Labouring-class writing is emerging as one of the new frontiers of ecocriticism in British Romantic studies. Previously, owing to Jonathan Bate's influential Romantic Ecology (1991), it was maintained that the Romantic poets, led by William Wordsworth, offered a powerful vision of human harmonisation with nature that we would do well to emulate in the present. Scholars have since questioned this paradigm, however, exploring how Romantic naturalism may in fact be a problematic model of environmental writing. Timothy Morton's Ecology Without Nature (2007) argues that Romanticism's transcendental vision of ‘Nature’, as something existing outside of human culture, accommodated rather than resisted the destructive processes of enclosure, industrialisation and imperialism. As Morton contends, this vision was a kind of psychological compensation to assuage concerns about the rapacious drives of capitalism, a case of applying ‘aesthetic[s] as an anaesthetic’. Many of the literary works Romantic ecocritics have drawn attention to in fact perpetuate a mode of environmentalism that ‘impedes a proper relationship with the earth and its life-forms’. As a consequence, critics now stress the need to reorient Romantic ecocriticism. In his 2018 review article, Jeremy Davies calls for a shift away from Whiggish claims about ‘the origins of contemporary environmental sensibilities, […] towards a critical history of regimes of environmental exploitation’. The school of ecocritics Davies hails – Timothy Morton, Timothy Clark, Katey Castellano, Alan Bewell and Simon Kövesi – ‘resituate Romanticism within the real process of historical change’. With this new aim in mind, Davies stresses that ‘one of the more promising ways forward for Romantic ecocriticism’ is ‘a closer entwinement with the study of labouring-class writing’. The poetry of John Clare features prominently in Romantic ecocriticism, but Davies draws attention to the revisionary potential of a far broader corpus, first highlighted by Bridget Keegan's British Labouring-Class Nature Poetry, 1730–1837 (2008). Rejecting the primitivist platitude that labouring-class poets were somehow ‘closer to nature’, Keegan demonstrates how these authors adapted existing poetical genres to their own views, as well as to deftly critique elite ideology. For instance, Keegan considers Robert Bloomfield's inventive experimentation with the neoclassical georgic mode, resulting in an affective poetics of environmental stewardship that ‘model[s] a responsible relationship to the non-human’. By attending to labouring-class writing, we can better appreciate how social class mediates literary representation.