Flora Edwards Quotes

The wind will not stop. Gusts of sand swirl before me, stinging my face. But there is still too much to see and marvel at, the world very much alive in the bright light and wind, exultant with the fever of spring, the delight of morning. Strolling on, it seems to me that the strangeness and wonder of existence are emphasized here, in the desert, by the comparative sparsity of the flora and fauna: life not crowded upon life as in other places but scattered abroad in spareness and simplicity, with a generous gift of space for each herb and bush and tree, each stem of grass, so that the living organism stands out bold and brave and vivid against the lifeless sand and barren rock. The extreme clarity of the desert light is equaled by the extreme individuation of desert life-forms. Love flowers best in openness and freedom.

Strolling on, it seems to me that the strangeness and wonder of existence are emphasized here, in the desert, by the comparative sparsity of the flora and fauna: life not crowded upon life as in other places but scattered abroad in spareness and simplicity, with a generous gift of space for each herb and brush and tree, each stem of grass, so that the living organism stands out bold and brave and vivid against the lifeless sand and barren rock.

Janie ran to my side, where she tugged at the book eagerly as though she'd seen it before. "Flower book," she said, pointing to the cover. "Where did you find Mummy's book?" Katherine asked, hovering near me. Cautiously, I revealed the book as I sat on the sofa. "Would you like to look at it with me?" I said, avoiding the question. Katherine nodded and the boys gathered round as I cracked the spine and thumbed through page after page of beautiful camellias, pressed and glued onto each page, with handwritten notes next to each. On the page that featured the 'Camellia reticulata,' a large, salmon-colored flower, she had written: 'Edward had this one brought in from China. It's fragile. I've given it the garden's best shade.' On the next page, near the 'Camellia sasanqua,' she wrote: 'A christmas gift from Edward and the children. This one will need extra love. It hardly survived the passage from Japan. I will spend the spring nursing it back to health.' On each page, there were meticulous notes about the care and feeding of the camellias- when she planted them, how often they were watered, fertilized, and pruned. In the right-hand corner of some pages, I noticed an unusual series of numbers. "What does that mean?" I asked the children. Nicholas shrugged. "This one was Mummy's favorite," he said, flipping to the last page in the book. I marveled at the pink-tipped white blossoms as my heart began to beat faster. The Middlebury Pink.

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

In helping others, we shall help ourselves, for whatever good we give out completes the circle and comes back to us.

Suppose that the conventionally measured global economic output, now at about $31 trillion, were to expand at a healthy 3 percent annually. By 2050 it would in theory reach $138 trillion. With only a small leveling adjustment of this income, the entire world population would be prosperous by current standards. Utopia at last, it would seem! What is the flaw in the argument? It is the environment crumbling beneath us. If natural resources, particularly fresh water and arable land, continue to diminish at their present per-capita rate, the economic boom will lose steam, in the course of which—and this worries me even if it doesn’t worry you—the effort to enlarge productive land will wipe out a large part of the world’s fauna and flora. “The appropriation of productive land—the ecological footprint—is already too large for the planet to sustain, and it’s growing larger. A recent study building on this concept estimated that the human population exceeded Earth’s sustainable capacity around the year 1978. By 2000 it had overshot by 1.4 times that capacity. If 12 percent of land were now to be set aside in order to protect the natural environment, as recommended in the 1987 Brundtland Report, Earth’s sustainable capacity will have been exceeded still earlier, around 1972. In short, Earth has lost its ability to regenerate—unless global consumption is reduced, or global production is increased, or both.