SKU: 37156817601
monstera obliqua var. expilata

monstera obliqua var. expilata Monstera obliqua Peru

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Description

monstera obliqua var. expilata 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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SKU: 37156817601

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Tahoeman
Lexington, US
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
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Reviewed in the United States on February 10, 2014
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David R. Papke
Pawtucket, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
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DoubtfulReader
Carnegie, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
Phoenix, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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J. Christian
Charlottesville, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014

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