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John Fowles, an English novelist in the late 20th century, demonstrated his creative and experimental style of fiction. Until the early 1990s, criticism of Fowles’ work mainly focused on his postmodern metafictional format and the existentialist themes of his novels. Renewed attention to Fowles’s work began after new images of him as a traveler, poet, translator, and natural historian emerged in the late 1990s. From his early years, Fowles had a strong desire to escape from the secularization and materialism of his city and longed to enjoy life in nature. Finally, in 1965, he was able to live a nature-friendly life in Lyme Regis, as revealed through his non-fiction essays from the 1970s. These essays, written about nature and scenery after Fowles moved to Lyme Regis, appear in his books Shipwreck, Islands, The Tree, Land, and Wormholes. Fowles asserts the importance of nature to his writing in The Tree: “The key to my fiction, for what it is worth, lies in my relationship with nature.” In his fiction, the background is where Fowles experienced himself. The countryside he visited as a boy, the rural village of Greece where he lectured, and Lyme Regis, where he spent most of his life, are important spatial backgrounds for his novels. The characters in his fiction become more self- aware and find themselves while they experience nature as a space of restoration. Fowles’s works show the possibility of coexisting with nature while preserving it. Also, he tries to restore a balance between science and art, sense and sensibility. In conclusion, Fowles presents humans as able to transform themselves with material civilization and get an opportunity to understand themselves through the process of self-reflection by interaction with nature.