SKU: 87894186673
buy monstera obliqua

buy monstera obliqua Monstera obliqua Peru

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Description

buy monstera obliqua Monstera obliqua PeruMonstera obliqua Peru Monstera obliqua Peru is a fine stemmed climbing Monstera with extremely perforated, delicate green leaves. Mature blades can show more open space than solid leaf surface, giving the plant a light, lace like appearance. The thin leaves respond quickly to unstable indoor conditions. Warmth, high humidity, careful watering, and a light vertical support reduce crisping and distortion while soft leaves expand. Thin perforated leaves

Monstera obliqua Peru

Monstera obliqua Peru is a fine-stemmed climbing Monstera with extremely perforated, delicate green leaves. Mature blades can show more open space than solid leaf surface, giving the plant a light, lace-like appearance.

The thin leaves respond quickly to unstable indoor conditions. Warmth, high humidity, careful watering, and a light vertical support reduce crisping and distortion while soft leaves expand.

Thin perforated leaves of Monstera obliqua Peru

  • Leaf structure: Mature blades can be extremely open, with fine green tissue around the holes.
  • Stem habit: Slender climbing stems produce aerial roots as they move upward.
  • Growth sensitivity: New foliage marks easily while soft and expanding.
  • Root needs: Fine roots need lightly moist substrate with enough air space to avoid stagnant wetness.

Humid forest growth and delicate foliage

Monstera obliqua is an accepted Araceae species native from Costa Rica to South Tropical America and Trinidad. It grows as a climber in wet tropical forest, with thin foliage, aerial roots, filtered light and humid air around tree trunks and other vertical surfaces.

The Peru form is known for especially open, lace-like leaf perforation. Indoors, sudden drying, cold wet substrate, and dry moving air can all damage new leaves before they fully harden.

Stability care for Monstera obliqua Peru

  • Humidity: Aim for high humidity with gentle airflow, especially while leaves are expanding.
  • Light: Provide bright filtered light; thin leaves can scorch quickly in direct sun.
  • Watering: Keep the substrate lightly moist, allowing only the top layer to dry before watering again.
  • Substrate: Use an airy, moisture-retentive aroid mix that drains freely and stays open around the roots.
  • Support: Use a slim moss pole, fibre pole, or textured surface so the vine can attach as it climbs.
  • Temperature: Keep consistently warm, about 20–27 °C, with no cold nights around the root zone.
  • Feeding: Use very dilute feed on warm, actively rooting growth; skip strong doses because fine roots and thin leaves react quickly.
  • Repotting: Repot in small increments with minimal root disturbance, keeping delicate stems supported while the mix is changed.

Crisping, distortion and slow recovery

  • Crispy margins: Check watering gaps, humidity, and warm airflow around the newest leaves.
  • Distorted new growth: Stabilise humidity and avoid moving the plant while a new leaf is opening.
  • Yellow leaves: Inspect roots for stagnant moisture or compacted substrate before watering again.
  • Slow growth: Review temperature, root condition, and stem attachment before changing fertiliser.

Toxicity and handling

Monstera obliqua Peru is toxic if ingested. Chewed leaves or stems can release calcium oxalate crystals that irritate the mouth, throat, and digestive tract.

Monstera obliqua species background

Monstera obliqua was published by Miquel and belongs to the Araceae family. The species epithet obliqua refers to an oblique or uneven form, matching the delicate, irregularly perforated leaves associated with this species.

Stable humidity, warmth and careful watering keep the thin, highly perforated leaves of Monstera obliqua Peru expanding with less damage.

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Trendy Chic
New York, US
★★★★★ 5
Not what I was expecting, but I liked it.
Format: Paperback
My first book by Emma Slate. Wonderful writing style, I wanna read some more MC books.
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Reviewed in the United States on September 8, 2024
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Matthew
Massapequa, US
★★★★★ 1
Poor read
Format: Paperback
Not worth the hype. Was poorly written and had to put it down and not finish it.
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Reviewed in the United States on May 20, 2025
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T
Massapequa, US
★★★★★ 4
Great story
Format: Paperback
I’m not an avid reader, but this was finished in a few days. Such a good book!
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Reviewed in the United States on June 14, 2025
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AMD
Grantham, US
★★★★★ 3
Won’t be buying book two.
Format: Paperback
Entertaining enough but poorly written. Lots of typos. Won’t be buying book two.
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Reviewed in the United States on July 8, 2025
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Dr.C.J.Singh.Wallia
Draper, US
★★★★★ 5
An Excellent Primer on Novel-Writing
Format: Paperback
WIRED FOR STORY By Lisa Cron Reviewed by C J Singh (Berkeley, California) Excellent Primer on Novel-Writing In Berkeley, California, we happily have access to four independent bookstores that display literary novels and creative-writing craft books. Browsing, I picked up two books by Lisa Cron on using "Brain Science" for writing fiction. The jacket quote by Caroline Leavitt rivetted my attention: "I'd never consider writing a novel without Lisa's input, and neither should you." As a longtime fan of Leavitt's novels "Is This Tomorrow," " Pictures of You, " "Girls in Trouble," I looked up Stanford Continuing Education where Leavitt regularly teaches online courses. As a Stanford Alumnus (Psychology PhD), I've taken several on-campus and online workshops on fiction-writing. While still at the bookstore, I promptly signed up for Leavitt's soon-to-begin course that uses two coaching books: Cron's Wired For Story and John Truby's The Anatomy of Story. I'm familiar with Truby's book and its nine excellent exercises. See my detailed review on amazon: https://www.amazon.com/review/R29NU7U6LAHGBV/ Here's my review of Lisa Cron's "Wired For Story" "WIRED FOR STORY' presents a unique, distinguishing feature among fiction-writing primers: throughout its text, the author includes excerpts from the published works of leading contemporary brain-scientists that validate the principles of narrative craft. Cron explains the principles of narrative craft in twelve well-organized chapters that focus on theme, the protagonist's issue, characters' bios, points of view, rising conflicts, subplots, suspense, reveals, and the arc from setup to payoff. At the beginning of each chapter, she presents sentences in italics that illuminate the cognitive-science underpinnings of narrative craft. Examples follow. "Cognitive Secret: When the brain focuses its full attention on something, it filters out all unnecessary information. Story Secret: To hold the brain's attention, everything in a story must be there on a need-to-know basis" (page 23). . "Cognitive Secret: Everything we do is goal directed and our biggest goal is figuring out everyone else's agenda, the better to figure out our own. Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go" (p 65) . "Cognitive Secret: It takes long-term, conscious effort to hone a skill before the brain assigns it to the cognitive unconscious. "Story Secret: There's no writing; there's only rewriting" (p 219). Also remarkable are sentences in bold that challenge advice offered in some writing-craft workshops and books. Examples follow. "Myth: Write What You Know. "Reality: Write What You Know EMOTIONALLY" (p 62). . "Myth: Sensory Details Bring a Story to Life." "Reality: Unless They Convey Necessary Information, Sensory Details Clog a Story's Arteries" (p 118). . "Myth: `Show, Don't Tell' Is Literal - Don't Tell Me John Is Sad, Show Him Crying. "Reality: `Show, Don't Tell Is Figurative - Don't Tell Me John Is Sad, Show Me WHY He's Sad" (p 152). Has the author introduced a Myth of her own? I am afraid so. On page 57, "No matter whose point of view you're writing in, you may be in only one head per scene." In my opinion, the Reality is: No matter whose point of view you're writing in, you may be in only one head per PARAGRAPH. This is the new reality -- virtually every fiction-readers' perception has been reshaped by watching films and TV dramas that imply the camera engaged in frequent head-hopping in a scene. At the end of each chapter, Cron presents a concise series of checkpoints to remind the readers while they develop their work-in-progress. Throughout, she includes many examples from literary works and films. Literary works like Gabriel Marquez's "Love in the Time of Cholera," Margaret Mitchell's "Gone with the Wind," and Caroline Leavitt's "Girls in Trouble." Films like "It's a Wonderful Life," "Vertigo," and "American Graffiti." An inspiring citation for writers: " `Recent breakthroughs in neuroscience reveal that our brain is hardwired to respond to story.... It turns that a powerful story can have a hand in rewiring the reader's brain -- helping empathy, for instance - `which is why writers are, and always have been among the most powerful people in the world'. " (On p 239 of Endnotes is the specific citation of three scientists' 2009 article "On Being Moved by Art: How Reading Fiction Transforms the Self" in the Creativity Research Journal vol. 21, no.1 ) WIRED FOR STORY fully earns its title with its numerous citations of recent contributions of neuroscience that validate narrative craft. Examples of cited works included are: V. S. Ramachandran's "The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human"; Michael Gazzaniga's "Human: The Science Behind What Makes Your Brain Unique; and Steven Pinker's "How the Mind Works." These stellar books illuminate the nexus between art and science; their shining light reflects on Lisa Cron's book as a five-star primer for novel-writing.
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Reviewed in the United States on March 7, 2020

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