"and you can drink the water":
 Caribbean Landscape in Cliff and
 Marshall, Fodor's and Frommer's

 Elizabeth Davis

he landscape of the Caribbean pervades Paule Marshall's

 Daughters and Michelle Cliff's No Telephone to Heaven,
 functioning not only as a vividly depicted setting but also as a
major driving force behind the action of the two novels. Marshall's
Ursa MacKenzie and Cliff's Clare Savage are both Caribbean expatriates
(from the fictional island of Triunion and Jamaica, respectively) who
are, finally, unable to escape the pull of their homelands. In each novel,
what finally causes the protagonist to return to her emotionally charged
place of origin is the need to defend the land, its uses and its
representations against (mis)appropriation by the first world, a
(mis)appropriation predicated largely on tourism.
 Dean MacCannell writes extensively and insightfully on tourism, but
his representation of tourism, which is overwhelmingly sympathetic
to the tourist, focuses primarily on the conflict between the tourist
and the elite traveler. The position of the toured is mentioned only
briefly, and MacCannell insists that the places toured, particularly those
in "marginal economies," welcome tourists (or at least tourist dollars).
He locates anti-tourist sentiment only among urbanites and "radicals":
 A pro-tourist stance is held by many planners of marginal economies
 who look to tourism as a new way of making money. An anti-tourist
 stance is held by urban and modernized liberals and third world
 radicals who question the value of touristic development for the local
 people. They point out how tourism irreversibly alters local tradition,
 and the capital that is generated is siphoned off by the large
 corporations (the hotel chains and airlines) and returned to its point
 of origin in the rich countries and cities.