NEW YORK TIMES BESTSELLER • A NEW YORK TIMES NOTABLE BOOK
A modern classic of personal journalism, The Orchid Thief is Susan Orlean’s wickedly funny, elegant, and captivating tale of an amazing obsession. Determined to clone an endangered flower—the rare ghost orchid Polyrrhiza lindenii—a deeply eccentric and oddly attractive man named John Laroche leads Orlean on an unforgettable tour of America’s strange flower-selling subculture, through Florida’s swamps and beyond, along with the Seminoles who help him and the forces of justice who fight him. In the end, Orlean—and the reader—will have more respect for underdog determination and a powerful new definition of passion.
In this new edition, coming fifteen years after its initial publication and twenty years after she first met the “orchid thief,” Orlean revisits this unforgettable world, and the route by which it was brought to the screen in the film Adaptation, in a new retrospective essay.
Look for special features inside. Join the Random House Reader’s Circle for author chats and more.
Praise for The Orchid Thief “Stylishly written, whimsical yet sophisticated, quirkily detailed and full of empathy . . . The Orchid Thief shows [Orlean’s] gifts in full bloom.”—The New York Times Book Review
“Fascinating . . . an engrossing journey [full] of theft, hatred, greed, jealousy, madness, and backstabbing.”—Los Angeles Times “Orlean’s snapshot-vivid, pitch-perfect prose . . . is fast becoming one of our national treasures.”—The Washington Post Book World “Orlean’s gifts [are] her ear for the self-skewing dialogue, her eye for the incongruous, convincing detail, and her Didion-like deftness in description.”—Boston Sunday Globe
“A swashbuckling piece of reporting that celebrates some virtues that made America great.”—The Wall Street Journal
Susan Orlean has been a staff writer for The New Yorker since 1992 and has also written for Outside, Esquire, Rolling Stone, and Vogue. She graduated from the University of Michigan and was a Nieman Fellow at Harvard University. She now lives in Los Angeles and upstate New York with her husband and son.
Read an Excerpt
John Laroche is a tall guy, skinny as a stick, pale-eyed, slouch-shouldered, and sharply handsome, in spite of the fact that he is missing all his front teeth. He has the posture of al dente spaghetti and the nervous intensity of someone who plays a lot of video games. Laroche is thirty-six years old. Until recently he was employed by the Seminole Tribe of Florida, setting up a plant nursery and an orchid-propagation laboratory on the tribe's reservation in Hollywood, Florida.
Laroche strikes many people as eccentric. The Seminoles, for instance, have two nicknames for him: Troublemaker and Crazy White Man. Once, when Laroche was telling me about his childhood, he remarked, "Boy, I sure was a weird little kid." For as long as he can remember he has been exceptionally passionate and driven. When he was about nine or ten, his parents said he could pick out a pet. He decided to get a little turtle. Then he asked for ten more little turtles. Then he decided he wanted to breed the turtles, and then he started selling turtles to other kids, and then he could think of nothing but turtles and then decided that his life wasn't worth living unless he could collect one of every single turtle species known to mankind, including one of those sofa-sized tortoises from the Galapagos.
Then, out of the blue, he fell out of love with turtles and fell madly in love with Ice Age fossils. He collected them, sold them, declared that he lived for them, then abandoned them for something elselapidary I thinkthen he abandoned lapidary and became obsessed with collecting and resilvering old mirrors. Laroche's passions arrived unannounced and ended explosively, like car bombs. When I first met him he lusted only for orchids, especially the wild orchids growing in Florida's Fakahatchee Strand. I spent most of the next two years hanging around with him, and at the end of those two years he had gotten rid of every single orchid he owned and swore that he would never own another orchid for as long as he lived. He is usually true to his word. Years ago, between his Ice Age fossils and his old mirrors, he went through a tropical-fish phase. At its peak, he had more than sixty fish tanks in his house and went skin-diving regularly to collect fish. Then the end came. He didn't gradually lose interest: he renounced fish and vowed he would never again collect them and, for that matter, he would never set foot in the ocean again. That was seventeen years ago. He has lived his whole life only a couple of feet west of the Atlantic, but he has not dipped a toe in it since then.
Laroche tends to sound like a Mr. Encyclopedia, but he did not have a rigorous formal education. He went to public school in North Miami; other than that, he is self-taught. Once in a while he gets wistful about the life he thinks he would have led if he had applied himself more conventionally. He believes he would have probably become a brain surgeon and that he would have made major brain-research breakthroughs and become rich and famous. Instead, he lives in a frayed Florida bungalow with his father and has always scratched out a living in unaverage ways. One of his greatest assets is optimismthat is, he sees a profitable outcome in practically every life situation, including disastrous ones. Years ago he spilled toxic pesticide into a cut on his hand and suffered permanent heart and liver damage from it. In his opinion, it was all for the best because he was able to sell an article about the experience ("Would You Die for Your Plants?") to a gardening journal.
When I first met him, he was working on a guide to growing plants at home. He told me he was going to advertise it in High Times, the marijuana magazine. He said the ad wouldn't mention that marijuana plants grown according to his guide would never mature and therefore never be psychoactive. The guide was one of his all-time favorite projects. The way he saw it, he was going to make lots of money on it (always excellent) plus he would be encouraging kids to grow plants (very righteous) plus the missing information in the guide would keep these kids from getting stoned because the plants they would grow would be impotent (incalculably noble). This last fact was the aspect of the project he was proudest of, because he believed that once kids who bought the guide realized they'd wasted their money trying to do something illegalnamely, grow and smoke potthey would also realize, thanks to John Laroche, that crime doesn't pay. Schemes like these, folding virtue and criminality around profit, are Laroche's specialty. Just when you have finally concluded that he is a run-of-the-mill crook, he unveils an ulterior and somewhat principled but always lucrative reason for his crookedness. He likes to describe himself as a shrewd bastard. He loves doing things the hard way, especially if it means that he gets to do what he wants to do but also gets to leave everyone else wondering how he managed to get away with it. He is quite an unusual person. He is also the most moral amoral person I've ever known.
I met John Laroche for the first time a few years ago, at the Collier County Courthouse in Naples, Florida. I was in Florida at the time because I had read a newspaper article reporting that a white manLarocheand three Seminole men had been arrested with rare orchids they had stolen out of a Florida swamp called the Fakahatchee Strand State Preserve, and I wanted to know more about the incident. The newspaper story was short but alluring. It described the Fakahatchee as a wild swamp near Naples filled with exceptional plants and trees, including some that don't grow anywhere else in the United States and some that grow nowhere else in the world. All wild orchids are now considered endangered, and it is illegal to take them out of the woods anywhere, and particularly out of a state property like the Fakahatchee. According to the newspaper, Laroche was the ringleader of the poachers. He provided the arresting officers with the proper botanical varietal names for all the stolen plants and explained that the plants were bound for a laboratory where they were going to be cloned by the millions and then sold to orchid collectors around the world.
I read lots of local newspapers and particularly the shortest articles in them, and most particularly any articles that are full of words in combinations that are arresting. In the case of the orchid story I was interested to see the words "swamp" and "orchids" and "Seminoles" and "cloning" and "criminal" together in one short piece. Sometimes this kind of story turns out to be something more, some glimpse of life that expands like those Japanese paper balls you drop in water and then after a moment they bloom into flowers, and the flower is so marvelous that you can't believe there was a time when all you saw in front of you was a paper ball and a glass of water. The judge in the Seminole orchid case had scheduled a hearing a few weeks after I read the article, so I arranged to go down to Naples to see if this ball of paper might bloom.
It was the dead center of winter when I left New York; in Naples it was warm and gummy, and from my plane I could see thick thunderclouds trolling along the edge of the sky. I checked into a big hotel on the beach, and that evening I stood on my balcony and watched the storm explode over the water. The hearing was the next morning at nine. As I pulled out of the hotel garage the parking attendant warned me to drive carefully. "See, in Naples you got to be careful," he said, leaning in my window. He smelled like daiquiris. It was probably suntan lotion. "When it rains here," he added, "cars start to fly." There are more golf courses per person in Naples than anywhere else in the world, and in spite of the hot, angry weather everyone around the hotel was dressed to play, their cleated shoes tapping out a clickety-clickety-clickety tattoo on the sidewalks.
The courthouse was a few miles south of town in a fresh-looking building made of bleached stone pocked with fossilized seashells. When I arrived, there were a few people inside, nobody talking to anybody, no sounds except for the creaking of the wooden benches and the sound of some guy in the front row gunning his throat. After a moment I recognized Laroche from the newspaper picture I'd seen. He was not especially dressed up for court. He was wearing wraparound Mylar sunglasses, a polyblend shirt printed with some sort of scenic design, a Miami Hurricanes baseball cap, and worn-out grayish trousers that sagged around his rear. He looked as if he wanted a cigarette. He was starting to stand up when the judge came in and settled in her chair; he sat down and looked cross. The prosecutor then rose and read the state's chargesthat on December 21, 1994, Laroche and his three Seminole assistants had illegally removed more than two hundred rare orchid and bromeliad plants from the Fakahatchee and were apprehended leaving the swamp in possession of four cotton pillowcases full of flowers. They were accused of criminal possession of endangered species and of illegally removing plant life from state property, both of which are punishable by jail time and fines.
Orlean's prose is always lucid, lyrical, and deceptively comfortable, but with The Orchid Thief, she's in danger of launching a national epidemic of orchid mania.
Orlean has crafted a classic tale of tropic desire, steamy and fragrant and smart and entertaining.
James W. Hall
The finest piece of nonfiction I've read in years: characters so juicy and wonderfully weird they might have stepped out of a novel, except these people are real.
From the Publisher
"Like the orchid, a small thing of grandeur, a passion with a pedigree . . . The Orchid Thief shows [Orlean's] gifts in full bloom." The New York Times Book Review
"A LESSON IN THE DARK, DANGEROUS, SOMETIMES HILARIOUS NATURE OF OBSESSION . . . YOU SOMETIMES DON'T WANT TO READ ON, BUT FIND YOU CAN'T HELP IT." USA Today
"IRRESISTIBLE . . . A brilliantly reported account of an illicit scheme to housebreak Florida's wild and endangered ghost orchid. Its central figure is John Laroche, the 'oddball ultimate' of a subculture whose members are so enthralled by orchids they 'pursue them like lovers.' " Minneapolis Star Tribune
"FASCINATING . . . TALES OF THEFT, HATRED, GREED, JEALOUSY, MADNESS, AND BACK-STABBING . . . AN ENGROSSING JOURNEY." Los Angeles Times
"ARTFUL . . . In Ms. Orlean's skillful handling, her orchid story turns out to be distinctly 'something more.' . . . Orchids, Seminole history, the ecology of the Fakahatchee Strand, the fascination of Florida to con men. . . . All that she writes here fits together because it is grounded in her personal experience. . . . [Her] portrait of her sometimes sad-making orchid thief allows the reader to discover acres of opportunity where intriguing things can be found." Christopher Lehmann-Haupt The New York Times
"ZESTFUL . . . A swashbuckling piece of reporting that celebrates some virtues that made America great. Here are visionary passions and fierce obsessions; heroic feats accomplished in exotic settings; outsize characters, entrepreneurs at the edge of the frontier, adventurers. . . . Orlean, an intrepid sociologist among the orchid fanatics, is also a poetic observer." The Wall Street Journal
Hot orchids are the starting point of Susan Orlean's account of plants and
people obsessed with them in the weird world that is south Florida. Along
the way she meets Seminoles, alligators, and a variety of crazy white men.
The Orchid Thief provides further, compelling evidence that truth is
stranger than fiction. In this case, it makes most entertaining reading.
Susan Orlean writes like a dream. The Orchid Thief is a horticultural page-turner, quite possibly the first of its kind.
1) Is there a hero in The Orchid Thief? An anti-hero?
2) Is the book subjective? Objective? Or a different genre altogether?
3) Some people describe this as "literary non-fiction." Is that how you would characterize it?
4) Susan Orlean resists the temptation to feel possessed by the orchids but she is willing to undergo great trials in order to satisfy her passion for reporting. Is this passion evident in her writing?
5) The passion for collecting is described in the book as a means of infusing meaning into life, subjecting the vicissitudes to some order, acquiring the ability to mold and change the nature of things, i.e. create life itself. What other means do humans employ to achieve the same ends, and how effective are they?
6) John Laroche would not describe himself as an orchid person. To him the orchid is a temporary albeit very intense passion, a means to an end, not an end in itself. How would you analyze the difference between Laroche's motives in collecting orchids and the regular orchid collectors we visit in the course of the book?
7) Laroche wrestles verbally with the thought that acting within what he considered the bounds of the law for his own immediate gain was ultimately an act of altruism. His rape of the Fakahatchee would force the law to be changed and close the loophole that allowed him to poach rare and wild orchids form an Indian reservation in the first place, thus protecting the species in the wild, and securing it for the marketplace at the same time. Is this the thought process of an amoral character? Or is he just an everyday charlatan? Discuss.
8) Laroche makes a very telling statement: "When I had my own nursery I sometimes felt like all the people swarming around were going to eat me alive. I felt like they were that gigantic parasitic plant and I was the dying host tree." Is Laroche playing the role of the victim, the martyr to a (preferably lost, but grand) cause or is he in control of his life by making a living off other people's weaknesses, whether it be a passion for orchids or pornography? Discuss.
9) Orlean seems fascinated by the story of Darwin and the study of the orchid with the eighteen inch nectary and the moth with the eighteen inch proboscis to feed on it: the idea that two totally different life forms evolved specifically to serve each other; that neither could have existed without the other. What has the evidence of the orchid's adaptability altered your perception of the theories of evolution?
10) Orlean interrupts her central narrative of John Laroche with stories of the orchid hunters of the past, the contemporary state for Florida and other histories. How does this affect the pace of the work?
11) Is the framework she has devised successful?
12) The Native Americans on the reservation are entitled by one law to remove protected species from their land. Is this law justified?
13) Orlean seems surprised by the abundance of sexual references to orchids in their book. Yet the flower is the prime sexual organ of most plants. Seek out a florist with a good representation of orchids. What alternative descriptions of these exotic flowers can you devise?
14) What is the real core, the central character, of the book: Laroche? Florida? Orchids? Native Americans? Darwin? Orlean?
15) As a reader, what did you expect from a book about orchids?
16) How did your experience for reading The Orchid Thief compare to what you expected?
17) The working title of The Orchid Thief was "Passion." What does that suggest about the themes in the book?
18) What, besides orchids, could generate a book like this?
19) Are there other subcultures or other objects of desire that might be as provocative?
Before the live bn.com chat, Susan Orlean agreed to answer some of our questions:Q: What would you consider the biggest surprise you came across while researching this book? Where there any times that you questioned what you were doing while researching and writing The Orchid Thief?
A: What was the biggest surprise I came across when researching this book? There were so many surprises that I can hardly choose the biggest. The story itself was a surprise to me: I had never heard of the Fakahatchee Strand; I didn't know that orchids grew wild in Florida; I didn't know the Seminole tribe is still technically at war with the United States; I knew nothing about the history of orchid collecting; and most importantly, I had no idea that people were as passionate about orchids as they are, although I've since come to realize that people can be passionate about anything, as long as they value it. Like any writer, I questioned what I was doing through the entire time I was writing The Orchid Thief! I asked myself repeatedly whether it was a story that had any greater meaning beyond the peculiarities of its subject, and I questioned whether anyone other than a hard-core orchid fanatic could be drawn into the tale.
Q: What to you are a few of the unique characteristics of southern Florida, the backdrop of The Orchid Thief?
A: South Florida is boundlessly interesting and strange. Physically, it is almost amphibian -- half land and half sea -- and it can seem to shift from one form to another almost seamlessly. There are plants and animals growing in South Florida that simply grow nowhere else in the world, and certainly nowhere else in the U.S. But there's more to its uniqueness than the physical: South Florida is a kind of dreamscape, filled with people who have been drawn to it because it seems to offer a chance to reinvent yourself and live a very different life. So much of it is new or in flux that it has the feel of something imagined, something that can change in a moment's notice, and the people who come in and out of South Florida seem to embody that feeling. That's what makes it fascinating and a little maddening -- a little hard to pin down.
Q: Who would you list as your literary influences?
A: My literary influences come from both fiction and nonfiction. I consumed huge quantities of Faulkner, Hemingway, Fitzgerald, and Joyce in my time and was really inspired by their work -- and continue to be. My nonfiction idols (in no particular order) are John McPhee, Joseph Mitchell, Joan Didion, Roger Angell, Michael Herr, Tim O'Brien, and the entire New Yorker roster of greats, including Mark Singer, Alec Wilkinson, and Ian Frazier.
Q: What is your current relationship with John Laroche? Has he seen the book?
A: I've stayed in touch a bit with Laroche, because we had to correct a few legal issues and needed his help on that, and also because we are both consultants on the movie script that Jonathan Demme is producing of The Orchid Thief. I don't talk to him often, but he did call me the other day and told me he'd read the book and that he thought I'd done "a pretty good job," which from Laroche is like getting a Nobel Prize. I'd say we will always have some kind of connection, considering what doing a project like this means to my life, and I assume to his. He's quite a character. I'm curious to see what he'll be up to in the next ten or 15 years.
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