Great Dixter, and its irascible owner/(non)designer/promoter Christopher Lloyd, has loomed large over the English gardening landscape for more than fifty years. In many ways it sits comfortably in the canon of Arts and Crafts gardens—with its dotted lines connecting Gertrude Jekyll, Edward Lutyens, and Vita Sackville-West—but like Lloyd himself it manages, through its quirks, eccentricities and bloody-mindedness, to defy convention and thumb its nose at what everyone else says a garden must be.