March 13, 2026 Susan Delano McKelvey, Nicole de Vésian, Marjorie Blamey, Southern Women, Southern Landscapes by Judith W. Page and Elise L. Smith, and Lilla Irvine Leach

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Today’s Show Notes

In the garden, the late bloomers are often the strongest ones.

They wait.

They survive the long cold.

They open when the season is ready for them.

Today’s stories follow women like that.

Because the garden knows something we forget: a life can change direction in the middle.

A second season can open. A new self can take root.

And sometimes the brightest work arrives after the first plan fell apart.

Today’s Garden History

1883 Susan Delano McKelvey was born.

Susan began in one world, money, pedigree, expectation.

She was educated. Well connected. Comfortably placed inside New York society.

And then, in her mid-thirties, her life cracked open.

Her marriage ended. One of her sons died.

And the future she had been moving toward quietly collapsed.

So Susan did something radical.

She left New York and went to Boston, Massachusetts, with no clear plan except this: begin again.

She walked into the Arnold Arboretum in Boston and asked to volunteer.

Not as a benefactor.

Not as a scholar.

As a worker.

She washed clay pots in the greenhouses.

She weeded.

She learned plant names the way you learn a new language, slowly, aloud, with dirt under your nails.

You can almost hear it.

The heavy hose on a gravel floor.

The clink of terracotta stacked by hand.

The hush of a Boston winter outside the glass.

It wasn’t the life she was born into.

It was the life she chose.

From that beginning, Susan became the authority on two entirely different worlds of plants.

First, lilacs.

In 1928, she published The Lilac: A Monograph, a massive, defining work on Syringa.

It didn’t just celebrate lilacs.

It brought order to a beloved spring frenzy.

It gave gardeners a shared vocabulary for what they were growing and why it mattered.

Then Susan turned her gaze west.

To heat, distance, and difficult ground.

To yucca.

Between 1938 and 1947, her two-volume study, Yuccas of the Southwestern United States, pulled these plants out of the category of curiosity and into serious botanical understanding.

She once described herself, with delight, as “a cactus enthusiast — and an agave one.”

And then, as if that weren’t enough, Susan spent years assembling a final, monumental work.

In 1956, Botanical Exploration of the Trans-Mississippi West, 1790–1850 was published, more than a thousand pages of explorers, specimens, routes, and first names written onto the land.

A late bloomer.

Not late at all.

Just willing when the door finally opened.

1916 Nicole de Vésian was born.

Nicole reminds us that gardening is design, yes, but it’s also editing.

Restraint.

Discipline.

Devotion to the shape of a place.

After a decade working as a textile designer for Hermès, she left fashion behind and moved to Bonnieux in Provence, France.

There, she created a garden she called La Louve, The She-Wolf.

The name came from local lore, the story of the last wolf once taken in that landscape, a nod to wildness, endurance, and survival.

La Louve was built of terraces and stone.

A narrow palette of plants.

Lavender.

Rosemary.

Boxwood.

Clipped and clouded into sculptural forms.

It earned the designation Jardin Remarquable, a national recognition awarded by France’s Ministry of Culture.

But what made La Louve unforgettable was how lived-in it felt.

Stone steps worn by use.

Stone benches placed where you’d naturally pause.

Basins.

Containers.

Gardens shaped for the human body, not just the eye.

Nicole believed gardens revealed themselves slowly.

She once said:

“Use a chair to sit in a garden when planning… a garden should be seen seated.”

In her work, that chair becomes a kind of measure, a way of noticing how light moves, how wind shifts scent, how a place settles into itself over time.

And she believed this too, a line gardeners still carry:

“Pruning is not control, but care.”

At eighty, after selling La Louve, she simply said:

“It is time to begin again.”

Late bloom doesn’t always mean abundance.

Sometimes it means clarity, green, stone, light, and the patient hand.

Unearthed Words

In today’s Unearthed Words, we hear an excerpt from the British botanical artist Marjorie Blamey, born on this day in 1918.

Marjorie’s botanical illustrations helped generations see wildflowers as alive, not merely identified.

She insisted on painting from life.

Fresh specimens only.

Her refrigerator, and sometimes even the bathtub, filled with plants waiting their turn.

She worked fast because she had to.

“When you have 500 flowers,” she said, “you have to do 20 a day before they wilt.”

And here’s her line, brisk, exacting, completely hers:

“I make flowers look alive, not like pressed dead things.”

That sentence carries a whole philosophy.

Not just about art, but about attention.

About refusing to let beauty become a specimen.

Book Recommendation

Southern Women, Southern Landscapes by Judith W. Page and Elise L. Smith

It’s Women Gardeners Week here on The Daily Gardener, which means all of the book recommendations for this week celebrate women who shaped gardens, gardening literature, and horticultural history, often without the recognition they deserved.

As we wrap up our celebration of Women Gardeners Week, this book stands at the center of the conversation.

It’s a study of land as biography, of gardens as places where identity, labor, and resistance take root together.

Page and Elise move through the South as a storied landscape, where women used the earth to claim agency during times of war, restriction, and upheaval.

It offers three lasting gifts.

First, the garden as biography.

An invitation to see your own plot not as a chore or a design problem, but as a living record of who you are and what you’ve endured.

Second, the power of place-making.

Honoring women, Black and white, who shaped belonging from soil when society offered them very little room.

And third, the chain of connection.

Gardening has never been solitary.

It is shared labor, passed down through quiet persistence across generations.

This book reminds us that when you put your hands in the soil today, you are touching a longer story.

Botanic Spark

And finally, here's something sweet to ignite the little botanic spark in your heart.

1886 Lilla Irvine Leach was born.

Lilla is the kind of botanist you can picture instantly, boots, pressed specimens, a horizon that keeps widening.

She and her husband, John, built a life around fieldwork and eventually created what became the Leach Botanical Garden in Portland, Oregon.

But here’s the moment that lingers.

In 1930, in the Siskiyou Mountains, along the Oregon–California border, Lilla spotted a plant she had never seen before, Kalmiopsis leachiana.

She started running toward it.

And when she reached it, she dropped to her knees.

“I had never seen anything so beautiful before.”

John once won her heart by promising to take her “places no cake-eating botanist would go.”

They traveled with two burros, Pansy and Violet, carrying presses and gear through rough country.

It’s easy to imagine the steady rhythm of those journeys.

Bells faint in the distance.

Dust on boots.

And the long patience of walking.

That’s the spark.

Not the trophy.

Not the naming.

Just a human being meeting a plant she didn’t know existed until it did.

Final Thoughts

A late bloom isn’t a consolation prize.

It’s a second opening.

A truer season arriving.

Susan started with washed pots and ended with a library of authority.

Nicole edited a hillside into a place you could finally breathe inside.

Marjorie refused to paint anything that looked dead.

And Lilla fell to her knees for a flower the world was quietly holding.

So if you feel like you’re starting late, or if your first plan fell apart, don’t worry.

The garden is patient.

Your second season is just beginning to bud.

Thanks for listening to The Daily Gardener.
And remember, for a happy, healthy life, garden every day.