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Description
monstera adansonii sp laniata Monstera Adansonii Laniata VariegatedThe Monstera Adansonii Laniata Variegated is a subspecies step up from the standard Swiss Cheese Vine larger, glossier, more architectural, and considerably rarer. Monstera adansonii var. laniata differs from the standard species in ways that are immediately visible: the leaves are deeper, richer green with a high gloss finish on the underside (the standard adansonii is matte beneath), and the fenestrations the characteristic oval holes run in
The Monstera Adansonii Laniata Variegated is a subspecies step up from the standard Swiss Cheese Vine — larger, glossier, more architectural, and considerably rarer. Monstera adansonii var. laniata differs from the standard species in ways that are immediately visible: the leaves are deeper, richer green with a high-gloss finish on the underside (the standard adansonii is matte beneath), and the fenestrations — the characteristic oval holes — run in symmetrical pairs along the midrib rather than scattered sporadically across the leaf, giving each leaf a distinctly organised, lace-like geometry. The name laniata is Latin for "woolly," referring to the fine texture on juvenile stems. In its variegated form, those dark, glossy, architecturally fenestrated leaves carry bold patches and marbled sections of cream to white — chimeric, unstable, and extraordinary. One of the rarest variegated Monsteras available.
💡 How to Tell Laniata From Standard Adansonii
The quickest identification test: flip the leaf and look at the underside. Standard adansonii has a matte underside; laniata is glossy. The second tell is the fenestration pattern — laniata holes run in organised, symmetrical pairs toward the central vein; adansonii holes are scattered irregularly. Laniata leaves are also darker, larger, and heavier than standard adansonii. In the variegated form, the deeper green base makes the white variegation appear even more striking by contrast.
⚠️ Exceptionally Root-Rot Prone — Drainage Is Critical
The variegated laniata is among the most susceptible Monsteras to root rot — even more so than other variegated adansonii forms. The combination of reduced chlorophyll, slower water uptake, and vigorous root growth in a compact pot creates ideal conditions for fungal root issues if drainage is compromised. A terracotta pot, a chunky fast-draining mix, and disciplined watering are the three non-negotiables. Semi-hydro cultivation in LECA is an excellent alternative that almost eliminates root rot risk entirely.
Light
▾
Bright indirect light — essential for the variegated form. The cream and white sections cannot photosynthesise; the deep green areas must compensate. An east or west-facing window is ideal; a south-facing window with a sheer curtain works well. Gentle early morning direct sun is fine and beneficial. Harsh afternoon sun scorches the white sections. In low light variegation fades and growth slows considerably. A grow light at 12–14 hours is an excellent solution and produces large, dramatically variegated leaves.
Watering
▾
Allow the top 2–3 cm of substrate to dry before watering thoroughly. Use room-temperature filtered or rainwater and empty the saucer after each watering. The vigorous root system of the laniata means it expands quickly — check weekly during the growing season. In winter reduce to every 2–3 weeks. Given its root rot susceptibility, err on the side of slightly underwatering. For those who find watering calibration difficult, LECA semi-hydro is a strongly recommended alternative.
Humidity
▾
60–70% preferred. A humidifier nearby is ideal — the white and cream sections show humidity stress as browning edges sooner than the green areas. Keep away from AC vents and ceiling fans. Do not mist directly onto the leaf surface — water on white sections causes brown spotting. India's tropical climate is naturally beneficial; supplement with a humidifier in air-conditioned rooms.
Growing Media
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Chunky, extremely well-draining aroid mix — 40% potting soil, 25% orchid bark, 20% perlite, 15% coco coir. pH 5.5–7.0. Terracotta pot strongly recommended for its breathability. Always drainage holes — no exceptions. Alternatively, semi-hydro in LECA significantly reduces root rot risk and is particularly well-suited to this subspecies. Repot annually in spring; the vigorous laniata expands its roots quickly. Never an oversized pot — excess soil retains moisture the roots cannot use.
Feeding
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Balanced liquid fertilizer at half strength every 3–4 weeks in spring and summer. Apply only to moist substrate — never dry. The faster growth rate of laniata compared to standard adansonii means it benefits from consistent feeding during the growing season. Flush every 3 months to prevent salt accumulation. Stop feeding entirely in winter.
🌿 Climbing Produces the Largest, Most Fenestrated Leaves
Like all adansonii forms, laniata performs best on a moss pole or trellis. When climbing, each successive leaf is larger and more symmetrically fenestrated than the last. Trailing produces progressively smaller leaves. The laniata's naturally larger leaf size and organised midrib fenestration pattern are most dramatic on a well-established vertical climb — a fully grown climbing specimen is one of the most spectacular indoor aroids available.
⚠️ Common Issues & Quick Fixes
Root Rot — Yellow Leaves, Soggy Soil
▾
The most common and serious issue for this subspecies. Unpot immediately, trim all black and mushy roots with clean scissors, allow roots to air-dry for a few hours, then repot in fresh chunky mix in a terracotta pot. Water significantly less going forward. If root rot recurs, switch to LECA semi-hydro cultivation to eliminate the risk entirely.
Consecutive Green Leaves — Reversion
▾
Increase light immediately — insufficient light is the primary reversion trigger. If two or more consecutive leaves are predominantly green, prune back to the last strongly variegated node with a clean cut. New growth from that point typically resumes the white patterning. Resume consistent bright indirect light and regular feeding.
Brown Edges or Spots on White Sections
▾
Direct sun, low humidity, physical contact, or tap water minerals. Move to pure indirect light, boost humidity above 60%, switch to filtered water, and ensure leaves have clear space to unfurl without touching anything. White sections bruise permanently on contact — position the plant accordingly.
Leaves Losing Fenestrations
▾
Trailing instead of climbing, or insufficient light. Install a moss pole and redirect all growth upward. Ensure bright indirect light. The laniata's symmetrical midrib fenestration pattern is most pronounced in good light on an actively climbing specimen.
Thrips or Spider Mites
▾
Thrips: silver leaf streaking and distorted new growth — spinosad spray every 5–7 days for 4 weeks; quarantine immediately. Spider mites: fine webbing in low humidity — boost humidity and treat with neem oil or insecticidal soap every 5–7 days for 3 weeks. Inspect unfurling leaves at every watering.
📋 Quick Plant Profile
| Botanical Name | Monstera adansonii var. laniata 'Variegata' (syn. M. friedrichsthalii) |
| Name Meaning | laniata = Latin for "woolly" — fine texture on juvenile stems; adansonii after botanist Michel Adanson |
| Classification | Subspecies of M. adansonii — not a cultivar or form; a recognised botanical variety |
| Family | Araceae |
| Origin | Central and South America; tropical rainforest climber |
| ID vs Standard Adansonii | Glossy underside (adansonii is matte); symmetrical midrib fenestrations (adansonii is sporadic); deeper green; larger leaves |
| Variegation Type | Chimeric — unstable; cream to white patches and marbling; variable leaf to leaf; reversion possible |
| Root Rot Risk | Exceptionally high — terracotta pot and chunky mix essential; LECA semi-hydro strongly recommended |
| Light | Bright indirect; no direct afternoon sun; grow light excellent |
| Watering | Top 2–3 cm dry; filtered water; err toward underwatering; LECA eliminates rot risk |
| Humidity | 60–70%; humidifier preferred; no misting on leaves |
| Temperature | 18°C–27°C; no cold drafts; stable conditions preferred |
| Growth Rate | Faster and more vigorous than standard adansonii; one of the stronger-growing variegated Monsteras |
| Support | Moss pole essential — laniata's fenestration pattern and leaf size are most impressive when climbing |
| Reversion | Possible — prune to last variegated node if consecutive green leaves appear |
| Ideal For | Serious Collectors, Moss Poles, Bright Indoor Spaces, LECA Growers |
| Care Level | Intermediate to Advanced — root rot vigilance is the defining challenge |
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4.6 ★★★★★
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★★★★★ 4
THE LATEST MASTERPIECE FROM RUSSIA IN A NEW TRANSLATION
This book is a satire of the Soviet Union during Stalin‘s regime. Written between 1928 and 1940, not surprisingly, it remained unpublished until 1967. Later, following the collapse of communism in December 1991, not only did the book start to sell, the title was added to the list of the essential classics of modern Russian literature.
Presently, "The Master and Margarita" by Russian author Mikhail Bulgakov is regarded as one of the best novels of the 20th century and remains popular among readers the world over.
The novel has had more than enthusiastic readers. Contemporary composer Stephen Johnson enjoyed the book so much that he wrote the music for a ballet celebrating one of the main characters. Titled “Behemoth Dances“, the work centers on the very large by now famous black cat which, in addition to talking, walking on two legs and drinking vodka, now dances as well. The ballet premiered in Moscow on April 23 2016. After that, additional performances took place during the 2016 summer season in various English concert halls - among them, Cadogan Hall in London (May 12) and Symphony Hall in Birmingham (May 14).
I have read a good portion of The Master and Margarita and found it to be a strange book, a book that - like many literary works during the twentieth century - is complex and difficult to read.
Some of the Amazon.com reviewers believe that the complexity is related, at least in part, to the translation which they consider poor. It is true, the translation can be poor at times, but I do not believe that it contributes to the confusion, certainly not to any extent: translators Diana Burgin and Katherine O’Connor assure us that they made a very special effort to keep the English words and concepts as close in meaning as possible to the original Russian.
There are more important factors that make the book confusing.
First, there are too many characters, 63 altogether, 22 of them main characters. That is a lot more than those in most novels. Because they are Russian, these characters have usually three names. It is difficult to remember who is who and playing what part, when introduced to that many foreign people - at least it is difficult for some of us.
Then there is the plot. The focus is on Satan and his retinue that includes the above mentioned very unusual black cat. There is also a beautiful naked witch named Hella; and a few other peculiar characters, who run around Moscow interfering with the lives of many members of the literary Russian elite. Also included are the stories of the remaining main characters and their friends, relatives, assistants and others.
There are two important settings for the plot, as the reader is taken back and forth from:
(1) 1930’s Moscow during Holy Week, from Wednesday night to the following Saturday night to be exact; (2) Jerusalem of Pontius Pilate's world - appearing in the pages of the Master's novel, during the same time of the year, but about 2,000 years earlier.
The story begins with the appearance of Satan at the Patriarch Ponds in Moscow, disguised as Professor Woland, a mysterious gentleman magician of uncertain origin. Prof. Woland meets in such a location Mikhail Alexandrovich Berlioz, the editor of an anti-religious journal, and Ivan Nikolaevich Ponyrev, a poet employed by Berlioz. He challenges their atheism with a story, during which we are introduced to the second setting, Jerusalem of Pontius Pilate's world. This part of the novel concerns Pilate's trial of Yeshua Ha-Notsri (presumably Jesus) and his reluctant but resigned submission to the unfortunate man’s execution.
Berlioz dies early on during the story after being run over by a street car. The poet Ivan Nikolaevich continues on, trying to understand the death of his friend and employer.
Interestingly enough, we do not meet the two title characters, the Master and Margarita, until we are well into the story. We meet the Master first, while still in part one, but in one of the later chapters. We are introduced to him - who incidentally does not appear to have a name (thank God!!!) - at the mental hospital where he has been a patient for four months. The Master is a writer by profession, having written, among other narratives, about Pontius Pilate and the story related to the second setting. Unfortunately, he is ridiculed by his Russian peers for daring to write about religious subjects.
As for Margarita, we meet her in part two of the novel, although we are introduced to her first through the Master’s description of his relationship with her. The two were lovers, but the Master would rather set her free to avoid the suffering that their relationship would cause her. She has other plans. We learn that the woman is so much in love with the Master, that she is willing to visit Hell for him.
By Good Friday, Satan is having his Great Spring Ball as Prof. Woland, at his earthly residence. At such time, he offers Margarita the opportunity to become a witch with supernatural powers. A spring full moon illuminates the Moscow skyline. The same full moon also lights the night sky when Yeshua’s fate is sealed by Pontius Pilate in Jerusalem. This provides a link between the two settings.
Capable of flying, due to her new powers as a witch, Margarita soars over the forests and rivers of the USSR, then returns to Moscow to co-host Satan's Ball. Standing by his side, she welcomes the dark celebrities of human history as they arrive from Hell.
In recognition for her assistance, Satan grants Margarita her wish to liberate the Master even though she must live in poverty with him.
Eventually, the Master and Margarita leave civilization and fly with the Devil, as Moscow's cupolas and windows burn in the setting Easter sun. They are granted "peace" for not having lost their faith in humanity, but are denied "light", consequently they will spend eternity together in a shadowy, although pleasant, region similar to Dante's Limbo. At the same time as the Master and Margarita are set free, Pontius Pilate is released from his eternal punishment, and walks the moonbeam path to Yeshua, where another eternity awaits.
That is the story, which I tried to relate in as clear a manner as I could. If you are not confused, and if you have the patience to read the entire book, slowly, while trying to make some sense out of the many characters and events, you will probably come to the conclusion that it was worth the effort.
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Reviewed in the United States on May 10, 2017
★★★★★ 5
Brilliant, Visceral Portrayal of the Eastern-Block Landscape and Imagination
Wow-just WOW! Bulgakov simply blew me away with his dark & very eastern-block humor, twisted ironies, brilliant metaphors, infinite layers of meaning, his surrealist aesthetic and refusal to follow any "rules" of any particular genre. Within a few chapters, this book quickly moved up to my #1 Most Brilliant Books Ever Written list, and after the last pages, I have a feeling it will stay here for a long time (perhaps until I take up Gogol, or so I am told).
There are many layers to this novel, a plethora of imagery, metaphors, and references that have been studied in hundreds of scholarly articles and tens of thousands of journalistic/reviewer articles, so I will not attempt to gloss superficially over any themes. Rather I will focus on the ironic humor, which touched me most profoundly, as a person born and raised under Ceausescu's regime (Romania).
Ironic, tragic, dark and depressing humor was central to Eastern European resistance to communism, and served a healing as well as communal/relational function. Even today, visiting Bucharest, the dark humor remains, and is spoken, without reservation, between strangers at bus stations, intimate family members, colleagues at the office, etc--it is a key thread of our identity and how we relate to and understand the world. I have never ready any work that captures this humor better than Bulgakov.
A process that is emphasized in the literature on communism is the development of a duality of psychic space, a mode of schizophrenic resistance. To many who sought refuge in books and humor, this fragmentation transformed into a positive experience: a honed, rich duality was a sign of strength, showing how one could successfully detach herself from the absence of things and to fill space with meaning in spite of adversity. These processes were transmitted historically, and taught one how to survive without alienating oneself psychologically. Andrei Pleşu remembers humor about lack as a "prop of survival". Oana-Maria Hock remembers the theatre as providing a "surrogate toughness", a form of resistance in the face of material insecurity. In a place in which material necessities were difficult to come by, disassociation, particularly through artistic release, served to create spaces of plenty.
Even though this work may be read by any audience, and though most find it brilliant, it particularly speaks to those who have lived through the horrors of Eastern-block communism and its historical particularities in this region; the humor especially is not only deeply ironic and depressing, but also is born of an experience difficult to describe if one has not lived it: the reference, for example, to "second-grade-fresh" fish.
It may seem superficially funny to anyone who has not experienced rationing as a way of life, but the phrase has many layers of meaning: first, as a reference to the rationing process/how hard it was to find food, second as a reference to the Eastern-block communist way of meticulously categorizing all things (such as different grades of products, of which "first grade" was of course never available to the non-connected citizen), third as reflection of how people in this region relied on deeply disturbing humor to pacify, at least temporarily, their disquietude, fourth, illustrating the peculiarities of communication during this time (when everything had at least a double meaning, under the politically correct and allowed language), and fifth, it brings back the embodied feeling itself of how one used to imagine the world before 1989--it is absolutely *visceral*, because this is EXACTLY how people talked. Everything was a private joke--and every comment was either ironic or meant something other than what it actually said.
Another example: in the Epilogue, when Bulgakov takes on the narrator role and tells us what happened after the Devil left Moscow, he first mentions the plight of black cats: "A hundred or so of these peaceful animals... were shot or otherwise destroyed in various parts of the country"... The ridiculousness of his concern for the cats considering circumstances is another perfect example of the twisted humor used during this period as a means of resistance.
Further, Bulgakov continues his story, citizens were goaded into public vigilantism of capturing black cats and reporting with them to police stations; there is even a story of a woman who comes to a station to vouch for the "character" of her cat. Clearly, this is not a story about cats, but a reference to the Secret Police, the dreaded disappearances, and the ways in which regular citizens were complicit in the process--yet at the same time, it is also a story about how Eastern block policies/dictators actually did value "cats"/animals above people (not to mention that people were treated AS animals, another double meaning).
In an even darker twist, after several pages, Bulgakov moves on from the cat stories: "Besides the cats, there were a few people who suffered some minor unpleasantness. Several arrests were made... A lot of other things happened, but one can't remember everything."
And with this poignant reference to the communist culture of "forgetting" (scrubbed history books, banned authors, emphasis on the present and future at the expense of the past incarnated in communist policies, purging of national archives, etc) Bulgakov ends by reminding us of the dark and tragic experience of Eastern-Block communism.
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Reviewed in the United States on December 12, 2013
★★★★★ 5
Outstanding edition of important and thrilling novel
Format: Kindle
This review is for the novel "The Master and Margarita" in the Kindle edition translated by Diana Burgin and Katherine Tiernan O'Connor.
I just finished reading this novel for the third time. Ages ago I read it for a college 20th Century Russian Literature class in the Mirra Ginsburg translation, and loved it so much that as soon as I finished it I started over at the beginning without even getting up from my chair to read it a second time. Somehow this edition got lost; probably I loaned it to a friend and never got it back. In subsequent years I tried to read it again, in the P&V translation and in another that is no longer available, but I just couldn't make any headway, and abandoned these after two chapters.
I have not sat down to compare line by line this translation with a Russian version, which I also have, but the translation in the version under discussion seems to me to be stellar. It read smoothly and vividly, and captured the movement and extravagant energy of the original. This is a tough novel to translate since the writing style changes drastically in some chapters. Tone and topic are intimately intertwined, and the stylistic virtuosity of Bulgakov is one of the book's primary charms. (Read it and you will find out why.)
This edition also has extensive notes at the end, general guidance for making sense of references and allusions, and these are very helpful and beautifully written by Ellendea Proffer. These notes are followed by an outstanding essay on the novel, as well as a brief biographical sketch of the author, and these are likewise very helpful, thoughtful, well-written and not overly long. (These are also by Ellendea Proffer. She really hits a home run with her essay, in my humble opinion.)
I am hooked now, and am sure I will be returning to this novel many times. Although I enjoyed immensely my first two readings of this novel, I feel now that three readings is not enough to grasp it. I will have to go back to it, but it's worth it!
This is a novel for those who can keep an open mind and who are not bothered by satire or surrealist elements, and who can accept puzzling ambiguities and deep philosophical and moral questions for which there are no easy answers.
I am so glad I decided to take a chance on this wonderful translation.
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Reviewed in the United States on April 5, 2023
★★★★★ 3
"The devil knows why. . ."
I have mentioned before in a distant review of the past that each book has a "moment of truth," that shimmering macrosecond where the reader either becomes hooked (and therefore can't wait to finish the work), or disappointed (whereby the book is either put aside, or finished grudgingly). For me, alas, Bulgakov's THE MASTER AND MARGARITA evoked the latter, although I finished the book and readily appreciated the author's rather fantastic and satirical story of Satan and his pesky retinue wreaking havoc in 1930s Moscow.
That Mikhail Bulgakov is an exceptional writer is a given; if only I was fluid in Russian where I could read his words as written I would no doubt be even more impressed with his prose and style. This Vintage Press edition (translated by Diana Burgin and Katherine Tiernan O'Connor) certainly pays homage to this classic with a meticulous eye for detail, followed by notes on each chapter that I found to be invaluable. So then, what's the problem?
Well, I enjoy humor and satire as much as the next guy (I suppose), but a story depicting Satan as some sort of instrument of salvation--an instrument in alliance with Yeshua--for the book's two protagonists was just. . .too much. The Master, a writer who cannot endure the pain of rejection, is one-dimensional and sullen, while Margarita, his love, becomes a willing pawn of the devil. And the story blithely suggests that death through its mortal release is preferable to life (which is understandable, given Bulgakov's failing health as he finished the book). The fantastic notion of the story--of illusion, madness, a huge talking cat, flying through the air, and a Satanic ball--is a clever device, but eventually it wears thin.
As a playwright, Bulgakov uses an abundance of theater officers, bureaucrats, and authors as unhappy victims of Satan's antics (no doubt the author was settling countless scores); unfortunately, the names of these characters are in Russian, and many of the names vary by a vowel or a letter, making it very difficult for the reader to keep track of "who's who." And the parallel story of Pontius Pilate and the crucifixion--told from a political, not spiritual, perspective--was interesting, yet bizarre. In fact, "bizarre" is a good word to describe THE MASTER AND MARGARITA in its entirety; it's an interesting, fantastic, metaphysical tale, yet requires too much suspension of disbelief.
--D. Mikels
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Reviewed in the United States on May 24, 2004
★★★★★ 5
If you read rarely, or all the time, don't miss this! (It's easy to do)
This is simply one of the best works of literature, allegory, and even poetry, ever put together. It took decades for Mikhail Bulgakov to write this actually, and over the past century, his Faustian flavored tale about the nature of people and the power religion vs. the state vs. the devil knows.... has become a cult classic in Russia. Note that this is pure Bulgakov (as author) and this listing names one of the 2 wonderful translators who collaborated on getting the flavor of the language just right. They make it clear that this was a total collaboration of expert translators. At the end they offer additional notes about some of the details and finer points of history or the Russian language. There are also some additional passages included for the first time, which the earlier translation omitted.
I read this when it was first translated (80s?) and a college friend who had escaped from Communism insisted I read this. It was great then, as literature, human drama, and superb writing. Bulgakov amassed a huge following once his work was actually published, after his death. Some of his work is only now being published and read. I recently found myself in front of Flat #50, near Patriarchs Ponds (Moscow), the setting where the first part of this addictive novel begins. Berlioz (in the guise of literary czar, not the famous composer) is arguing with a poet about the existence of G-d when interrupted by, who the devil knows, but soon it is clear that literary and bureaucratic Moscow have become friends to the devil. Mr. Woland and his interesting entourage are about to put on a show at the theater, promising to be magical.
Great book. Like other great Russian *stories*, this captures human nature, anguish, curiosity and the variations in the rules of right/wrong, possible/impossible. It's quite a ride through the supernatural as well as theological and even medical., If you immerse yourself in it, you'll see many foreshadows of Harry Potter magic. Serious must read, for the adventure, mystery, the Faustian morality play, which takes pokes at both religion and "civil" humankind. A#1 recommend - and it may help to understand Russian (and human) psychology, and how we use words to invent smoke, mirrors, and fables which mirror life and death and love.
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Reviewed in the United States on July 16, 2014