Sunday, August 24, 2008

Research Paper

La’Tara Taylor ENC1102
Professor Myers
Research Paper
WordCount: 2595
Date:August 21, 2008
Poaching assists in the Conservation of Ochids
There is a lunatic fringe to the orchid world, and a fine line between the average grower and the horticulturally insane, but the orchid world is also full of all sorts of fascinating people who are hopelessly enchanted by the process of learning to grow these fascinating plants. These plants have a long, rich history and they stir up the deepest of human passions. People are mesmerized by exotic looking flowers, and like besotted insects, most people are instinctively drawn to orchids. Big, beautiful, sexy flowers seem to be the most common attraction, but there is far more to the orchid story than the showy flowers. Money, power and prestige attract a certain sort of person, but in the end I think that people simply enjoy the thrill of uncovering complex botanical secrets. Charles Darwin, while he was formulating his theory of evolution, became so intrigued by orchids that he wrote an entire book about the relationship between these plants and their pollinating insects. Confucius called a certain species of Chinese orchid "The king of fragrant plants", Samurai cultivated orchids, and even people like Captain Bligh collected orchids. These plants have a long and rich history. This attraction dates back to at least the third century B.C. No qualities of character or intellect can protect against the plants' strange allure.
Those infected by what is known as "orchidelirium" describe a condition not just beyond addiction but beyond hope. The power of orchids to provoke and stimulate the sexual consciousness of humans has long been recognized. Orchids are subtle, delicate, and voluptuous masters of disguise. They take on the shapes, scents and colors that seduce the insects they feed upon. But they are best of all at seducing humans. The craving of orchid fanatics for "trophy" specimens now drives a vast illicit market whose supply routes crisscross the world and which, in many ways, resembles the international trade in drugs and arms.
The role of orchid poachers/smugglers assists in the conservation of orchids. “Poaching is the illegal hunting, fishing or harvesting of wild plants or animals” (Nadelmann 231). Today, strict rules concerning the trade and collection of orchids and other endangered plants exist. Many orchids are extinct from their natural habitat or are in risk of being extinct. Natural areas are changed or destroyed by man (e.g. wood-cutting, irrigation). Orchids are also poached from nature. It's often said that the orchids anyhow will disappear over time. Many reason that “man” should influence nature as little as possible and let the ecosystems stay as they are and that if man would have to influence an ecosystem, there should also be actions taken to prevent a change of the ecosystem.
The purpose of this research paper is to show that poaching and over-exploitation are not the only threat to endangered species. Shrinking habitats, pollution and more recently global warming have all played a role in the endangerment of these species. Human encroachment is a bigger threat than poachers. As open land is developed, forests cut down, and marshes drained, wild orchids lose habitat. Poachers continue to seek out new species from remote areas to satisfy the needs of compulsive collectors; completely denying access to something people strongly desire rarely works. This paper will discuss how the effects of habitat destruction, and Convention on International Trade in Endangered Species (CITES) whose intent is to is to monitor and restrict trade in certain species of fish, wildlife, and plants to protect them from commercial exploitation that might diminish the ability of the species to survive in the wild, and pose a threat to the conservation of orchids.
The big debate is whether smuggling hastens the extinction of wild orchids or whether it helps to preserve them. The head of the Commercial Orchids Guild, Jerry Fisher, acknowledges that “he knows there is a lot of orchid smuggling going on, but he defends orchid collectors with most of the time being very concerned about the preservation of the various species, and he credits them with increasing knowledge about the plants” (Jeffries 54). Orchid collectors believe that the biggest threat to orchids is loss of habitat, specifically rain forests. Most orchids live in rain forests, and as we are all aware, millions of acres of rain forest are cut or burned down every year for mining, timber, farming and development.
It has not been that long ago when you could purchase "jungle collected" plants. Many orchid people thought that the only way to get most of the rare species was through jungle collecting. All that has changed now, with new laws created and enforced in many countries. Some nations are now preventing all collection of orchid species from the wild within their borders. On the surface, the ban against collecting is to be applauded. However, there is a problem with the anti-collection program in many countries. The species are protected but the habitat necessary for their survival is not. As populations increase, greater demands are made on the land. When the land is cleared, the natural habitat of the orchids is also destroyed. Many of you may know that huge sections of rainforest are cleared for the lumber or adapted for farming every day. Virgin mountainous regions are also being adapted for human use. What is the future of the orchid species in these areas? The loss of habitat also means the loss of orchids, including those species that have yet to be discovered.
Since natural habitats are being destroyed so rapidly, it is better for a smuggler to go into the jungle and remove these plants to aid in the prevention of extinction. Orchid growers want to collect more endangered species from the wild to preserve them. Environmentalists, of course, choose to focus on preserving entire ecosystems rather than a single species. They claim that collectors are motivated by greed more than anything because there are many otherwise pristine jungles that have had every orchid removed from them, making many species of orchid extinct in the wild. There is a big difference between removing a few specimens from the wild to ensure that a species never goes extinct and removing every last orchid from an ecosystem that may yet be saved.
Many have argued that overexploitation by humans is an important reason why many animal and plant species are endangered (humans also have an important indirect effect on wildlife and plant populations, due for example, to habitat loss). Many species are considered threatened and have been assigned special status to enhance their chance of survival. Currently the CITES regulates international trade in about 30,000 species in need of special consideration. They believe the worst crime against orchids is poaching and that some are dissatisfied with seeking orchids to view in their natural environment and transplant these plants to their yards or sell them to nurseries for a high price. Those who oppose orchid poaching continue to argue that first of all, removing plants from their natural habitat doesn’t allow anyone else to enjoy their beauty. Secondly, since orchid habitats are so sensitive, they typically die several years after being transplanted into a garden. Not only does this kill the individual plant, it also destroys its chances for reproduction.
Today, many orchids that are extinct in the wild due to habitat destruction continue to grow in greenhouses because of orchid poachers. When collectors believe that an orchid's habitat is on the verge of being completely destroyed, they will rush out to harvest the last orchids from the area. Without the financial incentive of the money to be recouped by selling the salvaged plants, it is very difficult to organize local efforts to collect orchids and other epiphytes prior to a forest's cutting or the construction of a hydroelectric project. Small numbers of plants can be relocated locally, but most suitable relocation sites already host their own flora. When an entire hillside is cut down or an entire valley flooded, the only real recourse for relocation is to move the salvaged stock into cultivation.
It is trade restrictions which endanger orchids and smugglers who preserve the various species for humanity to enjoy forever. Orchid collectors usually believe that CITES goes too far and is too strict in its plant regulations. They have two main problems with CITES. First of all, CITES highly regulates the gathering of orchids from the wild, but according to orchid growers, these regulations actually contribute more to the extinction of wild rare orchids than to their preservation, because under CITES it is either illegal or extremely difficult to remove endangered or rare orchid species from habitats that are being destroyed anyway. CITES does allow some orchids to be removed from the wild if the proper authorities decide that the species will not be harmed. However, this is difficult to do because there is a lot of paperwork to be filled out, which can take months to process. Also, there is no guarantee that authorization will be given. The orchid growers contend that unless CITES makes some concessions to the demand for these rare orchids, smuggling will continue and more species will become extinct.
“Individuals against the poaching of orchids state that primary protection comes from the 1973 Convention on International Trade in Endangered Species of Wild Flora and Fauna CITES treaty, signed by over 120 nations” (Bulte 21). This treaty stipulates that any species of plant or animal that is endangered cannot be commercially traded. Rare species that are not yet endangered may be removed from the wild and commercially traded, but those who do so must adhere to strict regulations designed to ensure that no more orchid species become endangered or extinct. It is perfectly legal to trade in nursery-produced orchids. Orchid growers may also use seeds or tips of leaves to grow orchid hybrids in their nurseries. Creating the plants in nurseries is known as artificial propagation, and this of course requires modern technology that was not available to the first orchid growers. Modern greenhouses are capable of imitating the temperature, moisture, and wind conditions that orchids thrive upon in the wild. Nursery owners often outdo nature by producing plants superior to those found in the wild healthier and with flowers that are larger and have more interesting colors.
However, if CITES was amended to allow for easier access to a limited number of rare or endangered specimens to be used in artificial propagation, there would be less smuggling and a greater chance that a species could be preserved in the wild. Orchid growers believe that overregulation of orchid trade is what has driven the price of orchids up, which in turn leads to smuggling. Most species of orchids can be bred from seed to produce thousands more plants, or else they can be cloned to produce the same amount. Cloning is a relatively new technique in the orchid world and it means that exact replicas of wild orchids can be produced in nurseries. It is because of the ease of cloning that most orchid growers believe that plants and animals should be treated separately under CITES. Secondly, orchid collectors also contend that some of the orchids protected under CITES are not exactly rare. Some growers want more research into which species are truly threatened and which should no longer be in CITES.
The orchid growers make some legitimate complaints about CITES. Since a single specimen can be cloned into thousands of specimens, it is probably acceptable to allow a very small number of endangered orchids to be used in this manner. It will at least ensure that the species survives. However, deciding who to allow cloning a plant that will be in high demand would be a tricky question. If every rare plant could be made widely available on the open market, smuggling would decline because it is in part dependent on providing access to rare and unique specimens.
When it comes to wildlife, there is a different approach taken, as the animals and birds that are confiscated from poachers are subsequently kept for rehabilitation and even for captive breeding before they are set free again in their natural habitat. However, when orchid plants are confiscated from poachers, they are disposed of, sometimes by destroying them, but most of the time they are abandoned and left to die. Our response to this crisis has been a call for cataloging organisms, rather than saving them. In the end we may know some of what has been lost but that will be poor compensation for the extinction of those organisms. If a significant number of orchid species are to be saved for future generations, the success of those endeavors will not be due to the efforts of governments or institutions. Hope rests with the non-governmental organizations and the voluntary efforts of individual men and women, working in single or in groups, for the survival of their favorite plants. In other words, the orchid societies around the world will be the ones responsible for the continuance of our orchids. As we face the extinction of so many species, our private collections and the disbursement of divisions of those plants will be the only way that orchid species may survive.
“The U.S. Fish and Wildlife Service estimate that only 10 percent of orchid collectors obtain orchids from the wild” (Lockwood 4). Some orchid growers are quite defensive, saying that the vast majority of law abiding orchid growers must put up with extremely cumbersome regulations because of the actions of the few. Many acknowledge that the orchid world needs to put more emphasis on conservation and to educate collectors about threatened and endangered species. Such work can be accomplished through such organizations as the American Orchid Society, which has created a conservation committee.
If orchids were allowed to be collected, the orchids then could be protected. Many species that otherwise would become extinct would be saved. Ideally, worldwide environmental laws need to be expanded to protect not only the threatened animals and plants, but the necessary habitat needed for their survival. In reality, however, this solution is not currently possible in many parts of the world due to political and economic forces at work in those areas. Collection of orchids from the wild then propagation under artificial conditions is the only viable solution to the ultimate survival of many orchid species. If you could change things, what would you do? Would you leave the situation as it is, the complete ban on collecting of all orchids, or would you allow the collecting in areas that were being destroyed for farmland and other uses? These questions are currently under consideration in many countries. Perhaps the situation will change and the thousands of orchids that are destroyed every day will have the opportunity to survive in a greenhouse.






Works Cited
Bulte, Erwin H., Kootan, Cornelis V. State Intervention to Protect Endangered Species: Why History and Bad Luck Matter. Conservation Biology. 15.6 (2001): 1799-1803. JSTOR. Florida Community College Library, Jacksonville, FL. 18 July 2008 .

Nadelmann, Ethan A. Policing the Globe: Criminalization and Crime Control in International Relations. Oxford: New York Oxford University Press, 2006. Electronic Books. Florida Community College Library Jacksonville, FL.18 July 2008. .

Jeffries, Mike J. Biodiversity and Conservation. London: New York Taylor & Francis Routledge. 2006. Electronic Books. Florida Community College Library Jacksonville, FL.18 July 2008. .

Lockwood, Michael, Worboys, Graeme, Kothari, Ashish. Managing Protected Areas: A Global Guide. Sterling, London: VA Earthscan Publications Ltd., 2006. Electronic Books. Florida Community College Library Jacksonville, FL.18 July 2008. .

Thursday, August 14, 2008

Critical Analysis

La’TaraTaylor
ENC1102

Professor Myers

CriticalAnalysis

WordCount: 1000

Date: July 22, 2008


“A Deadly Obsession”


Susan Orlean’s The Orchid Thief is an adventurous novel which gives a meticulous description of the history and the development of orchids. Visionary passion and fierce obsessions are demonstrated, in reference to the great desire individual’s posses to obtain this historically significant piece of nature. The passion for collecting is described in the book as a means of infusing meaning into life, subjecting the vicissitudes to some order, and acquiring the ability to mold and change the nature of things. This book is not about flowers and it's not about Laroche; it's about obsession and the lengths people will travel to satisfy an urge or an addiction. For these people the addiction is orchids and the victims are diverse: Florida Seminoles, Park Rangers, Literature Professors, Adventurers, and members of the English House. Orlean’s most evident description of obsession is demonstrated in the text through her employment of syntax and plot.


Orlean has a delicious sense of wonder, a beautiful and lyrical writing style, and an eye for fascinating details. She has the ability to place the reader in the middle of a swamp, at an orchid show, or on an expedition into the wilds of South America. Not only does Orlean provide the reader with little known facts about orchids, but she also explores some of the oddities of human nature. What causes people to become so passionate about collecting orchids that they risk their fortunes or even their lives to acquire rare species of this coveted plant? When does a passion for collecting orchids become an unhealthy obsession? Orlean uses style to help the reader understand the main character. Writing style is the manner in which a writer addresses a matter in prose, a manner which reveals the writer's personality, or voice. It is particularly evident in the choices the writer makes in syntactical structures, diction, and figures of thought.


Orlean hopes Laroche will offer her insight into orchid mania, and he makes a lively, contrary companion as he guides her through Florida's often bizarre botanical subculture. In Palm Beach mansions and low-rent bungalows, at conferences, galas, and greenhouses, she is introduced to devotees who regale her with accounts of rivalries and discoveries, of lives both ruined and enlightened by a passion for "the most compelling and maddening of all collectible living things." Determined not to succumb to the flower lust, Orlean does succumb. In the end, she makes a heart-of-darkness trek into the frightening Fakahatchee swamp. As Orlean reveals her own desire to find the elusive white flower, orchid mania resonates as a metaphor for any obsession. Fanatic behavior, she suggests, is really admirable optimism. This is an excellent example of the author employing narrative modes by placing action filled and adventurous moments within the novel. This is beneficial because it adds voltage to Orleans form of style.


The Orchid Thief allows the reader to view taut prose from an acute observer of the psychological backwaters of modern human experience. Orlean writes with a sideways glance at her main character, John Laroche, who by twists and turns of his genius and deviant mind is the meandering throughline of this personal history. He is the titular thief who, along with some Seminole Indians, gets caught red-handed in the Fakahatchee Strand collecting endangered orchids. His eventual conviction is secondary to a telling string of tales about orchid people, nurseries, Seminoles and, not least, the Florida Peninsula itself. Orlean, as narrator, is sometimes a bit too wide-eyed. One of her tricks is to convince us she only half believes Laroche and then is, after ample initiation, able to sort out his aberrant behaviors. She sees through the foibles of Laroche's indulgent, chain-smoking know-it-all deviance, still admiring his ability to move on from utter failure. Her casual interest in orchids is piqued but then reined in after seeing others' orchid addictions. She is most enamored of one species (because of Laroche), the Ghost Orchid, the species on which Laroche is sure he'll make his millions. The species woos her throughout driving the plot to its ultimate conclusion. Plot is all the events in a story particularly rendered towards the achievement of some particular artistic or emotional effect. A plot's structure is the way in which the story elements are arranged. Writers vary structure depending on the needs of the story. For example, in Orleans The Orchid Thief, the author withheld plot exposition until later in the story. In this text it is at the end of the story where you understand Orlean’s true feeling in reference to seeing the ghost orchid. At the conclusion of the book Orlean states “At this point I realized it was just as well that I never saw a ghost orchid, so that it could never disappoint me, and so it would remain forever something I wanted to see” (Orlean 232). This is important because throughout the book Orlean continually voices her desire to see a ghost orchid in bloom. Orlean’s expectations of seeing the ghost orchid were so elevated that it led the reader to believe up until the very last few words of the text that her anticipation would come to reality. However, this revelation no matter how many times she visited various nurseries and the Fakahatchee failed to occur.


Throughout this text the elements of style and plot were demonstrated in various way to grasp the readers attention and provide an in depth description of the story line. Unity is established in The Orchid Thief because Orlean formulated a beginning, middle, and an end which included plausibility, surprise, and suspense. The style Orlean provided revealed her way of perceiving experience and organizing perceptions. Orleans writing of The Orchid Thief’s was heavily descriptive, with emphasis on setting and atmosphere. It also offers focus on action and plot movement. Lastly, all elements of literary nonfiction were presented in a manner which assured the reader was able to understanding the characters in the story, see their evolution throughout the manuscript, and make inferences in relation to the plot.



Works Cited
Orlean, Susan. The Orchid Thief. New York: Random, 1998.

Synthesis

La’TaraTaylor ENC 1102
ProfessorMyers
Synthesis Essay
WordCount:934 Date: July 31, 2008

“Obsession”

The book The Orchid Thief, written by Susan Orlean and the film Adaption, directed by Spike Jonze pose interesting points when being compared with various elements of literary nonfiction. A common demonstration of how passion and beauty can be transformed into obsession is vividly displayed in both pieces. The film demonstrates obsession through the screen writer mentally and physically becoming obsessed with the pursuance of the screen play and the book through Orlean describing the various ways in which the characters displayed a preoccupation with the feeling or idea of orchids. Obsession can be established through the elements of tone, characterization, plot, and characterization in the film and the text.

Adaptation is, among many other things, a comedy about Kaufman’s inability to come up with a way to adapt the book as a conventional drama, so he ended up writing a movie about a screenwriter who can’t figure out a way to adapt The Orchid Thief. When doing this he ends up inserting himself into his own script. The film is about the despair of an artist trying to be passionate about what he does. Ironically, it’s also about the miseries of having creative freedom, when there is no one to blame but yourself for what you come up with. The movie The Orchid Thief definitely had an emotional twist with a complicated, strange and funny ending. The text is about the time spent with an orchid thief, John Laroche and the flowers he is obsessed with; it is also about the self-reflection of the author and her need to find something to feel passionate about. The Orchid Thief was heavily influenced by tone and within this nonfiction manuscript Orlean presented the facts while Adaptation crosses the line between fact and fiction.

Kaufman who portrays the writer as a classic schlep: morose, insecure, self-obsessed, needy, fat, balding, pretentious, a failure with women, cursed with the fear that he may be a one-hit wonder. Rescuing him, temporarily, is the job of adapting "The Orchid Thief," the New Yorker piece and book in which writer Orlean chronicled, with typical New Yorker literacy and sprawl, her fascination with the orchid obsession of Florida flower bandit John Laroche. Characterization is used by an author to develop a character. The method includes showing the character's appearance, displaying the character's actions, revealing the character's thoughts, letting the character speak, and getting the reactions of others. This is demonstrated in the film by Jonze’s revealing Charlie Kauffman’s thoughts in reference to orchid’s, he stated “life is full of things like the ghost orchid, wonderful to imagine and easy to fall in love with” (Jonze). In The Orchid Thief, Orlean exhibits the passion for collecting in the book by means of infusing meaning into life, subjecting the vicissitudes to some order, and acquiring the ability to mold and change the nature of things. After viewing others in relation to the orchids Orlean gives a flamboyant description of her thoughts when she states, “Collecting can be a sort of love sickness. If you collect living things, you are pursuing something imperfectible, because even if you manage to find and possess the living thing you want, there is no guarantee they won’t die or change” (Orlean 53)”. Both examples allow the reader to visualize each character’s view of orchids and to envision it effectively according to their objectives, plans, and desires.

The Orchid Thief contains much, well-researched information on orchids, orchid hunters, orchid growers, and orchid shows and societies but it is, most of all, an illustration of the phenomenon of human passion and obsession: the distinction being that passion is motivating and guiding whereas obsession is reckless and self-destructive. The title of Adaptation doesn't only refer to what Kaufman is doing to Orlean's book. It is also meant in the Darwinian sense - which humans adapt to circumstances. Adaptation has a serious point or two to divulge. In particular, it's about the importance of passion in every endeavor. Laroche's passion is orchids. Orlean's one great need in life is to feel passion about something and Kaufman desperately wants to write something original, not generic or derivative. In literature, a plot is all the events in a story particularly rendered towards the achievement of some particular artistic or emotional effect. An intricate, complicated plot was exhibited throughout the contents of the book and the film this plot is known as an imbroglio. Orlean wrote herself into the story of John Laroche, who was caught stealing orchids and other rare plants out of Florida's Fakahatchee State Preserve, and Kaufman follows suit by writing himself into the movie about his creation of a screenplay of the book The Orchid Thief. They both exhibited a common premise of obsession. Orlean provides an example of how obsessed one can become, “A few years ago, thirty thousand orchids belonging to a man in Palm Beach all died. He blamed methane fumes from a nearby sewage station. He sued the county and received a settlement, but began what his family called “a downhill slide.” He was arrested for attacking his father, then for firing a sixteen-gauge shotgun into a neighbor’s house, then for carrying a concealed knife, pistol, and shotgun. “It was the death of his orchids, his son told a reporter” (Orlean 53).

Throughout the book and film “Charlie Kaufman writes the way he lives, with great difficulty. His twin brother Donald lives the way he writes, with foolish abandonment. Susan writes about life but can not live it and John's life is a book waiting to be adapted. This is one story composed with four lives and a million ways in which it can end” (Jonze). Both the film and the book speak beautifully about the topic of addiction, obsession and passion. Orlean’s book describes passion itself, and the amazing lengths to which people will go to gratify it. The text presented two main stories; the story of the orchid itself, as an exotic prize that was long coveted by the rich of the world, and the modern story of John Laroche and his quest for the elusive Ghost Orchid, an eerily beautiful flower that blossoms briefly in some of the most seemingly unattainable locales. In the film Jonze presented the movie by describing Kaufman inability to adapt The Orchid Thief into a film. Lastly, Jonze describes the title of film by stating “Adaptation is a profound process. Means you figure out how to thrive in the world” (Jonze). This efficiently describes the process in which Kaufman endured to complete the screen play for The Orchid Thief.




















Works Cited
Orlean, Susan. The Orchid Thief. New York: Random, 1998.

Adaption. Dir. Spike Jonze. 2003. DVD. Columbia Pictures.

Tuesday, August 12, 2008

Interpretive Essay

La’Tara Taylor ENC1102
Professor Myers
Interpretive Essay
Word Count: 885 Date: July 15, 2008

The Orchid Thief: Forms of Literary Non-fiction

Literary non-fiction represents a genre of both the innate power of the real and the deep significance of the fictional. This is displayed brilliantly in The Orchid Thief, which is a non-fiction book by America journalist and author Susan Orlean, based on her investigation of the 1994 arrest of John Laroche and a group of Seminoles in south Florida for poaching rare orchids in the Fakahatchee Strand State Preserve. The book is based on an earlier article that Orlean wrote for The New Yorker magazine. Orleans encounters with Laroche allowed the reader to obtain knowledge and understanding from the prospective of the character John Laroche who was known as the “orchid thief.” The Orchid Thief demonstrates three forms of literary non-fiction clearly in the chapter “The Millionaires Hothouse.” Throughout the novel each element became a story in itself, much more interesting and involved than the one before. The forms of literary non-fiction present were personal experience, sense of place, and slice of history which is effectively displayed in the chapter of reference.

Personal experience provides insights into more familiar activities and allows the writer to draw significance from familiar episodes that can take place in an infinite number of forms. Orlean exhibits this powerfully in the chapter entitled “The Millionaires Hothouse”. Of the numerous examples the one that vividly describes personal experience is when Orlean writes, “When Laroche was a teenager he was fleetingly obsessed with photography. He decided he had to photograph every single species of Florida orchid in bloom, so every weekend for a while he loaded his mother with cameras and tripods and the two of them would trudge for hours through the woods. He wasn’t content for very long with merely photographing the orchids---he soon decided he had to collect the orchids themselves” (Orlean 13). This form of literary non-fiction is beneficial to the text because it gives the reader an idea of where and when Larches’ love of orchids developed. It offers a personal memoir in which Orlean provides examples of Laroche’s reminisces of his past. If personal experiences were not evident in the novel the reader would not be able to relate previous events that took place to the characters current actions and behaviors.

A sense of place is exhibited when Orlean not only uses visual details but her own strong sense of ambivalence throughout the text. In The Orchid Thief, Orlean’s implications along with the reader’s inference reveal the importance and connection of scene, and how the choice of showing or telling improves the sense of place. On Florida, Orlean writes, “At the same time the wilderness disappears before you eyes: fifty acres of Everglades dry up each day, new houses sprout on sand dunes, every year a welt of new highways rises” (Orlean 10). Then Orlean’s continues to state “That’s the way Florida strikes me, always fomenting change, its natural landscapes just moments away from being drained and developed, its most manicured places only an instant away from collapsing back into a jungle” (Orlean 10). The relationship between the two is important to the text because it gives the reader a chance to visualize and experience a particular place of origin through a variety of senses. The beneficial aspect of this form of literary non-fiction is if the reader has never had the opportunity to visit an exotic place, a vivid description can be portrayed mentally.

A range from recent prior events to the distant past can be revealed in the text through the literary aspect of slice of history. Orlean exhibits this form of literary non-fiction when she writes “Orchids have grown in the Florida swamps and hammocks since the swamps and hammocks existed, and orchids have been cultivated in Florida greenhouses since the end of the 1800s” (Orlean 18). This is significant because it gives historical details in reference to the relationship of the subsistence of orchids and their development in greenhouses. This form of literary non-fiction is used less frequently because of the research involved and its heavy reliance on facts; however, slice of history provides a valuable source of historical data. A slice of history is vital in this text because it provides the reader information of factual historic events that are relevant to the characters, plot, and theme of the book.

The "literary" in literary nonfiction pertains to the exploration of these elements. It also defines how the story itself is told. Literary nonfiction writers commonly use the techniques of fiction, including creation of a narrative arc, character development, scene-setting, action sequences, dialog and interior monolog. The true stories they write using these techniques have the drama of fiction and force of fact. Orlean describes her life in great detail through all six basic forms of literary nonfiction. This is accomplished vividly throughout the novel to ensure that the reader is able to encompass all aspects of Orlean’s being with the turn of every page. Throughout the chapter “The Millionaires Hothouse,” personal experience, sense of place, and slice of history worked together to formulate a detailed account of events that enabled the reader to relive the experience personally.


Works Cited
Orlean, Susan. The Orchid Thief. New York: Random, 1998.