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In Fleming’s works, is James Bond an office-and-casino superhero, or an islander whose horizons extend beyond the British isles? He moves from domesticated settings to favourable coastal areas, encountering dangerous gardens, within a narrative space with an archipelagic character where naturalisation is a recurring theme. He finds himself travelling on several occasions to Jamaica, his creator’s favourite destination, just as he visits various fictional yet plausible islands, populating using lists of tropical species. He himself is regularly compared to a predatory animal, and his relationship with nature, which evolves in line with the narrative twists, is characterised by both usefulness and respect. His antagonists, who are frequently depicted as animals and who often dominate the natural world only to meet their end there, stand in contrast to his female allies, almost all of whom are associated with species of flowers. But nature also serves to bring the story’s world to life for the reader, as well as providing narrative devices or alternative weapons, and if this nature is outdated or carefully chosen, the stories give the impression of carrying an environmentalist subtext.
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