This chapter tracks the depictions of selfhood in Marina Warner’s novel Indigo, Or Mapping the Waters (1992) and The Tempest (1611). Indigo unfolds as a corrective prequel, an origin story that exposes historical realities submerged or obscured in The Tempest. In particular, Indigo challenges the dominator-ethos that emerged 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. Indigo’s metadramatic turn, featuring a performance of The Tempest, replicates a key motif from Shakespeare’s play. Turning the force of The Tempest back on itself, Indigo reasserts the transformative power of the aesthetic realm. Simply put, art has a unique ability to disrupt or reprogram neural activities or habits of mind. Distilling this process, Indigo generates a nuanced and satisfying conception of the self, one that harmonizes the biological with the psychological and reinforces humans’ reliance on storytelling to make sense of experience.