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The Language of Flowers: A Novel Paperback – April 3, 2012


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Product Details

  • Paperback: 352 pages
  • Publisher: Ballantine Books; Reprint edition (April 3, 2012)
  • Language: English
  • ISBN-10: 0345525558
  • ISBN-13: 978-0345525550
  • Product Dimensions: 7.9 x 5.1 x 0.8 inches
  • Shipping Weight: 9.6 ounces (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (3,183 customer reviews)
  • Amazon Best Sellers Rank: #955 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

A mesmerizing, moving, and elegantly written debut novel, The Language of Flowers beautifully weaves past and present, creating a vivid portrait of an unforgettable woman whose gift for flowers helps her change the lives of others even as she struggles to overcome her own troubled past.

The Victorian language of flowers was used to convey romantic expressions: honeysuckle for devotion, asters for patience, and red roses for love. But for Victoria Jones, it’s been more useful in communicating grief, mistrust, and solitude. After a childhood spent in the foster-care system, she is unable to get close to anybody, and her only connection to the world is through flowers and their meanings.

Now eighteen and emancipated from the system, Victoria has nowhere to go and sleeps in a public park, where she plants a small garden of her own. Soon a local florist discovers her talents, and Victoria realizes she has a gift for helping others through the flowers she chooses for them. But a mysterious vendor at the flower market has her questioning what’s been missing in her life, and when she’s forced to confront a painful secret from her past, she must decide whether it’s worth risking everything for a second chance at happiness.



Amazon Exclusive: Paula McLain Reviews The Language of Flowers

Paula McLain is the New York Times best-selling author of The Paris Wife. She grew up in Fresno, California where, after being abandoned by both parents, she spent fourteen years in the foster care system. A graduate of the MFA program at The University of Michigan, she has taught literature and creative writing for many years, and currently lives with her children in Cleveland, Ohio.

I feel it's only fair to warn you, dear reader, that Vanessa Diffenbaugh's central character, Victoria Jones, is going to break your heart three ways from Sunday. She's also going to make you want to pick her up, shake her and scream, why can’t you let yourself be happy? But for Victoria, the answer is as complex as the question is simple. She's spent her childhood ricocheting through countless foster and group homes, and the experience has left her in pieces. Painfully isolated and deeply mistrustful, she cares only about flowers and their meanings. She herself is like a thistle, a wall of hard-earned thorns.

When we first encounter Victoria, it's the day of her emancipation from foster care, her eighteenth birthday. "Emancipation" couldn't be a more ironic word for this moment. For Victoria, as for most foster care survivors—-myself included—-freedom really means free fall. She has nowhere to go, no resources, no one who cares about her. She ends up sleeping in a public park, tending a garden of pilfered blossoms, and living on her wits. It's only when a local florist sees Victoria's special way with flowers that she is given a means to survive. But survival is just the beginning. The more critical question is will Victoria let herself love and be loved?

The storyline weaves skillfully between the heavy burden of Victoria's childhood—-her time with Elizabeth, the foster mother who taught her the language of flowers and also wounded her more deeply than Victoria can bear to remember—-and the gauntlet of her present relationship with Grant, a flower vendor who's irrevocably linked to the darkest secret of her past. At its core, The Language of Flowers is a meditation on redemption, and on how even the most profoundly damaged might learn to forgive and be forgiven. By opening up Victoria's very difficult inner world to us, Vanessa Diffenbaugh shows us a corner of experience hidden to most, and with an astonishing degree of insight and compassion. So hold on, and keep the tissue box nearby. This is a book you won’t soon forget. --Paula McLain




Author Q and A with Vanessa Diffenbaugh

Q: What is the language of flowers?
A: The Victorian language of flowers began with the publication of Le Language des Fleurs, written by Charlotte de Latour and printed in Paris in 1819. To create the book--which was a list of flowers and their meanings--de Latour gathered references to flower symbolism throughout poetry, ancient mythology and even medicine. The book spawned the science known as floriography, and between 1830 and 1880, hundreds of similar floral dictionaries were printed in Europe and America.

In The Language of Flowers, Victoria learns about this language as a young girl from her prospective adoptive mother Elizabeth. Elizabeth tells her that years ago, people communicated through flowers; and if a man gave a young lady a bouquet of flowers, she would race home and try to decode it like a secret message. So he would have to choose his flowers carefully.


Q: Where did you come up with the idea to have Victoria express herself through flowers?
A: I’ve always loved the language of flowers. I discovered Kate Greenaway’s Language of Flowers in a used bookstore when I was 16, and couldn’t believe it was such a well-kept secret. How could something so beautiful and romantic be virtually unknown? When I started thinking about the book I wanted to write, Victoria and the language of flowers came to me simultaneously. I liked the complication of a young woman who has trouble connecting with others communicating through a forgotten language that almost no one understands.

Q: Why does Victoria decide to create her own flower dictionary, and what role does it come to play in the novel?
A: In many ways, Victoria exists entirely on the periphery of society. So much is out of the scope of her understanding--how to get a job, how to make a friend, even how to have a conversation. But in the world of flowers, with their predictable growing habits and "non-negotiable" meanings, Victoria feels safe, comfortable, even at home. All this changes when she learns that there is more than one definition for the yellow rose--and then, through research, realizes there is more than one definition for almost every flower. She feels her grasp on the one aspect of life she believed to be solid dissolving away beneath her. In an effort to "re-order" the universe, Victoria begins to photograph and create her own dictionary, determined to never have a flower-inspired miscommunication. She decides to share that information with others--a decision that brings with it the possibility of love, connection, career, and community.

I understand Victoria’s impulse completely, and I included a dictionary in the back of the book for the same reason. If readers are inspired to send messages through flowers, I wanted there to be a complete, concise, relevant and consistent list of meanings for modern communication.


Q: How does The Language of Flowers challenge and reconfigure our concepts of family and motherhood?
A: One of my favorite books is Rainer Maria Rilke’s Letters to a Young Poet. In it, Rilke writes: "It is also good to love: because love is difficult. For one human being to love another human being: that is perhaps the most difficult task that has been entrusted to us, the ultimate task, the final test and proof, the work for which all other work is merely preparation."

To love is difficult. To be a mother is difficult. To be a mother, alone, with few financial resources and no emotional support, is so difficult as to be nearly impossible. Yet society expects us to be able to do it, and as mothers, we expect ourselves to be able to do it as well. Our standards for motherhood are so high that many of us harbor intense, secret guilt for every harsh word we speak to our children; every negative thought that enters our minds. The pressure is so powerful that many of us never speak aloud about our challenges--especially emotional ones--because to do so would be to risk being viewed as a failure or, worse, a danger to the very children we love more than anything in the world.

With Victoria and Elizabeth, I hope to allow the reader a window inside the minds of mothers who are trying to do what is best for their children but who lack the support, resources, and/or self-confidence to succeed. The results are heartbreaking for so many mothers who find themselves unable to raise their children. It is my belief that we could prevent much child abuse and neglect if we as a society recognized the intense challenge of motherhood and offered more support for mothers who want desperately to love and care for their children.


Q: The Language of Flowers sheds light on the foster care system in our country, something with which many of us are not intimately acquainted. Did you always know you wanted to write a story about a foster child?
A: I’ve always had a passion for working with young people. As my work began to focus on youth in foster care--and I eventually became a foster parent myself--I became aware of the incredible injustice of the foster care system in our country: children moving from home to home, being separated from siblings, and then being released into the world on their eighteenth birthday with little support or services. Moreover, I realized that this injustice was happening virtually unnoticed. The same sensationalized stories appear in the media over and over again: violent kids, greedy foster parents, the occasional horrific child death or romanticized adoption--but the true story of life inside the system is one that is much more complex and emotional--and it is a story that is rarely told. Foster children and foster parents, like children and adults everywhere, are trying to love and be loved, and to do the best they can with the emotional and physical resources they have. Victoria is a character that people can connect with on an emotional level--at her best and at her worst--which I hope gives readers a deeper understanding of the realities of foster care.

Q: Victoria is such a complex and memorable character. She has so much to contribute to the world, but has so much trouble with love and forgiveness, particularly toward herself. Is she based on someone you know or have known in real life?
A: People often ask me if I drew inspiration for the character of Victoria from our foster son Tre’von, but Victoria is about as different from Tre’von as two people could ever be. Tre’von’s strength is his openness--he has a quick smile, a big heart, and a social grace that puts everyone around him at ease. At fourteen, running away from home barefoot on a cold January night, he had the wisdom and sense of self-preservation to knock on the door of the nearest fire station. When he was placed in foster care, he immediately began to reach out to his teachers and his principal, creating around himself a protective community of love and support.

Victoria is clearly different. She is angry and afraid, yet desperately hopeful; qualities I saw in many of the young people I worked with throughout the years. Though Victoria is entirely fictional, I did draw inspiration in bits and pieces from foster children I have known. One young woman in particular, who my husband and I mentored many years ago, was fiery and focused and distrusting and unpredictable in a manner similar to Victoria. Her history was intense: a number on her birth certificate where a name should have been; more foster homes than she could count. Still, she was resilient, beautiful, smart, and funny. We loved her completely, and she did her best to sabotage it, over and over again. To this day my husband and I regret that we couldn’t find a way to connect with her and become the stable parents she deserved.


Q: The notion of second chances plays a major role in The Language of Flowers for many of the characters. Does this in any way relate to your personal advocacy work with emancipating foster youth?
A: As my four-year old daughter says to me on a regular basis: "Mommy, you aren’t perfect." We all make mistakes, and we all need second chances. For youth in foster care, these mistakes are often purposeful--if not consciously so; a way to test the strength of a bond and establish trust in a new parent. A friend of mine called recently, after a year of mentoring a sixteen year-old boy, completely distraught. The young man had lied to him, and it was a major lie, one that put him in danger. My friend, in his anger, said things he regretted. My response was this: good. Your response might not have been perfect, but it was real and your concern was clear. As long as he was still committed to the young man (which he was), it didn’t so much matter what my friend had said or done; what mattered was what he did next. It mattered that he showed his mentee, through words and actions, that he still loved him, and that the young man’s mistake couldn’t change that.

Q: The Language of Flowers is one of those stories that will stay with its readers for a very long time. What lasting impression do you wish the book to leave them?
I believe that people are spurred into action when they both see the injustice of a situation and the possibility for change. With The Language of Flowers I tried to write a book that was honest and true, but hopeful enough to inspire people to act. Each year, nearly 20,000 young people emancipate from the foster care system, many of them with nowhere to go and no one to go to for support. I am launching a non-profit with the goal to connect every emancipating foster child to a community--a book club, a women’s club, a church group--to support them through the transition to adulthood and beyond. It is my hope that readers everywhere will read my book and become inspired to partner with emancipating young people in their own communities.

Q: If you were to represent yourself with a bouquet, which flowers would you choose and why?
A: Helioptrope (devoted affection), Black-Eyed Susan (justice), Hawthorn (hope), Liatris (I will try again), Lisianthus (appreciation), and Moss (maternal love). These flowers represent how I am--devoted, affectionate, maternal, and grateful--and also how I want to be--hopeful, determined, and constantly working for justice. --This text refers to the Hardcover edition.

Review

“Instantly entrancing.”—Elle
 
“[An] original and brilliant first novel . . . a mesmerizing storyteller . . . I would like to hand Vanessa Diffenbaugh a bouquet of bouvardia (enthusiasm), gladiolus (you pierce my heart) and lisianthus (appreciation). . . . And there is one more sprig I should add to her bouquet: a single pink carnation (I will never forget you).”—Brigitte Weeks, The Washington Post
 
“A captivating novel in which a single sprig of rosemary speaks louder than words . . . The Language of Flowers deftly weaves the sweetness of newfound love with the heartache of past mistakes. . . . [It] will certainly change how you choose your next bouquet.”—Minneapolis Star Tribune
 
“Fascinating . . . Diffenbaugh clearly knows both the human heart and her plants, and she keeps us rooting for the damaged Victoria.”—O: The Oprah Magazine (book of the week)
 
“Diffenbaugh effortlessly spins this enchanting tale, making even her prickly protagonist impossible not to love.”—Entertainment Weekly
 
“Compelling . . . immensely engaging . . . unabashedly romantic . . . an emotional arc of almost unbearable poignance.”—The Boston Globe


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Customer Reviews

The Language of Flowers is written beautifully.
julie klitzner
Loved the learning the meaning of communication through this life story of flowers.
D. Haynes
Well developed characters and a interesting story = a great book.
Jg

Most Helpful Customer Reviews

462 of 477 people found the following review helpful By J. Prather TOP 500 REVIEWERVINE VOICE on May 30, 2011
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
The Language of Flowers is a moving story of a young girl kicked around by life and the foster care system. It kept me glued to the page this holiday weekend, as I couldn't seem to let go of Victoria and her unique means of communication. We first meet Victoria on her eighteenth birthday, when she ages out of the system and is thrust into society. Her social worker asks for her plan, but the problem is Victoria doesn't have one. She doesn't know what she wants and is carrying around enough anger, misery and self loathing that I had a hard time imagining her ever being able to cope with anything.

The story is told in chapters alternating between the present and events that occurred when she was 10 years old. This is when she had her last chance at a family and a normal life. We get a surprisingly vivid picture of both the 10 year old Victoria and the 18 year old Victoria. Her story is heartbreakingly real and will keep any reader riveted to the page as you cheer for this young woman to open up and learn to accept love and hope. Her anger is blistering and her narrative voice is strong and unfaltering as the reader gets a disturbing look at what can happen to kids in foster care. The scars Victoria carries are deep and lasting and the author creates a surprising amount of suspense as you are left to wonder just how she might overcome them.

All of the information about the actual language of flowers is fascinating and adds a magical element to the story that served to both temper some of the harsh emotional realities and give Victoria a port in her stormy life. One of my favorite parts of the book is when she meets Grant and attempts to communicate with him using flowers.
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205 of 223 people found the following review helpful By KnC Books on June 2, 2011
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
"Do you really think you're the only human being alive who is unforgivably flawed? Who's been hurt almost to the point of breaking?"

After 18 years in the foster care system, Victoria believes that yes, she is the only one. And as a consequence, friendship, love, and redemption seem the stuff of fairy tales, of other people's lives.

In her debut novel, "The Language of Flowers", author Vanessa Diffenbaugh takes us into a world that very few of us really know: the life of children (and the adults they touch) in foster care. In doing so she manages to steer a careful course between the opposing shoals of sermonizing and romanticizing, and guides us straight into the life of Victoria, a young woman caught up in the current.

As many of us do, Victoria tries to find the balance between swimming against the tide and simply trying to stay afloat. Neither course is entirely successful, nor is it an absolute failure. Hampered by her inability to share her feelings verbally, Victoria falls back on her second language; the symbology of flowers. Through her almost instinctive ability to see the message in her floral medium, she finds a way to reach out to a handful of fellow travelers, a lifeline out of her self-inflicted solitude. But each time she throws the rope away, knowing in her heart she does not deserve to be saved, afraid to be tied to anyone or anything.

There comes a point in your life that you find that what prevents you from moving forward is not what is in front of you - it is what is behind you. The overwhelming weight of your past can anchor you in place, and rob you of your future. Often, a series of events will bring you right back to that point you started from, and you must confront the flood of your fears all over again.
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145 of 159 people found the following review helpful By SassySavi VINE VOICE on June 7, 2011
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
The story of Victoria Jones is a difficult one to tell. I feel grateful for having read this book before its official release. The story begins with a girl, Victoria, nervous and wild and a ward of the state. We see her being jerked around from place to place by a social worker whose only emotion seems to be the relief she gets when she leaves Victoria at a new home. This officially spares her the burden that Victoria has become. There is not much of a back story on how she came to be in the foster system and or why, but it isn't really needed in her case. In fact I think it made it that more interesting and believable. Not all abandoned children reconnect with their birth parents and ride off into the sunset.

We are transported from the present to the past (10 years to be exact) whit each alternating chapter. They start off giving us pieces of Victoria's past in group homes and her almost permanent home with Elizabeth. In the process of all this you learn a plethora of information about flowers that I never though possible. The names, oh the names and meanings!!! So brilliant. Victoria has turned 18 and is legally emancipated from the state of California and instead of rushing out to do what most 18 year olds in her situation would have done (party, drink, experiment) she takes the lonely road. She becomes homeless until a chance meeting gives her the opportunity to work using her talent for flowers. As a result, faces from the past reappear, old wounds reopened and new ones start to rip.

There are so many instances that I wanted to just scream at Victoria! Ok, maybe not scream but just stop reading. I was so frustrated with her selfishness that I could literally spit. Then somewhere along I got it, I simply got it!
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