SKU: 53863568326
plant with orange seed pods

plant with orange seed pods Osage Orange – Experimental Farm Network Seed Store

Sale price$24.80 Regular price$27.55
Save 10%

Pay in installments of $6.89 with ShopPay, AfterPay and Klarna

Shipping Estimate
USA
  • USA
  • CAN

Ships within 48 hours · Estimated delivery Aug 6 - Aug 11

Promo Codes Available:

For Your Every Summer RSVP, with Code: SUMMER15

Description

plant with orange seed pods Osage Orange – Experimental Farm Network Seed StoreMaclura pomifera Origin: Pennsylvania Improvement status: Wild Seeds per packet: ~40 BOTANICAL SAMPLE NOT GERMINATION TESTED Life cycle: Perennial Also called "hedge apple", "horse apple," "bois d'arc", "bodark"(and sometimes "monkey brain tree"!), or simply "hedge," this typically thorny native tree is most often grown as a natural hedge said to be "pig tight, horse high, and bull strong." First brought to the attention of non indigenous people by

Maclura pomifera

Origin: Pennsylvania

Improvement status: Wild

Seeds per packet: ~40

BOTANICAL SAMPLE - NOT GERMINATION TESTED

Life cycle: Perennial

Also called "hedge apple", "horse apple," "bois d'arc", "bodark"(and sometimes "monkey brain tree"!), or simply "hedge," this typically thorny native tree is most often grown as a natural hedge — said to be "pig tight, horse high, and bull strong." First brought to the attention of non-indigenous people by Lewis and Clark, who sent cuttings to Thomas Jefferson, a mythology sprang up around Osage oranges that was very much tied up with "manifest destiny" ideology. Jonathan Turner, a professor who helped found the University of Illinois said that "God designed Osage Orange especially for the purpose of fencing the prairies." By 1869, there were an estimated 60,000 miles of Osage orange fencing across the Midwest. But by a decade or so later, barbed-wire became popular, cheap, and easier to deploy, so Osage orange hedges became far less common.

Osage oranges are in the mulberry family (Moraceae), and as such their leaves can also be used as food for silkworms, though silkworm farming is also far less common compared with a hundred years ago. Doubtless the most important use of Osage orange today is for it's impressive wood: the hardest, most durable, hottest-burning wood native to North America. Our beloved sorghum mill is powered by a decades-old "swing arm" made from the fallen limb of an osage orange tree (see photo). It's still in great condition. Fence-posts made from Osage orange can survive in soil and rain for a century or more. And the wood burns with such intense heat and sometimes produces so many sparks (especially when not properly dried) that it can crack chimneys and even blow up cast-iron stoves. Nevertheless, properly treated, it can provide excellent long-lasting heat when burned. Most famously, the wood is considered superior to all others for making bows and arrows (hence the name "bois d'arc"), and it's also perfect for docks and piers, musical instruments, and tool handles. The only downside is that trees seldom grow straight and tall, and many limbs tend to make it knobby. But its strength and versatility are more important than any drawbacks. It was once a favorite for wagon wheels, since it has a bending strength (MOR) of 20,000 psi (pounds per square inch), 50% higher than red oak's (another very hard and durable native wood). This bending strength is why it makes such perfect bows — one early 19th century account noted that a quality bow was worth as much as a horse and a blanket!

Most people only ever realize they're in the presence of an Osage orange tree in the fall, once it starts dropping its grapefruit-sized green fruit (which do bear a striking resemblance to a brain). These fruit can be processed into an edible starch, and some animals eat them, but they contain a very sticky latex that makes any processing challenging. They're also aromatic, and they have long been touted as a natural pest repellant, though there's apparently little evidence to support this claim. Nevertheless, some people line them up along the interior of doors to the outside to keep creepie-crawlies like cockroaches and mice from scuttling in. Extracts of the fruit have been found to have significant anti-cancer, anti-inflammatory, and anti-oxidative properties.

One enduring mystery surrounding Osage oranges is why they evolved such large and unusual fruit. Squirrels sometimes eat the seeds, but they don't spread them far. Many people have theorized that they evolved as food for giant megafauna that used to roam across North America. Seeds were found in the remains of 12,000 year-old mastadon dung in Florida, and DNA fragments were found in dung from a Pleistocene era ground sloth. Horses can eat them, but they don't like them, and if they try to eat one whole it may choke them (as has often been a problem for cattle grazing around Osage oranges), leading to recommendations that only pollen-bearing (a.k.a. male) trees be planted as hedges.

Some Osage oranges are naturally thornless, so don't be surprised if some of yours are not thorny as advertised. This seed comes to us from Pennysylvania via the good folks at Sheffield's Seeds in Locke, New York.

GROWING TIPS: Seeds benefit from cold moist stratification for 30 days before planting. They may be fall planted as well. Keep young seedlings well weeded until they are strong enough to compete on their own.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 53863568326

Discover Niche Categories That Outsell plant with orange seed pods

Top-Converting Item to Boost Your Average Order

4.3 ★★★★★
Based on 13 reviews
Sort
Highest Rating
Newest First
Oldest First
Product Reviews
M
Verified Purchase
Mary L Mazzocco
Charlottesville, US
★★★★★ 5
Hickey and Minnie
Format: Hardcover
These small books fit into a toddlers hand with vibrant pictures and just enough text to hold their interest. The box is fun to carry
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 24, 2026
T
Verified Purchase
Tahira
West Palm Beach, US
★★★★★ 5
Size
Format: Hardcover
Nice books! Bought these for my 2 year old grandson fits his little hands perfect. Cute and durable carrying case.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 25, 2026
D
Verified Purchase
Dayna
Lake Worth, US
★★★★★ 5
Nice books for a 2 year old
Format: Hardcover
My grandson loves these books. They’re easy to hold.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 24, 2026
C
Verified Purchase
Charles McDade
San Leandro, US
★★★★★ 5
Little books for toddlers
Format: Hardcover
Great and would definitely recommend
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 4, 2026
R
Verified Purchase
R. C. Walker
Carnegie, US
★★★★★ 5
The jewel in modern Russia's literary crown.
The problem with modern totalitarian regimes - the most disgusting form of government - is that they produce no art: no music, no literature, no poetry, no architecture, no visual arts. The art that does come out of such states comes from those who hate what they are and oppose them (at least passively). One of the most terrifying possibilities of the 21st Century is that the ultra-conservative/religious right wing of American politics will realize its long-held aim of a totalitarian theocracy. (Another case of the need to be careful what you wish for: the NRA's policy of making sure white supremacists have an adequate supply of Uzis may backfire. If the rightwingers establish their tyranny, one of the first things they'll do is repeal the 2nd Amendment.) The tyrannies of the 1930s and `40s were classics of the form - although reading Orwell's "1984" shows the terrifying possibility that more far-reaching totalitarianism could occur. In prewar Stalinist Russia, the alleged art of the state was "Soviet realism". Even the actual (and therefore anti-Soviet) artists of Russia occasionally felt the brunt of Stalin and his thugs - with results such as Shostakovich's intensely Stalinist (and therefore antimusical) "Hymn of the Forest". The dreary banality of all the arts under such antihuman regimes as Bolshevik Russia and Nazi Germany was almost beyond belief. Even so, flowers bloomed in the virtually sterile artistic soil of Stalin's Russia. Great musical talents such as Prokofiev and Kabalevsky - although no fans of their genocidal dictator - were able produce pretty much what they wanted because their styles tended not to offend Stalin and his cultural goon squad. Literature in the Soviet period suffered even more than music: Russia's greatest writers could publish their works, if at all, abroad. What the government allowed to be published were propagandistic (although not entirely hack) works like Shokolov's "Virgin Soil Upturned". Although the hack writers of the Stalinist period didn't lack talent, the really great writers of the Bolshevik state were obliged to work mostly sub rosa. From the 1920s to the end of his life, Mikhail Afanasyevich Bulgakov lived and worked within the Stalinist tyranny. Denied permission to emigrate and virtually denied permission to create, he lived unhappily until 1940 when he died prematurely of cancer. Paradoxically, Stalin was actually rather fond of Bulgakov, having seen and enjoyed one of his plays. Bulgakov died early enough to avoid Stalin's usual betrayal of nearly everyone he originally befriended (however marginally). The dictator died before he got around to Lavrentiy Beria and some others, but they were certainly on his list by that time. Even at that late date, more than a decade after his death, Bulgakov remained an obscure figure. His greatest work was not published in any form until 1966. This work is "Master and Margarita", one of a small handful of immortal novels produced within (and in defiance of) Soviet Russia - and possibly the greatest of them. The greatness of M&M is advanced by its universality. This is achieved by abstracting it to a large extent from the political reality of 1930s Moscow. While the novel paints a vivid picture of life in the Soviet capital, the Stalinist system is virtually invisible and its founder totally so. M&M could be taking place in the capital of any strongly centrist European state. It should be noted that many editions of M&M exist. The only one you will wish to purchase is this one (translated by Burgin and O'Connor). It is far above the others in the accuracy and felicity of its translation, not to mention its wonderful notes and analytical essay ("Afterword"). The "Master" of the novel's title is in many respects Bulgakov himself: a brilliant writer with little success at being published, whose masterpiece (a novel) seems condemned to nonpublication. The novel in this case is about Pontius Pilatus, the Procurator of Judea until mid-36 CE (the year in which Yeshua bar-Yosif ["Jesus son of Joseph"] was crucified). Some chapters of this novel appear in M&M, allowing the author to tie many elements of M&M together. Bulgakov is well versed in Gospel history, learnedly referring to Yeshua as "ha-Notsri". This term is frequently mistranslated as "the Nazarene" or "of Nazareth" (leading the author of "Matthew" of quote a probably nonexistent older text). It actually means "of the branch", from netser or nezer ("branch") - generally taken to mean a claimed descent from the very early Israeli king David. Bulgakov cleverly gives Pilatus a character that doesn't match what we know of him from Josephus. Similarly he gives us a different Yeshua and Yehudah ("Judas") than we would expect. The "Margarita" of the title, the Master's muse, is in some respects Bulgakov's 3rd wife (and also his muse), Elena Sergeyevna Shilovskaya. In terms of text devoted to her, Margarita is a far more important than the Master. The Master's story line in this work is reality mostly hers. Her name is an important clue to the novel as a whole. Marguerite (Margarita) is one of the names given to Faust's inamorata. In her passionate devotion to the Master, in her uncompromising and uncompomisable innocence, Margarita is a dramatic picture of Marguerite - but more real and compelling than the portraits of Goethe and Gounod. In a literary sense, Margarita as a shadow of Marguerite, just as M&M is a shadow of the Faust legend. It seems equally obvious that the Master must be a shadow of Faust himself. Yet the connection seems improbably remote. The Master appears as anything but Faustian, and rather than immersing himself in the world he has removed himself from it and immured himself in an asylum. Even so, his connection with Faust is palpable and compelling. Faust sought something that was not approved by the mediaeval state: knowledge (particularly of the dark arts). Bulgakov sought something deeply disapproved by the Stalinist state: truth. Indeed, no tyrant or would-be tyrant can tolerate truth. (This, I believe, explains Führer Bush's hatred of the truth and Vice-Führer Cheney's pathological fear of it.) The trinity Faust-Marguerite-Mephisopheles brings us inevitably to the protagonist (dare I say hero?) of M&M, Woland. His name, founded on the German for "where?", raises instant questions about where he is actually from and, consequently, who he actually is. That he is the "devil" of New Testament legend becomes quickly and readily apparent. He begins his visit to Moscow by going after a number of unsavory individuals. That they are of little consequence is a necessary reflection of the fact that going after people of real consequence would have landed Bulgakov in a non-mythical hell thanks to Russia's non-mythical devil (Stalin). That Woland's real mission is salvation - at least of Margarita and the Master - will seem far-fetched to the reader until it actually happens. The question is whether that mission was deliberate - for as Goethe says of his devil, "That Power I serve ... wills forever evil yet does forever good." More accurately in M&M, Woland's mission seems to be insuring that evil begets evil and good begets good. Woland in turn is part of yet another trinity: himself, Behemoth, and Korovyov. Behemoth ("the Beast", one might say) appears mostly in the form of a 6-foot upright cat. Korovyov is more human in form but just as obviously a demon. This trinity turns parts of Moscow upside-down through the use of particularly bizarre pranks. (It might be observed that the prominent presence in their company of an owl and a mirror suggests "[Till] Eulenspiegel", another famous prankster.) The merriment begins almost at once with the death of the unpleasant Rimsky, run over by a streetcar. The image of his head, rolling kabumpty-bumpty-bump down the street is hilariously macabre. Much of the novel is full of this trinity's high-jinks. I'd have to reread the novel with a mind to make notes in this regard, but I suspect that other trinities appear with some frequency in M&M. As the pranks in Moscow wind down, the story shifts gears to focus on the adventures of Margarita with Woland and his entourage. There is a grand ball that takes place in an impossibly large space. This is a reflection of Dante Alighieri's "Inferno". There is then a witch's Sabbath in a remote location. This Faustian episode is accompanied by another, a wild ride on black horses, that appears again at the end of the novel. Throughout, as earlier, it is Woland who guides and directs the activities. Finally, it is Woland, saying he does so at the request of Yeshua, who arranges the salvation of the Master and Margarita. Bulgakov - who has been standing things on their heads throughout the text - thus ultimately stands Christian mythology on its head. It is one of his greatest achievements that he uses the Master's novel and his own novel's ending to add a deep and refreshing humanity to hoary and less human New Testament myths. M&M has lent several sayings to popular Russian culture. Most important of them is the non sequitur, "manuscripts don't burn". In the novel, the Master burns his novel, just as Bulgakov burned the original ms. of M&M. The phrase comes from Woland, but magically produces the Master's ms. Bulgakov, on the other hand, re-transcribed his work from memory. The problem here is, and Bulgakov certainly knew it, that manuscripts do burn. If that were not so, we should now be able to purchase a CD of Sibelius' 8th Symphony. Still, it's amazing how many musicians and authors have left posthumous instructions that certain mss. should be burned, only to have people with a better grasp of reality refuse to burn them. Bulgakov's incomparable novel ends in a chapter of ravishing prose, of which I would like to quote a small paragraph. "'And there too," said Woland, pointing backward. `What would you do in your little basement?' The fragmented sun dimmed in the glass. `Why go back?' continued Woland in a firm and gentle voice. `O Master, thrice a romantic, wouldn't you like to stroll with your beloved under the blossoming cherry trees by day and then listen to Schubert by night? Wouldn't you like to sit over a retort, like Faust, in the hope of creating a new homunculus? Go there! Go there! There where a house and an old servant already await you, where the candles are already burning, but will soon go out because you are about to meet the dawn. Take that road, Master, that one! Farewell! It is time for me to go.'"
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 29, 2007

recommand products