Enid had very strong opinions on all of the great issues of the day. She read widely on all social issues, history, current affairs and politics. She also loved detective stories and in later life, very difficult crossword puzzles. She had always been able to read very rapidly and remember what she read. She wrote carefully reasoned essays about subjects that were of vital interest to her, for no other reason than to put her thoughts down on paper, at a given time, for her own amusement. She would share these essays with Rod and with no one else.

After marrying, Enid also developed a considerable interest in architecture, and in cities as grand expressions of civilization. Through their travel Enid and Rod got to see many of the cities and buildings which symbolized the civilization which they admired and feared was threatened with annihilation if nuclear war ever broke out between the USA and USSR. That concern was very realistic during the whole of the 1950’s, 60’s and 70’s, and it was Enid’s primary motivation after an earlier period when she painted abstracts, to concentrate her work as both a painter and print maker on what amounted to the portraits of some of the cities and individual buildings which would be destroyed by nuclear war, and the civilizations which they embraced, should such a war take place.

With a strong sense of inevitable hopelessness in the face of this threat of annihilation, a majority of young and some older painters turned to the portrayal of annihilation and nihilism, which became the prevailing artistic expression of most of the period from the early 1950’s to the 1980’s.  Enid, on the other hand, was a member of a very small group of painters, sculptors and print makers at the Slade School of Art in the early 1950’s, who absolutely disagreed with this viewpoint. They had confidence that sane leadership wold take a step back before the irrevocable decision was made to annihilate humankind and most other organic life on the Earth. They took the view that their work should focus on and celebrate the living, the sensual, the organic and especially on the results of civilization and not the dead, the unhinged, the celebration of chaos, the destructive and the irrational. 

As a consequence of her choice to follow a different expressive artistic route, her work was not fashionable, and her sales were limited mostly to a few architects, engineers, friends, and few exceptional clients. Enid typically spent between four and six hours per day, five days a week, painting or drawing her chosen subjects, great buildings and cities, at an estimated pay of $2 per hour!