The Ocean, the Undertaker’s Wind, a Wind Called Hawkins, and Other Natural Phenomena: Representations of Nature in Ian Fleming’s Live and Let Die

Abstract

This article explores representations of natural phenomena in the second novel in the James Bond series, Ian Fleming’s Live and Let Die (London: Penguin, [1954] 2008). Several critics have noted the enjoyment Fleming derived from his Jamaican home, adjacent to the ocean. His relationship with the ocean and nature, particularly birds, is evident in his writing. Although the novel is firmly in the thriller/spy genre, the many references to natural phenomena provide the reader with points of reflection about humanity and the environment. The article demonstrates that although Fleming wrote in the thriller/spy genre, a significant element of his writing has value in the field of ecocriticism. The article draws on critic Greg Garrard, who refers to those who use nature for their own purposes as the Cornucopians. Other critics whose work informs this reading of Fleming’s novel include Arne Naess, a central figure in Deep Ecology, and Rachel Carson, who pioneered our understanding of the human relationship with the oceans. The work of Jacques-Yves Cousteau (whom Fleming knew personally) and Peter Godfrey-Smith is also considered.

Keywords:

• Ian Fleming
• Live and Let Die
• James Bond
• ecocriticism
• Greg Garrard
• Arne Naess
• Rachel Carson
• Jacques-Yves Cousteau
• Peter Godfrey-Smith

Notes

1 Fleming recognised Plomer’s contribution as an editor by dedicating Goldfinger (1959) to “my gentle Reader William Plomer”.

2 Also see Naess (1987).

3 Also see Naess (2005).