Chafufa’s Adventures
In the year of our lord two thousand and five there happened to be a florist named Chafufa. Chafufa did much of her business on the internet and then she delivered the flowers herself in her jet, car, or boat. Chafufa was always busy day and night; she once made a delivery to Zaire in her jet one morning and another delivery that afternoon in Japan. Chafufa was born of Muff and Luna in a long line of florists. But Chafufa’s birth was peculiar—she was born with a bouquet of flowers in her arms. Also at age nine, in her vast flower gardens that she herself made she got lost and wandered away from her parents and never saw them again.
Chafufa was loyal to the old florist way of business, “Do anything to make a delivery” even though she was a New Age florist. One day Chafufa received an emergency flower delivery fax, (E.F.D.F.) for a bouquet of Martian roses to be delivered to the South Pole. For this delivery she would have to use all three of her apparatuses; car, boat, and jet not to mention getting some Martian Roses. Chafufa would first find the roses. Martian roses only grew in soil from Mars; luckily she had a pot of Martian soil in her backyard. Now Chafufa would have to obtain the seeds from a mother mole—the only animal to posses the seeds. Chafufa descended into the abyss to confront the mother mole and get the seeds. Chafufa arrived at the abode of the mother mole, the mother mole knew she was coming and said, “You shall have your seeds but only if you throw two perfect bulls eyes in a game of darts with me.” Luckily Chafufa was an accomplished dart woman as well as a florist. Chafufa did one hell of a move and threw two darts at once and made them both in the bull’s eye. The mother mole gave Chafufa the seeds and Chafufa planted them and harvested the Martian roses by the light of a burning raccoon skin so that they would last the trip. She put her car and boat in her jet and traveled to Buenos Aries, Argentina, there she ditched the jet and put her car in her boat and sailed to the coast of Antarctica. At the coast she ditched the boat and continued in her car (which was a Delorian) she sped across the ice flats with the roses in hand but her car ran out of gas about a mile from the South Pole.
There are many things that Pauline fails to do to effectively prevent Fleur from miscarrying. The most obvious is her failure to efficiently put together the herbal steep made of Alder: “And I could not remember the plant’s configuration, even though its use was common enough for bleeding problems” (156). Although Pauline could be nervously forgetting the properties of Alder, this forgetfulness of a basic remedy stresses her abandonment of Ojibwa society and its practices. The array of stored plants makes Pauline even more nervous: “Plant after Plant! Some were shaped like a man’s forked legs and some were rolled in balls...I put fort...
Although Rivka Galchen’s “Wild Berry Blue” and James Joyce’s “Araby” have some differences, there even more similarities. The narrators, their journeys, and their conclusions at the end of their journeys are analogous. Both attempt to win over the object of their affection through a gift, and yet thorough the purchase of that gift they realize their folly in love. As Joyce wrote “Araby” in 1914, yet Galchen did not write “Wild Berry Blue” until nearly 100 years later, Galchen may have written “Wild Berry Blue” as a modern retelling of Joyce’s classic short story.
Lehner, Ernst, and Johanna Lehner. Folklore and Symbolism of Flowers, Plants and Trees. New York: Tudor. 1960
Kim, Seungduk. “Yukio Nakagawa: La Fleur De L’ame / Nakagawa’s Extreme Ikebana: The Life And Death Of Flowers.” Art-Press 297 (2004): Art Source.
Most of the time there is a moment in life where one realizes they have lost all innocence and gained some compassion. “Marigolds” shows how one young girl transferred from a child to young adult through her life experiences. Throughout this story another young, but at the same time old in her prime, lady’s experiences are revealed: the author’s. In this short story, “Marigolds,” Eugenia Collier’s subconscious is unmasked through symbolism, diction, and Lizabeth’s actions.
On the other hand, the garden itself within The Secret Garden can be classified as a cultivated natural therapeutic landscape. What makes the garden truly remarkable as a therapeutic is its role in Mary’s coming of age, considering that prior to Mary’s exposure to the garden she was raised without an appropriate adult role models but nonetheless reached emotional maturity. In addition, the garden is considered a true therapeutic landscape due to its role in healing not only Mary, but also Colin and Archibald
The life of a lady in the 19th century is painted in a romantic light. Pictured in her parlor, the lady sips tea from delicate china while writing letters with a white feathered quill. Her maid stands silently off in the background, waiting for orders to serve her mistress. What is not typically pictured, is the sadness or boredom echoed on the lady’s face. Perhaps the letter is to a dear friend, not seen in ages, pleading with the friend to visit, in hopes that the friend will fill the void in the lady’s life made from years spent in a loveless marriage. Possibly the lady isn’t writing a
In the early 16th century the Netherlands experienced what was called “tulip mania” this was the beginning of the nations love for flora and foliage (Taylor 13). The result of this impressive flower invasion was a society that took a historical turn from which the results still remain today. Flower merchants, botanists and floral still life artists, were occupations that were an accurate reflection of the Netherlands demands (Brown). An interesting example of a life that was effected by, and devoted to the archiving of the flower craze was Rachel Ruysch (1664-1750) the 17th century Dutch flower painter. Rachel Ruyschs’ career straddled the 17th and 18th century, and her stunningly accurate floral pieces reflect the maturing, yet evolving art of floral still life painting (“Rachel Ruysch: Bibliography”). Ruyschs’ Still Life with Flowers on a Marble Tabletop (1716) is an excellent example of a painting that appropriately represents the genre of art that was created solely through specific societal events.
In “The Flowers,” by Alice Walker, the flowers are used throughout the story to symbolize the beauty and naivety of childhood. In the beginning of the story the author shows the main character Myop walking down a path along the fence of her farm. Myop sees “an armful of strange blue flowers with velvety ridges…” The flowers are bright and colorful, reminding the reader of an innocent type of beauty often associated with them. This suggests the flowers were inserted in the story by Walker to reveal how young and innocent Myop appears to be. Later in the story, after Myop had discovered the dead body of a man who seemed to have been hung “Myop laid down her flowers,”. As Myop put down the flowers she was also putting down the last of her innocence.
Another factor that clearly brings out the theme is the fact that she claims that orderliness of family roses is her pride. However she may not necessarily be that orderly as depicted in the development of that story. The author of the story Shirley Jackson uses the author and her ambiguous cha...
The main symbolic image that the flowers provide is that of life; in the first chapter of the novel Offred says “…flowers: these are not to be dismissed. I am alive.” Many of the flowers Offred encounters are in or around the house where she lives; it can be suggested that this array of floral life is a substitute for the lack of human life, birth and social interaction. The entire idea of anything growing can be seen as a substitute for a child growing. The Commander’s house contains many pictures; as they are visual images, “flowers are still allowed.” Later, when Serena is “snipping off the seed pods with a pair of shears… aiming, positioning the blades… The fruiting body,” it seems that all life is being eradicated, even that of the flowers.
Her lover made a bed of flowers for her (vv. 19-21) and many passers-by still laugh at the view (vv. 22-24), probably because it is evident what the place was used for and because of the abundance of flowers. The passers-by might guess the placement of her head from the roses (vv. 25-27). The poem reveals little about the girl, though she gets characterised through the way she speaks about her experiences. Even less is told about the man. The girl never addresses him directly; she just talks about him as her beloved (v. 12) in third person. He seems to be apt at preparing their bed and his choice of roses, a symbol of love, for her head could be interpreted as a display of affection. It is possible that he is of higher standing and that their relationship is forbidden for this reason. Another reason for their secret meeting outdoors might be their unmarried
She cared for people. She cared for Miss Lottie. At this moment all she wanted to do was apologize. She felt guilty. The guiltiest she has ever felt in her entire life. She single-handedly ruined the one thing Miss Lottie had a hope for in this world. Lizabeth grew up and realized it in one moment. She looked back on this moment, and talked about how after this year. Miss Lottie never grew marigolds again. But Lizabeth looks back at this time in her life, and she embodies Miss Lottie. Lizabeth then realizes you must look at the beauty in your life, and not the despair. “For one does not have to be ignorant and poor to find that his life is as barren as the dusty yards of our town. And I too have planted marigolds” (Collier 148). In a different period of time, Lizabeth gives back to Miss Lottie, even after she has passed, with a peace offering. Her marigolds. Her marigolds that Lizabeth grew now symbolize the hope that Miss Lottie had in the world in the future. Her marigolds were Miss Lottie’s. Even after her death, Lizabeth uses marigolds to make the legend of Miss Lottie live
The main character in John Steinback’s short story: The Chrysanthemums, is a married woman named Elisa Allen. She is a hardworking diligent young woman. In the opening chapters of The Chrysanthemums, Elisa is seen heartily in a great degree tendering to her gentle flowers. Powerful she is – gentle and conservative with her strength. She knows her weakness. Like the gentle calm flow of water embedding itself into layers of strata – which forms the highest peaks and grandest canyons.
Elisa and her husband had no children; therefore, she had no one to give her love and attention. As a result, she channeled all her attention and nurturing into her beloved chrysanthemums. Like a mother making sure her child had a nurturing environment, Elisa, "[w]ith her trowel she t...