the Marble Faun. Significantly enough, however, Hawthorne's well-balanced allegorization of his characters in The Scarlet Letter, in which the view of forest alternates between good and evil, loses its tension in the two later romances. Especially coming to his last romance The Marble Faun, Hawthorne's cultural neurosis embedded in Puritanism not only affects its monocultural plot, it also defiles nature's name as much. Although Hawthorne's individual work might invite a pro-environmental reading, in conclusion, he never freed himself from his own cultural anxiety which I would assert impacted the formation of his view of nature. This point would be especially obvious only if one made a brief comparision of Hawthorne's view of nature with that of Henry Thoreau, one of his own contemporary writers. Before resensitizing ourselves with a ground-oriented culture, we need to resist our own language that has been, throughout human history, toxicated by anthropocentric thus anti-ecological metaphysics and/or industrialism-addled mindsets. In other words, retrieving our lost sensitivity to wildness in Snyderian terminology presupposes dedoxifying the homocentric language. Such a task prompts us to detect Hawthorne's monocultural attitude toward forests, which is metaphorized in his geographic locations or allegorized in his characterization. And problematizing his defiled language hopefully entails a reexamination of the later American writers who are presumed to be influenced by Hawthorne's own culture-bound image of forest.