The Orchid Thief: A True Story of Beauty and Obsession by Susan Orlean

From Barnes & Noble

Barnes & Noble Discover Great New Writers
Whatever the reason for their particular appeal, orchids, since their arrival in America in 1838, have come to symbolize elegance. Yet essayist Susan Orlean uncovers the rough drama behind the flower's history, recounting tales of paid professional hunters who met their deaths through drowning, fever, and murder in locales like Bhamo, Myanmar, Panama, and Ecuador. Contemporary Florida, it turns out, is a hotbed for the shady side of orchid mania, and it is there that Orlean meets the "thief" of her title, John Laroche. A reckless iconoclast, Laroche is an orchid breeder who gleefully cooks seeds in his microwave. After the wealthy Seminole tribe hires him to run a nursery, he concocts a grandiose scheme to obtain a rare "ghost" orchid from the Fakahatchee Strand State Preserve and clone it. The slight hitch is that, under Florida's Endangered Species law, it's illegal to collect wild orchids. The Seminoles, however, consider themselves at war with America, and Laroche enlists a few members to commit the actual theft, assuming that Native Americans are exempt from government law. After stuffing 200 orchids into pillowcases, Laroche and his cohorts are arrested, and Laroche is convicted.

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." In the end, Orlean herself succumbs to orchid mania and makes a heart-of-darkness trek into the frightening Fakahatchee swamp, taking the reader on a fascinating journey in which obsession ultimately becomes, in her vision, an optimistic belief in "the perfectibility of some living thing" and its power to transform our lives.

From the Publisher

The Orchid Thief is the true story of John Laroche, an obsessed Florida plant dealer willing to go to any lengths to steal rare and protected wild orchids and clone them, all for a tidy profit. But the morality of Laroche's actions do not drive the narrative of Orlean's strange, compelling, and hilarious book. She is much more interested in the spectacle this unusual man creates through his actions, including one of the oddest legal controversies in recent memory, which brought together environmentalists, Native American activists, and devoted orchid collectors. She follows Laroche deep into Florida's swamps, tapping into not only the psyche of the deeply opinionated Laroche but also the wider subculture of orchid collectors, including aristocrats, fanatics, and smugglers whose obsession with plants is all-consuming. Orlean portrays the weirdness of it all in wonderful detail, but, ultimately, the book is primarily about passion itself and the amazing lengths to which people will go to gratify it.

Steve Silk - Fine Gardening

Thievery is one thing, but any gardener swept away by the beauty of a plant can understand obsession, especially when it takes the form of an absolute, unbearable need to possess some delicate charm. And that obsession to own runs deep in those consumed by the surreal beauty of orchids. Susan Orlean explores the obsessive nature of those passions in this fascinating story of treachery, greed, jealousy, and lust among orchid hunters and collectors in South Florida. It's a tale rife with fascinating characters, exotic locales, and oddities of all kinds.

Salon - Sally Eckhoff

Susan Orlean, a New Yorker essayist, is fond of leafing through small-town newspapers. She knew she was on to something when she tripped over the following odd combination of words in a Florida daily: "swamp," "orchids," "Seminoles," "cloning," "arrest." The tiny news item, about an upcoming hearing for an accused rare-plant poacher, had "cool story" written all over it. And so, Orlean, a pale and completely unpretentious redhead who makes Maxfield Parrish's models look like she-bears, took off for Naples, Fla., to investigate. The scene was not exactly what she expected. Soon she was standing hip-deep in the steaming Fakahatchee Swamp beside the very man the fuss was all about, a driven, eccentrically charming weirdo who struck her as handsome despite his lack of teeth. Their quarry: the rare polyrrhiza lindenii, or ghost orchid, which is federally protected and grows nowhere else in the world.

John Laroche, the orchid thief, had been trying to spirit several pillowcases full of ghost orchids out of the swamp when he was arrested. That's how he first made the papers. His three Seminole assistants were supposed to legitimize the theft, since the Fakahatchee is Seminole land. It's not surprising that he'd risk his neck in order to snag such booty. Propagating and selling ghost orchids -- as the botanically savvy Laroche was fully able to do -- would have made him very rich. What's especially strange about The Orchid Thief -- and it becomes increasingly fascinating as the story progresses -- is what a big deal orchids are. There's a rollicking history of orchidmania in here, if you can imagine such a thing, and a series of cameos depicting nurserymen and international smuggling. Ultimately, Laroche turns out to be just another nut in a long line of orchid nuts.

Orlean's buoyant, self-assured style makes the journey fun, especially when she's looking at the plants themselves, which are astonishing in their variety. "There are species that look like butterflies, bats, ladies' handbags, bees, swarms of bees, female wasps, clamshells, roots, camel hooves, squirrels, nuns dressed in their wimples, and drunken old men," she writes, particularly dazzled by a flower that looks like a pig on a swizzle stick. "People say a ghost orchid in bloom looks like a flying white frog -- an ethereal and beautiful flying white frog." Are we going to get to see one? There's real suspense around this question, and it lasts until the very last page.

Sally Eckhoff - Salon.com

Susan Orlean, a New Yorker essayist, is fond of leafing through small-town newspapers. She knew she was on to something when she tripped over the following odd combination of words in a Florida daily: "swamp," "orchids," "Seminoles," "cloning," "arrest." The tiny news item, about an upcoming hearing for an accused rare-plant poacher, had "cool story" written all over it. And so, Orlean, a pale and completely unpretentious redhead who makes Maxfield Parrish's models look like she-bears, took off for Naples, Fla., to investigate. The scene was not exactly what she expected. Soon she was standing hip-deep in the steaming Fakahatchee Swamp beside the very man the fuss was all about, a driven, eccentrically charming weirdo who struck her as handsome despite his lack of teeth. Their quarry: the rare polyrrhiza lindenii, or ghost orchid, which is federally protected and grows nowhere else in the world.

John Laroche, the orchid thief, had been trying to spirit several pillowcases full of ghost orchids out of the swamp when he was arrested. That's how he first made the papers. His three Seminole assistants were supposed to legitimize the theft, since the Fakahatchee is Seminole land. It's not surprising that he'd risk his neck in order to snag such booty. Propagating and selling ghost orchids -- as the botanically savvy Laroche was fully able to do -- would have made him very rich. What's especially strange about The Orchid Thief -- and it becomes increasingly fascinating as the story progresses -- is what a big deal orchids are. There's a rollicking history of orchidmania in here, if you can imagine such a thing, and a series of cameos depicting nurserymen and international smuggling. Ultimately, Laroche turns out to be just another nut in a long line of orchid nuts.

Orlean's buoyant, self-assured style makes the journey fun, especially when she's looking at the plants themselves, which are astonishing in their variety. "There are species that look like butterflies, bats, ladies' handbags, bees, swarms of bees, female wasps, clamshells, roots, camel hooves, squirrels, nuns dressed in their wimples, and drunken old men," she writes, particularly dazzled by a flower that looks like a pig on a swizzle stick. "People say a ghost orchid in bloom looks like a flying white frog -- an ethereal and beautiful flying white frog." Are we going to get to see one? There's real suspense around this question, and it lasts until the very last page.

Newsday

Damp heat, bugs, wild hogs, snapping turtles, poisonous snakes — and orchids...Wouldn't have missed it.

Vanessa Friedman - Entertainment Weekly

...[T]he portraits here are finely drawn and certainly a pleasure to read...

Christopher Lehmann-Haupt - New York Times

...[A]rtful....her orchid story turns out to be distinctly "something more"....Ms. Orlean's portrait..allows the reader to discover...acres of opportunity where intriguing things can be found.

USA Today

A lesson on the darkdangeroussometimes hilarious nature of obsession...You sometimes don't want to read onbut find you can't help it.

Detroit Free Press

Deliciously weird...luscious and oozy as a caramel left to sweat in the Miami sun.

Richard Rudgley - London Review of Books

...[F]ull of twists and turns....a fascinating account of one remarkable life form in pursuit of another, the cast of fanatics being as weird and wonderful as the hybrids themselves.

New York Times Book Review

Stylishly written, whimsical yet sophisticated, quirkily detailed...It shows Orlean's gifts in full bloom. —Ted Conover

Publishers Weekly

For listeners seeking to learn something new, Orlean offers a whimsical look at the sexy, mysterious world of orchids. Perfect for anyone who wants to know a little bit about a lot of things, this quirky, quintessential New Yorker story pulls back the curtain on a community of people who are driven by a passion to collect and cultivate some very exotic plants. New York journalist Orlean first learned about orchid "thief" John Laroche by reading a story about him in a local Florida newspaper. He (along with his henchmen, three Seminole Indians) had been taken to court for removing an endangered species of orchid from the state's Fakahatchee Swamp. Orlean hightailed it down to the Sunshine State to investigate and wound up immersing herself in the wacky world of orchid maniacs, intrigued more by their passion than by the orchids themselves. Myers's reading vacillates between the inspiring and the pedagogical. When reading passages about the over-the-top nature of some eccentric orchid collectors, her tone borders on the affected. But during the book's more introspective moments, as when Orlean wishes she could be as passionate about something as her subjects are about orchids, Myers turns quiet and pensive. Overall, Myers's enthusiastic performance is a perfect complement to Orlean's book and the new motion picture loosely based on it, Adaptation. Based on the Random hardcover. (Sept.) Copyright 2002 Cahners Business Information.

Library Journal

The thief in question and offbeat genesis for New Yorker writer Orlean's book is ever-quotable eccentric John Laroche, whose craving for the rare orchid eventually lands him and three Indian accomplices in a Florida courtroom--and allows Orlean to write her appreciative and lyrically funny profile of obsession and Florida. (LJ 1/99) Copyright 2000 Cahners Business Information.

Vanessa Friedman - Entertainment Weekly

...[T]he portraits here are finely drawn and certainly a pleasure to read...

Matthew Heimer - Brill's Content

...[A]n engrossing tale of eccentric ambitions....[A] vivid, sympathetic account.

Kirkus Reviews

Expanded from a New Yorker article, this long-winded if well-informed tale has less to do with John Laroche, the "thief," than it does with our author's desire to craft a comprehensive natural and social history of what the Victorians called "orchidelirium." Orlean (Saturday Night) piles anecdote upon detail upon anecdote—and keeps on piling them.

Laroche, who managed a plant nursery and orchid propagation laboratory for the Seminole tribe of Hollywood, Florida, was arrested, along with three tribesmen, in 1994 for stealing rare orchids—"endangered species"—from the Fakahatchee Strand State Preserve. He had intended to clone the rarer ones (in particular, the so-called "ghost orchid") and sell them on the black market. Always a schemer and an eccentric hobbyist (old mirrors, turtles, and Ice Age fossils all fascinated him), Laroche figured he'd make millions. Found guilty, he was fined and banned from the Fakahatchee; the Seminoles, ostensibly exempt under the "Florida Indian" statute concerning the use of wildlife habitats, pled no contest.

But Laroche's travails form only the framework for Orlean's accounts of famous and infamous orchid smugglers, hunters, and growers, and for her analyses of the mania for "the most compelling and maddening of all collectible living things." She traces the orchid's arrival in the US to 1838, when James Boott of London sent a tropical orchid to his brother in Boston. That collection would eventually be housed at Harvard College. Orlean includes passages on legendary hunter Joseph Hooker, eventually director of the Royal Botanical Gardens; on collectors, such as the man who kept 3,000 rare orchids atop his Manhattantownhouse; and of other floral fanatics.

What People Are Saying

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.

Katherine Dunn
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.

Bob Shacochis
Orlean has crafted a classic tale of tropic desire, steamy and fragrant and smart and entertaining.

Michael Pollan
Susan Orlean writes like a dream. The Orchid Thief is a horticultural page-turner, quite possibly the first of its kind.

Andrew Weil
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.

Product Details

• Table of Contents
• Interviews & Essays
• Reading Group Guide
• Read an Excerpt
• Read a Sample Chapter

Table of Contents

Interviews & Essays

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.

Reading Group Guide

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?

Read an Excerpt

Read a Sample Chapter

The Millionaire's Hothouse

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 else--lapidary I think--then 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 optimism--that 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 illegal--namely, grow and smoke pot--they 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 man--Laroche--and 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 charges--that 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.

    The judge listened with a blank expression, and when the prosecutor finished she called Laroche to testify. He made a racket getting up from his seat and then sauntered to the center of the courtroom with his head cocked toward the judge and his thumbs hooked in his belt loops. The judge squinted at him and told him to state his name and address and to describe his expertise with plants. Laroche jiggled his foot and shrugged. "Well, Your Honor," he said, "I'm a horticultural consultant. I've been a professional horticulturist for approximately twelve years and I've owned a plant nursery with a number of plants of great commercial and ethnobiological value. I have very extensive experience with orchids and with the asexual micropropagation of orchids under aseptic cultures." He paused for a moment and grinned. Then he glanced around the room and added, "Frankly, Your Honor, I'm probably the smartest person I know."

---

I had never heard of the Fakahatchee Strand or its wild orchids until I heard about John Laroche, in spite of the fact that I'd been to Florida millions of times. I grew up in Ohio, and for years my family went to Miami Beach every winter vacation, staying at hotels that had fishing nets and crusty glass floats decorating the lobbies and dwarf cabbage palms standing in for Christmas trees. Even then I was of a mixed mind about Florida. I loved walking past the Art Deco hotels on Ocean Drive and Collins Road, loved the huge delis, loved my first flush of sunburn, but dreaded jellyfish and hated how my hair looked in the humidity. Heat unsettles me, and the Florida landscape of warm wideness is as alien to me as Mars. I do not consider myself a Florida person. But there is something about Florida more seductive and inescapable than almost anywhere else I've ever been. It can look brand-new and man-made, but as soon as you see a place like the Everglades or the Big Cypress Swamp or the Loxahatchee you realize that Florida is also the last of the American frontier. The wild part of Florida is really wild. The tame part is really tame. Both, though, are always in flux: The developed places are just little clearings in the jungle, but since jungle is unstoppably fertile, it tries to reclaim a piece of developed Florida every day. At the same time the wilderness disappears before your eyes: fifty acres of Everglades dry up each day, new houses sprout on sand dunes, every year a welt of new highways rises. Nothing seems hard or permanent; everything is always changing or washing away. Transition and mutation merge into each other, a fusion of wetness and dryness, unruliness and orderliness, nature and artifice. Strong singular qualities are engaging, but hybrids like Florida are more compelling because they are exceptional and strange. Once near Miami I saw a man fishing in a pond beside the parking lot of a Burger King right next to the highway. The pond was perfectly round with trim edges, so I knew it had to be phony, not a natural pond at all but just the "borrow pit" that had been left when dirt was "borrowed" to build the roadbed of the highway. After the road was completed and the Burger King opened, water must have rained in or seeped into the borrow pit, and then somehow fish got in--maybe they were dropped in by birds or wiggled in through underground fissures--and pretty soon the borrow pit had turned into a half-real pond. The wilderness had almost taken it back. 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 jungle. A few years ago I was linked to Florida again; this time my parents bought a condominium in West Palm Beach so they could spend some time there in the winter. There is a beautiful, spruced-up golf course attached to their building, with grass as green and flat as a bathmat, hedges precision-shaped and burnished, the whole thing as civilized as a tuxedo. Even so, some alligators have recently moved into the water traps on the course, and signs are posted in the locker room saying LADIES! BEWARE OF THE GATORS ON THE GREENS!

    The state of Florida does incite people. It gives them big ideas. They don't exactly drift here: They come on purpose--maybe to start a new life, because Florida seems like a fresh start, or to reward themselves for having had a hardworking life, because Florida seems plush and bountiful, or because they have some new notions and plans, and Florida seems like the kind of place where you can try anything, the kind of place that for centuries has made entrepreneurs' mouths water. It is moldable, reinventable. It has been added to, subtracted from, drained, ditched, paved, dredged, irrigated, cultivated, wrested from the wild, restored to the wild, flooded, platted, set on fire. Things are always being taken out of Florida or smuggled in. The flow in and out is so constant that exactly what the state consists of is different from day to day. It is a collision of things you would never expect to find together in one place--condominiums and panthers and raw woods and hypermarkets and Monkey Jungles and strip malls and superhighways and groves of carnivorous plants and theme parks and royal palms and hibiscus trees and those hot swamps with acres and acres that no one has ever even seen--all toasting together under the same sunny vault of Florida sky. Even the orchids of Florida are here in extremes. The woods are filled with more native species of orchids than anywhere else in the country, but also there are scores of man-made jungles, the hothouses of Florida, full of astonishing flowers that have been created in labs, grown in test tubes, and artificially multiplied to infinity. Sometimes I think I've figured out some order in the universe, but then I find myself in Florida, swamped by incongruity and paradox, and I have to start all over again.

---

By the time everyone finished testifying at the orchid-poaching hearing, the judge looked perplexed. She said this was one of her most interesting cases, by which I think she meant bizarre, and then she announced that she was rejecting the defendants' request to dismiss the charges. The trial was scheduled for February. She then ordered the defendants--Laroche, Russell Bowers, Vinson Osceola, and Randy Osceola--to refrain from entering the Fakahatchee Strand State Preserve until the case was concluded. Then she excused the orchid people and turned her attention to a mournful-looking man who was up on drug-possession charges. I caught up with Laroche right outside the courthouse door. He was smoking and standing in a huddle with three other men: the Seminole tribe's lawyer, Alan Lerner, and the vice president of the tribe's business operations, Buster Baxley, and one of the codefendants, Vinson Osceola. The other two Seminoles hadn't come to the hearing; according to Alan Lerner, one of them was sick and the other was nowhere to be found.

    Buster looked as if he was in a bad mood. "I'm going right now into that swamp with a chain saw, I swear to God," he fumed. "God damn."

    Laroche ground out his cigarette. "You know, I feel like I've been screwed," he said. "I've been fucking crucified."

    Alan Lerner dribbled his briefcase from hand to hand. "Look, Buster," he said, "I did try to make our point. I reminded the judge that the Indians used to own the Fakahatchee, but she's obviously got something else in mind. Don't worry. We'll deal with all of this at trial." Buster scowled and started to walk away. Vinson Osceola shrugged at Alan and walked off after Buster. Alan looked around and then said good-bye to me and followed Buster and Vinson. Laroche lingered for another minute. He drummed his fingers on his chin and then said, "Those swamp rangers are a joke. None of them know anything about the plants in there. Some of them are actually dumb--I mean really dumb. They were lucky to have arrested me so I could give them the names of the plants. Otherwise I don't think they would have even known what they were. I really don't care what goes on here in court. I've been to the Fakahatchee a thousand times and I'm going to go in there a thousand more."

---

John Laroche grew up in North Miami, an exurb you pass through on the way from Miami to Fort Lauderdale. The Laroches lived in a semi-industrial neighborhood, but it was still pretty close to the swamps and woods. When he was a kid, Laroche and his mother would often drive over and hike through the Big Cypress and the Fakahatchee just to look for unusual things. His father never came along because he really wasn't much for the woods, and then he had broken his back doing construction work and was somewhat disabled. Laroche has no siblings, but he told me that he had a sister who died at an early age. Once, in the middle of recounting the history of the Laroches, he declared, "You know, now that I think about it, I guess we're a family of ailments and pain." During the months I spent in Florida I met Laroche's father only briefly. I would have loved to have met his mother, who is no longer alive. Laroche described her as overweight and frumpy, and claimed that she was Jewish by birth but at different times in her life she experienced ardent attachments to different religious faiths. She was an enthusiast, a gung ho devotee. She was never the first to call an end to a hike or to chicken out when she and Laroche had to wade into sinkholes. She loved orchids. If the two of them came across an orchid in bloom, she insisted that they tag it and come back in a few months to see if the plant had formed any seeds.

    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. He stopped bringing cameras on his hikes and started bringing pillowcases and garbage bags to carry plants. In no time he gathered a sizable collection. He considered opening a nursery. He did some construction work after high school to make a living, but just like his father he fell and broke his back and had to take a disability leave. He considers breaking his back a stroke of luck because it cleared the way for him to devote himself to plants. He got married in 1983, and he and his now ex-wife did open a nursery in North Miami. They named it the Bromeliad Tree. They specialized in orchids and in bromeliads, the family of dry, spiny air plants that live in trees. Laroche concentrated on the oddest, rarest stuff. Eventually he gathered forty thousand plants in his hothouses, including some that he claims were the only specimens of their kind in cultivation. Like a lot of nursery owners, Laroche and his wife managed to just get by on their earnings, but he wasn't satisfied with just scraping by. What he wanted was to find a special plant that would somehow make him a millionaire.

---

A few days after the hearing, Laroche invited me to go with him to an orchid show in Miami. He picked me up in a van dappled with rust. As I opened the door and said hello, he interrupted me and said, "I want you to know that this van is a piece of shit. As soon as I hit the orchid jackpot I'm buying myself an awesome car. What are you driving?" I said I had borrowed my father's Aurora. "Awesome," Laroche said. "I think I'll get one of those." I leaned in and dug through all sorts of stuff to try to get to the passenger seat and then sat down on a few inches of the edge of it, resting my feet on a bag of potting soil that had split and spilled all over the floor. Laroche started down the road with great alacrity. I thought maybe I had suffered whiplash. Each time the van hit a pothole it squeaked and shuddered, and a hundred different trowels, screwdrivers, terra-cotta planters, Coke cans, and mystery things rolled around the floor like steel balls in a pinball machine.

    I kept my eyes glued to the road because I thought it would be best if at least one of us did. "See, my whole life--that is, my whole life in the nursery world--I've been looking for a goddamn profitable plant," he said. "I had a friend in South America--he just croaked, as a matter of fact--anyway, this guy was a major commercial grower and had just endless amounts of money, and he wanted this fantastic bromeliad I had, so I told him that I'd trade it to him for just a seed or a cutting from the most valuable plant he had. I said, `Hey, look, I don't care if the plant is gorgeous or butt-ugly.' I just wanted to see the plant that had given him his life of leisure."

    "So what was it? What does a profitable plant look like?"

    Laroche laughed and lit a cigarette. "He sent me this big box. In the big box was this little box, and then inside of that there was another little box, and then another box, and in the last box was a square inch of lawn grass. I thought, This guy's a real joker! Fuck this guy! I called the guy. I said, `Hey, you son of a bitch! What the hell is this?' Well, it turns out that it was a special kind of lawn grass that was green with some tiny white stripes on the edges. That was it! He told me what an asshole I was and said I should have realized what a treasure I was holding. And, you know, he was right. When you think about it, if you could find a really nice-looking lawn grass, some cool new species, and you could produce enough seeds to market it, you would rule the world. You'd be completely set for life."

    He crushed out his cigarette and steered with his knee while he lit another. I asked him what he had done with the square inch of grass. "Oh, I'm not into lawn grass," he said. "I think I gave it away."

    In 1990 Laroche's life as a plant man changed. That year the World Bromeliad Conference was held in Miami. World plant conferences are attended by collectors and growers and plant fanciers from all over. At most shows growers build displays for their plants, and they compete for awards recognizing the quality of the plants and the ingeniousness of their displays. Maybe at one time show displays were uncomplicated, but nowadays the displays have to reflect the theme of the show and usually involve major construction, scores of plants, and props as substantial as mannequins, canoes, Styrofoam mountains, and actual furniture. Laroche suspected he had a knack for display building, and he was certain he had the best bromeliads in the world, so he decided to enter the competition. He designed a twelve- by twenty-five-foot exhibit using hardwood struts and tie beams, Day-Glo paint, a black light to make the Day-Glo paint glow, strings of Christmas lights arranged correctly in the shape of constellations, and dozens of a species of bromeliad that looks like little stars. The display got a lot of attention. This was a turning point for Laroche. As a result of the conference he became well known in the plant community and became even more determined to have a spectacular nursery. He began calling all over the world every day, tracking down unusual plants; his phone bills were thousands of dollars a month. Lots of money flew in and out of his hands, but he put most of it right back into his nursery. He tended to the extravagant. Once he spent five hundred dollars on an air-conditioned box for one little cool-weather fern he had gotten from a guy in the Dominican Republic. The fern died anyway, but even now Laroche says he doesn't regret the expense. He wanted the best of everything. He accumulated what he says was one of the country's largest collections of Cryptanthus, a genus of Brazilian bromeliad. He bought a spectacular six-foot-tall Antherium veitchii with weird, corrugated leaves. He still enjoys thinking about that Antherium. He says it was "a gorgeous, gorgeous son of a bitch."

---

About ten miles outside of Miami Laroche reached the part of his life story that featured orchids. He and his wife had hundreds of them at the Bromeliad Tree, and even though he had been at one time completely fascinated with the bromeliads, he found himself seduced away by the orchids. He became obsessed with breeding them. He especially loved working on hybrids--cross-pollinating different types to create new orchid species. "Every time I'd make a new hybrid, it felt so cool," he said. "I felt a little like God." He often took germinating seeds and drenched them with household chemicals or cooked them for a minute in his microwave oven so that they would mutate and perhaps turn into something really interesting, some bizarre new shape or color never seen before in the orchid world. I guess I was a little shocked as he was describing the process, and when he glanced at me and caught my expression he took both hands off the wheel and waved them at me dismissively. "Oh, come on," he said. "Mutation's great! Mutation's really fun! It's a great little hobby--you know, mutation for fun and profit. And it's cool as hell. You end up with some cool stuff and some ugly stuff and stuff no one has ever seen before and it's just great."

    I asked what the point of it was. "Hey, mutation is the answer to everything," he said irritably. "Look, why do you think some people are smarter than other people? Obviously it's because they mutated when they were babies! I'm sure I was one of those people. When I was a baby I probably got exposed to something that mutated me, and now I'm incredibly smart. Mutation is great. It's the way evolution moves ahead. And I think it's good for the world to promote mutation as a hobby. You know, there are an awful lot of wasted lives out there and people with nothing to do. This is the sort of interesting stuff they should be doing."

    The more orchids he collected, the more orchid collectors Laroche got to know. He was in the middle of the orchid world, but at the same time he was not really a part of it. Orchids are everywhere in Florida, wild and domesticated ones, natural and hybridized ones, growing in backyards and in shadehouses, being shipped in and out all over the world. The American Orchid Society, which was founded in 1921, is headquartered on the former estate of an avid collector in West Palm Beach, and many of the biggest and best orchid nurseries in the country--R. F. Orchids, Motes Orchids, Fennell Orchid Company, Krull-Smith Orchids--are in Florida. Some of these nurseries have been around for decades, and some Florida breeders are the third or fourth generation of their family to grow. Orchids have grown in the Florida swamps and hammocks since the swamps and hammocks have existed, and orchids have been cultivated in Florida greenhouses since the end of the 1800s. By the early 1900s, the great estates of Palm Beach and Miami had their own orchid collections and orchid keepers; orchids were considered a rich and romantic accessory, a polished little captive, a bit of wilderness under glass.

    Laroche was not at all rich or romantic or polished, so he didn't fit into the Palm Beach plant lovers' world at all, but he did have a wealth of orchids. Day and night, people dropped by his nursery to talk to him about orchids and to admire his collection and to be impressed by him. They came and just hung around so they could be among his plants, or they brought him special flowers in exchange for leading them on hikes through the Fakahatchee, or they invited him over to see their collections and pumped him for advice, or they offered him truckloads of money to help them find the world's most unfindable plants. He thinks some of them called just because they were lonely and wanted to talk to someone, especially someone who shared an interest of theirs. The image of this loneliness seemed to daunt him. He stopped talking about it and then started explaining to me why he loved plants. He said he admired how adaptable and mutable they are, how they have figured out how to survive in the world. He said that plants range in size more than any other living species, and then he asked if I was familiar with the plant that has the largest bloom in the world, which lives parasitically in the roots of a tree. As the giant flower grows it slowly devours and kills the host tree. "When I had my own nursery I sometimes felt like all the people swarming around were going to eat me alive," Laroche said. "I felt like they were that gigantic parasitic plant and I was the dying host tree."