This chapter works the promising nexus of adaptation studies and ecocriticism by tracking the depictions of selfhood in Marina Warner’s novel Indigo, Or Mapping the Waters (1992) and its nominal source, Shakespeare’s The Tempest (1611). Ranging between the early modern era and the late twentieth century, Indigo unfolds as a corrective prequel, an origin story that exposes historical realities submerged or latent in The Tempest. In doing so, Indigo redresses the play’s partial or skewed presentation of the human/nature relationship, such as by rejecting the dominator-ethos that was materializing with acute force in the early modern period. In the novel, nature becomes the catalyst for cultivating an inwardness unique to humans, thus relinking self and world and making the case for ecophenomenology. If phenomenology proper focuses on the subjective nature of experience, ecophenomenology shows how the self always develops in response to the environment, comprising both the physical world and the social milieu. This conception of the self mates a biologized awareness with an appreciation of humans’ robust inner lives. When read as an ecoadaptation, Indigo highlights the intimacy of the self/world relationship.