The collection of essays titled World of Wonders (2020) has been rightly called a poetic encyclopaedia of various creatures and plants as each essay is structured and named after a particular wonder—the delicate comb jelly, the sugar-laden cara cara orange, the corpse flower, the catalpa tree and so on. Its author, Aimee Nezhukumatathil’s writing is nurtured by three cultures: Filipino, Indian, and American. Born in 1974 in Chicago to a Filipina mother and Malayali Indian father, she has authored four poetry collections apart from this collection of essays which is a New York Times bestseller and Barnes and Noble’s Book of the Year. The present essay analyses her essays to explore the intersections of race and gender with the natural world. Her essays, like her poetry, denounce racial attitudes, commercialization, and environmental degradation. Natural wonders offer a refuge to the author who is treated as “the other” in the white-majority USA. This paper employs the second-wave ecocritical approaches that foreground the various ways in which nature and culture interact. Nature writing has grown over the last century from merely an aesthetic genre to an environment-conscious one and World of Wonders bears testimony to this shift. The objective of the essay is to analyse the role that the natural environment plays in Aimee’s growing up as a brown child in a white supremacist country, how her being a woman affects the representation of nature, how the concept of nature is defined in World of Wonders, what values she assigns to it and why, and the way in which the relationship between humans and nature has been envisioned.