A Fish Out of Water: Crises of Masculinity and Environmentality in ''The Hildebrand Rarity''

Critical examination of Ian Fleming’s James Bond fiction has so far concentrated on its Cold War political context, and little has been written about the author’s engagement with the natural environment. However, his 1960 short story "The Hildebrand Rarity" is a valuable, early illustration of writing ecological crisis at the moment environmentalism is coming into being in its modern form. By reading the story ecocritically, this article will identify the resources that genre fiction offers for representing such crises, as well as the problems it raises. Comparison with Rachel Carson’s 1962 nonfiction work Silent Spring will help elucidate the techniques that environmental writing exploits to achieve global resonance. The article reads the story in terms of incident, gender relations, international relations, and the ecosystem in order to explain the peculiarity of James Bond’s lack of agency in this narrative, which is shown to evidence a twinned anxiety about the environment and the impotence of British masculinity in the Cold War era. In failing to resolve the problem of Bond’s inaction, Fleming’s text inadvertently dramatises the helplessness of the contemporary reader to engage meaningfully with environmental crisis.

to green politi s: the story fnds itself entangled with issues that are fundamental to environmental representation, as I will demonstrate y omparison with Ra hel Carson's Silent Spring, pu lished two years afer Fleming's story frst appeared in 1960. Carson's ook, regarded as a landmark in environmentalism, gives a detailed a ount of the efe ts of pesti ide use in the USA, and, as su h, ofers an extended and detailed engagement with the same kind of onfrontation around whi h Fleming's story pivots. To read "The Hilde rand Rarity" against her work is to identify some key dif ulties in writing environmental risis as well as the diferent resour es f tion and non-f tion ofer in this regard. To think of those availa le to Fleming, we an onsider the features of the spy thriller.

FISH FICTION
In his riti al survey Anthropocene Fictions, Adam Trexler suggests that genre ftion "oferrs] extraordinary resour es to think a out omplex issues like limate hange" (2015,13), and, in rounding up the qualities of diferent genres, he omments that "suspense novels r…] spe ialize in international onfi t, the motives of ountries and industries, and diplomati intrigue", identifying these as "mainstays" of the environmental risis (13)(14). At the same time, Trexler notes that "rs]afe identif ation with the hero of a suspense novel reaks down when he drives sports ars and exoti ya hts, not to mention serves a government that has repeatedly thwarted limate a ords", and that "ri]t is even more dif ult to ondense the distri uted, impersonal auses of glo al warming into a limate villain" (14). In these ways "the genre helps onstru t the meaning", while at the same time "the narrative dif ulties r…] threaten to rupture the defning features of genre" (14). While Trexler's work on entrates on f tion that deals topi ally with limate hange -and thus predominantly works written around the turn of the twentyfrst entury -his analysis may still e produ tively applied to "The Hilde rand Rarity" in order to examine the ways in whi h the story reates and explores a prototypi al environmental risis. While the poisoning of a reef e osystem does not, on the story's terms, operate on the same s ale as limate hange, it is instru tive to see how Fleming writes environmental risis at the moment environmentalism is oming into eing in its modern form.
The Bond stories as a whole already typify two qualities of the thriller genre as Trexler des ri es it. First, the f tion is preo upied with "things": Ben Ma Intyre laims that Fleming "understood the extraordinary attra tion of 2 International Journal of James Bond Studies · Volume 2 · Issue 1 · Spring 2019 'things'", and espe ially "things that did things" (2008,105); that is, "things" that have agen y within the Bond universe. While in Fleming's f tion su h "things" tend to e artif ial -gadgets, vehi les, weapons, and so on -in "The Hilde rand Rarity", at least, the ategory is widened to in lude animal and elemental agen y.
Another aspe t of Trexler's analysis that an help in reading the story is the onsideration that, a ording to Um erto E o in his essay "Narrative Stru tures in Fleming", the author opted to "transfer hara ters and situations to the level of an o je tive stru tural strategy" (2009,36). This efe tively ollapses several different levels of signif an e into the story, so that hara ters sometimes a t in aordan e with their own motivation, ut at other times ehave in ways that an only e des ri ed with referen e to external onsiderations su h as the politi al ontext. A third, distin t quality of Fleming's f tion pertinent to dis ussion of environmental risis is his interest in natural history. In his iography of Fleming, Andrew Ly ett suggests that the author "was an e ologist manqué" (1995,355), while in James Bond: The Man and his World, Henry Chan ellor points to the agential role aforded to animals in Fleming's f tion: "Animals not only set the s ene, they are also on o asion instruments of death" (2005,183).
"The Hilde rand Rarity" an therefore serve as a useful illustration of the opportunities and hallenges the genre presents to engage with environmental risis; how, in Trexler's terms, the text onstru ts meaning and results in narrative dif ulties. The story esta lishes a lear network of omparisons that re-ins ri e hara ters in onventional roles a ording to gender and nationality, ut, ultimately, this network an neither prevent nor ontain the ina tion on whi h the risis depends. Meanwhile, the evident environmental attentiveness required in the hunt for the titular "rarity" -a tropi al fsh -fails to foster an ethi of are towards the natural world, as some e o riti s have laimed it ought, 1 e ause that attention is dire ted toward the fsh's apture and annot satisfa torily resolve the onsequen es of the anthropogeni a t of e o ide in whi h it results. Yet the resour es of form and genre foreground these pro lems, as Trexler proposes, while the fgure of Bond himself, as a lo us for the reader's identif ation or the 1 Lawren e Buell, for instan e, posits an "environmental un ons ious rthat] in its negative aspe t refers to the impossi ility of individual or olle tive per eption oming to full ons iousness at whatever level", ut has the potential to e "an ena ling ground ondition as it e omes a tivated in the work of omposition and riti al reading" (2001,22). That is to say, literary attention might "a tivate environmental per eption to the end of so ial improvement" (21), among other things. However, as I will show in the ontext of "The Hilde rand Rarity", su h attention ommodifes the natural world and ena les e o ide.
M. Grifiths · Crises of Masculinity and Environmentality in "The Hildebrand Rarity" 3 proje tion of their fantasies, e omes an innovative way for situating individuals in the drama of e ologi al destru tion. In its Cold War ontext, "The Hilde rand Rarity" sets up a spe if set of politi al resonan es, whi h are all the more evident e ause of the ompression of form the short story requires. While that same ompression also ena les -indeed, demands -a satisfa tory on lusion to the narrative at one level, in whi h an animal proves to e an "instrument of death", it leaves unresolved the matter of an entire e osystem's destru tion and draws attention to Bond's own sense of his la k of agen y in preventing this. 2 Stri tly speaking, Fidele Bar ey, for all the "no le savage" resonan es of his name, is des ri ed y Fleming as a "short, fat white man", "the youngest of the innumera le Bar eys who own nearly everything in the Sey helles" (196 and 197).

I BUY IT FOR THE ENVIRONMENTALISM
3 Lisa Funnell and Klaus Dodds identify a roader trend along these lines, noting that "the fran hise sets up and maintains an interesting relationship in whi h women and men of olour are asso iated with water while Bond is envisaged as a 'master' of that elemental and 'atmospheri ' sea" (2017,(4)(5).
M. Grifiths · Crises of Masculinity and Environmentality in "The Hildebrand Rarity" Note that, in his own en ounter with the sting-ray, Bond had "proposed to kill" it seemingly only on the asis that "it looked so extraordinarily evil" (192); y esta lishing an equivalen e etween the fsh and Krest, Fleming lines the latter up for a similar fate, although the author onfounds expe tations in that it is not Bond who e omes the agent of that fate, ut the unknown ulprit.
The story's alignments etween hara ters and fsh are not parti ularly oded, ut their multipli ity, and the ways in whi h, together, they do not estalish ut re-ins ri e onventional equivalen es, is worthy of omment. To outline these equivalen es in more detail, I will egin with Bond's hunting of the ray at the opening of the story. Although he thinks the reature appears to e "extraordinarily evil", the hunt is depi ted as a single om at etween two well-mat hed rivals rather than privileging the human over the animal. Indeed, the proje tion of su h hara teristi s as the ray's evil visage, as well as Bond's later re ognition that "Fish sometimes s ream when they are hurt" (95), are needed to anthropomorphise the animal and legitimise his hunt, e ause together these (perversely) align the fsh with Bond's usual, human quarry. While we may think this as ription of moral qualities to the animal kingdom pe uliar to f tion, it has also served as a strategy for engagement with non-human reatures in environmental non-f tion. In her investigation of the impa t of pesti ide use in Silent Spring, Ra hel Carson draws a similar moral distin tion when she writes: "Is it reasona le to suppose that we an apply a road-spe trum inse ti ide to kill the urrowing larval stages of a rop-destroying inse t, for ex-4 In employing these three tiers, I am orrowing the approa h that Timothy Clark takes in his reading of the Raymond Carver short story "Elephant" using "a series of in reasingly road spatial and temporal s ales" (2012, 156).

As Funnell and Dodds point out, "Bond mirrored Fleming's lifestyle, rwhi h was]
shaped y a nearly daily exposure to swimming and diving of the oastline of his home Goldeneye, in Jamai a" (2).

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International Journal of James Bond Studies · Volume 2 · Issue 1 · Spring 2019 ample, without also killing the 'good' inse t whose fun tion may e the essential one of reaking down organi matter?" (r1962] 2000, 64). In the opening of "The Hilde rand Rarity", Bond's en ounter with the sting-ray is framed as a lear ontest etween good and evil; ut later, as in Carson, the waters e ome murkier with the appli ation of poison that lays waste to the entire reef system.
Thus, as well as as ri ing moral qualities to animals, Fleming also gives impli it value to the means of killing them. In engaging with the sting-ray mano a mano (or rather, mano a aleta), Bond exer ises respe t for the animal kingdom: 6 he enters the ray's native environment to pursue it, and even on e it is landed he remains wary and "still kept away from it" (196). This aution seems warranted, given that, shortly aferwards, "in the hope of at hing its enemy unawares, the giant ray leapt lean into the air" (196). Most signif antly, Bond is himself des ri ed y Fleming at one point during this episode as "the ig fsh on the surfa e" (193), as though he is part of the e ology of the reef himself. 7 Lisa Funnell and Klaus Dodds point out, more generally, that "the su ess of Bond depends on his a ility to over ome these watery elements" (2017, 4). The hunt, then, is a struggle etween near-equals, esta lished expli itly to ontrast with the poisoning of the Hilde rand Rarity itself later in the story.
While this equivalen e holds etween Bond -in a leisured variation of his role as state-san tioned killer -and the ray, it is also lear that animals represent a ommodity for him as they do a hallenge for his mas ulinity. Before meeting Krest, he is already aware that the tail of the ray is used as an instrument of hastisement: "This tail was the old slave-drivers' whip of the Indian O ean. Today it is illegal even to possess one in the Sey helles, ut they are handed down in the families for use on faithless wives" (196). The living ray e omes dead and funtional, serving an oppressive role in an e onomy ased on the la our of the disempowered: that is, slaves or wives. When Bar ey ofers to re over the tail of the ray, "Bond smiled. 'I haven't got a wife'" (197), indi ating something of his ompli ity in su h misogyny.
6 Chan ellor remarks that the Bond of the ooks "doesn't mu h are for killing animals. Over the ourse of twenty adventures, he never kills a mammal (ex ept for men), and rarely kills a fsh, ex ept to eat", although he does note the hunt of the sting-ray here as one of the "ex eptions" to this pattern (182). 7 The equivalen e of hunter and hunted is also alluded to in the 1989 flm Licence to Kill, whi h orrows elements from "The Hilde rand Rarity"; in this instan e, Bond (Timothy Dalton) disguises himself as a ray to sneak a oard Krest's oat to investigate a drug drop.

M. Grifiths · Crises of Masculinity and Environmentality in "The Hildebrand Rarity" 7
The ray is not the only sea life that is open to ommodif ation. Bond also suggests to Bar ey, al eit in an ofand fashion, that the island e onomy ould eneft from its marine resour es: "Every ody moans a out how poor they are here, although the sea's a solutely paved with fsh. And there are ffy varieties of owrie under those ro ks. They ould make another good living selling those round the world" (199). Bond's entertainment of the idea of ommodif ation goes a little way to align him with Milton Krest, who also regards the natural world as a resour e to e exploited: Sin e I happen to like ya hting and seeing the world I uilt this ya ht with two million of the money and told the Smithsonian r...] that I would go to any part of the world and olle t spe imens for them. So that makes me a s ientif expedition, see? For three months of every year I have a fne holiday that osts me just sweet Fatty Ar u kle! (212) Krest's desire to a quire the titular fsh is as a result of the value pla ed upon it y s ientists in New York, and he sees the hunt as a purely e onomi transa tion rather than a re koning of the reature's intrinsi or e ologi al value. He has aquired some of the poison Rotenone to kill the fsh, deeming this the most effe tive means of doing so. 8 In this respe t, Krest's use of wealth to ommand resour es distinguishes him from Bond; in fa t, given that Bar ey passes Bond of to Krest as an underwater expert, the agent efe tively allows himself to e ome another of the Ameri an's resour es, like the ray-tail -al eit a far less rude one.
Here, Bond's role in the story again shadows his professional work. Edward P.
Comentale, in his essay "Fleming's Company Man", des ri es Bond's "repli ation of managerial identity" (2005, 12) in a hieving a middle way etween "unrestrained free trade and so ialist revolution" through his adventures (3). Comentale proposes that "For every violently ideologi al so ialist r…] there is an equally reprehensi le apitalist" in Fleming's work (5). Auri Goldfnger may well e the epitome of the "reprehensi le apitalist", ut Krest too falls into this ategory.
Another no need for a ray-tail of his own; it is re-afrmed when the agent, having seen Krest's "Corre tor", thinks, al eit rather sourly, that "Mr. Krest had hosen well.
She rLiz] was the stuf of slaves" (219), an allusion to the histori "slave-drivers" already mentioned. Both men thus see a ommonality etween women and animals, although for Bond this seems to e a roadly essential equivalen e of the kind he also ta itly per eives etween himself and the sting-ray, whereas for Krest it is more or less a ommer ial one.
The equivalen e of animals and humans is again evident in the risis of the story, where Bond, entering the waters of the reef, envisages the reatures inhaiting a "little ommunity, everyone usied with his afairs", and anti ipates that when Krest empties his poison over the reef "a hundred, perhaps a thousand small people were going to die" (224). Here, in an even more pronoun ed fashion than in the hunt for the ray, Bond anthropomorphises the underwater world.
While this may seem an overtly sentimental strategy it is also a literary one, as Having sket hed in some of the equivalen es that Fleming esta lishes etween Bond and Krest, we are lef with a marginal diferen e etween the two hara ters, and this an e des ri ed in two related ways. The frst is that the two men represent diferent aspe ts of mas ulinity -Bond's is a stoi , reserved individualism and Krest's a grandiose assertiveness. When Bond tells Krest, not entirely untruthfully, that he is a ivil servant, "Krest gave a short arking laugh" and tells Bond "'Civility and Servitude. r…] Civil Servants are just what I like to have around me'" (203-204). Later, in turn, "Bond toyed idly with the notion that the man was impotent and that all the tough, rude a t was nothing more than exaggerated virility play" (208); unlike Krest, Bond does not think aloud, even 10 International Journal of James Bond Studies · Volume 2 · Issue 1 · Spring 2019 though his o servation hints at a further equivalen e etween the two men in that Bond is himself later shown to e impotent in his powerlessness to intervene and save the Rarity. This distin tion etween un-self-ons ious and selfons ious mas ulinities an also e seen in the way Krest aspires to dominate oth the environment and women, whereas Bond is more engaged with them.
Bond is at least a le to imagine some kind of parity etween himself and the ray, as we have seen, while his rea tion to Liz Krest mingles sympathy and disgust: "what must this woman have to put up with, this eautiful girl he rKrest] had got hold of to e his slave -his English slave?" (206). Again, though, in his view of her as "an English slave", there is a hint of self-disgust a out the role he has assumed as a " ivil servant". Fleming further draws the distin tion etween diferent onventions of mas ulinity in refexively literary terms when he has Bar ey jokingly refer to Bond as "The Old Man and the Sea" (196), whereas Bond regards Krest on their frst meeting with s orn, thinking "this man likes to e thought a Hemingway hero" (203). 9

The invo ation of Hemingway suggests another level at whi h Bond and Krest
an e distinguished -that of national hara ter and identity. When told y Liz that Krest's father was a German, Bond mulls on the man's an estry: "So, that was it! The old Hun again. Always at your feet or at your throat" (206). Krest is, in ontrast, hara teristi ally dire t in expounding on the English, de laring "You Nevertheless, while the hara ters onform to national type, this annot satisfa torily explain the moment of the fsh's poisoning. The literal su servien e of a British hara ter to an Ameri an seems the produ t of Fleming's own anxiety rather than a literal rendition of ontemporary politi al events into f tion. Furthermore, while the refe tions on national identity that oth Bond and Krest make are entirely plausi le within the ontext of men from two ountries meeting one another in a third ountry, Bond's self-ons ious vision of himself as "the om -aimer at Nagasaki" represents a sudden rupture of su h dis ourse.
Within the terms of the Bond anon, the invo ation of nu lear apo alypse is less implausi le, admittedly; ut it is still marked in this ontext, as though Fleming were shoehorning it in in order to maintain narrative onsisten y a ross his oeuvre. This non-sequitur onstitutes what Timothy Clark has, in relation to environmental risis, alled a derangement of s ale, whi h he des ri es as follows: One symptom of a now widespread risis of s ale is a derangement of linguisti and intelle tual proportion in the way people ofen talk a out the environment, a reakdown of "de orum" in the stri t sense. Thus a senten e a out the possi le ollapse of ivilization an end, no less solemnly, with the injun tion never to fll the kettle more than ne essary when making tea.

NARRATIVE AND NATURE
An alternative reading of this parti ular in ident might then help. As the frst wave of e o riti s were fond of pointing out, literary s holars have spent a long time working out a meaning for nature in texts, though in fa t there was no need to transfer its signif an e elsewhere e ause nature need merely stand for itself.
In his formative work of e o riti ism, The Environmental Imagination, Lawren e Buell ritiques "the hastiness of diagnosing environmental representation r…] as a s reen for another agenda" (1995,14). There is no reason to dou t, then, that Fleming's expression of environmental on ern is genuine, even if his analogy with the nu lear threat may seem hyper oli . This an e onfrmed y referen e to another national stereotype, al eit one that remains impli it in the story: the supposed sentimentality of the British towards animals is evident in Bond's anthropomorphism of the reef reatures efore they are poisoned, and perhaps, too, in Fleming's anti ipation of the reader's sympathy. 10 Fleming had himself seen s ientists use poison in a similar fashion to Krest loser to home: Chan ellor writes that the author "had witnessed s ientists using this method to olle t speimens at Pedro Cays, two small islands of the south-east oast of Jamai a r…] in 1958" (149). While unexpe ted in the Cold War ontext, Bond's on ern, here, is onsistent with Fleming's. This means that the story fun tions simultaneously as a mi ro osm of the politi al situation and as a magnifer of environmental risis.
In light of Fleming's use of the word " ommunity", Funnell and Dodds' o servation -that "allowing Bond to 'go elemental' is a way of a knowledging that the world is undenia ly vulnera le to those who would seek to unleash elemental for es on the fxed infrastru ture and ommunities that make human life pos- 14 International Journal of James Bond Studies · Volume 2 · Issue 1 · Spring 2019 "The Hilde rand Rarity"; ut I would ontend that Fleming, here, is foreshadowing Carson y doing exa tly this: using the magnitude of the nu lear threat on a smaller s ale to suggest a fallout of similar intensity.
A epting that we need not ignore the referential quality of "The Hilde rand Rarity" to prefer an ideologi ally infe ted reading, we should not overlook the fa t that the text's attentiveness to natural surroundings is itself somewhat prolemati . Buell advo ates "representational proje ts that aspire to render the oje t world" (1995,99), so as "to see what without the aid of the imagination isn't likely to e seen at all" (102). Fleming ertainly exhi its su h attentiveness to the natural world; in the opening episode, we are treated to passages su h as this, just efore Bond en ounters the ray:  The attentiveness Bond displays oth efore and afer the poisoning of the reef etrays his sympathy with the reef reatures, though he is as self-ons ious a out this as he is a out the pro ess y whi h he lo ates the fsh: "Fidele Bar ey had spent his life killing animals and fsh. While he, Bond, had sometimes not hesitated to kill men. What was he fussing a out? He hadn't minded killing the stingray. Yes, ut that was an enemy fsh. These down here were friendly people.
People? The patheti falla y!" (225-226). More spe if ally than patheti falla y, this is another instan e of anthropomorphism, whi h, while valua le for ringing the natural world into human relation, is only a le to do so in human terms.
Here, it re-ins ri es the parti ipatory equivalen e of Bond in the e osystem, while at the same time showing him as helpless as the other reatures of the reef.

THE AGENT WITHOUT AGENCY
How, then, do we read Bond's ompli ity with Krest in the apture of the Rarity?
We have already seen how dif ult he fnds it to diferentiate himself from the Ameri an, and at a literal level it is only arely plausi le that he is so keen not to reak over that he does not disrupt Krest's s heme and save an environment for whi h he learly feels an afnity. At the level of international relations, Bond's ina tion is a omprehensi le if unwieldy analogy for Britain's inferiority omplex in the presen e of a German-Ameri an. Neither of these are very satisfa tory interpretations of Bond's la k of agen y, and they illustrate something of what Trexler has identifed as the dif ulty of re on iling our expe tations of a genre with environmental risis. A further possi ility is that, shorn of his se ret servi e status, Bond is even more in the position of the reader than usual. 12 E o has already distinguished etween those sequen es in Fleming that are designed to appeal to the reader's sense of the world, onjured through detail, and those that more fun tionally advan e the thriller elements of the plot. By situating the metaphori al nu lear atta k of "The Hilde rand Rarity" in a desira le destination, the author juxtaposes those two worlds, however, with a resultant derangement of s ale. What Fleming thus a hieves, here, is a personal environmental drama that also has ready a ess to a glo al s ale, thanks to the easy resonan e of the hara ters with their national stereotypes.
Compare Bond's frst-hand experien e of environmental destru tion with a similar episode in Silent Spring: In the spring of 1955, some 2,000 a res of salt marsh in St Lu ie County were treated with dieldrin in an attempt to eliminate the larvae of the sandfy. r...] The efe t on the life of the waters was atastrophi . S ientists from the Entomology Resear h Center of the State Board of Health surveyed the arnage afer the spraying and reported that the fsh kill was "su stantially omplete". Everywhere dead fshes littered the shores. From the air sharks ould e seen moving in, attra ted y the helpless and dying fshes in the water. No spe ies was spared. (137) With its aerial view, followed y a itation of the survey team's data, Carson's matter-of-fa t a ount is a good ft with E o's defnition of "Journalism" in ontradistin tion to "Literature", la king the unexpe ted afe t of Fleming's prose.
Impro a le as it may seem, the failure of the poisoning episode in "The Hilde rand Rarity" to resolve satisfa torily in terms of hara ter or politi s -a rupture of generi onvention -a tually makes an efe tive environmental point, argua ly efore environmentalism as su h existed.
12 Indeed, it is only when he is alled on to do something akin to his jo and dispose of Krest's ody that Bond's managerial professionalism ki ks in again: "They were ertainly all going to e in one hell of a mess unless he ould tidy things up... Bond got moving" (204).

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International Journal of James Bond Studies · Volume 2 · Issue 1 · Spring 2019 In this regard, we may also ear in mind Alexis Al ion's suggestion, in the essay "Wanting to e James Bond", that part of the su ess of the series is Bond's availa ility for the reader as a lo us for identif ation, "an inter ultural experien e" that trans ends nationality and one "in whi h oth men and women partiipated" (2005,203). In Al ion's argument, this is an aspirational identif ation, Bond a ting as a wish-fulflment fgure. In "The Hilde rand Rarity", y ontrast, the efe t of this is to position the reader in the grotesque moment of wanton pollution and identify with the helpless protagonist, who is in turn identifying with the "little ommunity" of sea reatures. This identif ation efe tively hara terises our individual environmental transgressions at the usp of their glo al signif an e. Bond is now the perpetrator as mu h as the hero. 13 Carson makes lear that the US householder of this era would himself have een in a similar position of power over the environment, al eit unknowingly: Lulled y the sof sell and the hidden persuader, the average itizen is seldom aware of the deadly materials with whi h he is surrounding himself; indeed, he may not realize he is using them at all. r...Yet ]onsidering the num er of rdispensing] devi es that are in use, and the s ar ity of warnings r…] do we need to wonder why our pu li waters are ontaminated? (158-

160)
In su h a reading of "The Hilde rand Rarity", therefore, Bond is an individual, al eit every individual in the West; Krest is an e onomy driven y the ommodif ation and despoliation of the natural environment; and the reef in the Sey helles not just a rendering of Fleming's Cari ean ut a mi ro osm for the entire o ean.