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philodendron martianum price Philodendron Martianum 'Fat Boy'

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Description

philodendron martianum price Philodendron Martianum 'Fat Boy'The name explains itself the moment you see it. Every petiole on the Philodendron Martianum 'Fat Boy' is dramatically swollen inflated, bulbous, and hollow, like a series of fat green sausages holding up the broad, glossy dark green leaves above. No other Philodendron looks quite like this. Named in honour of Carl Friedrich Philipp von Martius, the great German botanist who spent years cataloguing the flora of Brazil's Amazon basin, martianum is a

The name explains itself the moment you see it. Every petiole on the Philodendron Martianum 'Fat Boy' is dramatically swollen — inflated, bulbous, and hollow, like a series of fat green sausages holding up the broad, glossy dark-green leaves above. No other Philodendron looks quite like this. Named in honour of Carl Friedrich Philipp von Martius, the great German botanist who spent years cataloguing the flora of Brazil's Amazon basin, martianum is a species from Brazil's Atlantic rainforest and rocky outcroppings — a plant equally at home growing on tree trunks and bare cliff faces, which explains its unusually tough, drought-tolerant character. The swollen petioles are not just a visual quirk; they are water storage organs, making this a semi-succulent Philodendron that tolerates dry spells far better than most of its genus. New leaves emerge with a warm bronze flush before deepening to the rich, glossy green of a mature plant. It grows as a self-heading, compact rosette — no climbing, no moss pole, no drama — and is one of the most genuinely low-maintenance collector aroids available.

💡 The Swollen Petioles — Water Storage, Not a Defect The dramatically inflated, hollow petioles of Philodendron martianum are its most distinctive feature and its most practical one. They function as water storage organs — the plant draws on the moisture held within them during dry periods, making it significantly more drought-tolerant than most Philodendrons. This semi-succulent adaptation is why the Fat Boy should be treated more like a succulent-philodendron hybrid than a typical aroid: allow the soil to dry much further between waterings than you would for other Philodendrons, and never keep the root zone perpetually moist. The petioles will appear visibly plumper on a well-hydrated plant and slightly softer when the plant is ready for water.
🌿 Self-Heading Rosette — No Pole, No Climbing Philodendron martianum is a non-vining, self-heading species that grows as a compact, upright clump. It does not climb, does not trail, and needs no support structure. New leaves push upward and outward from the central growing point, building a layered rosette that displays the bronze new growth at the centre against the mature dark-green outer leaves. Rotate the pot a quarter turn every 2–3 weeks for even, symmetrical growth. Its compact, structured habit makes it ideal for desks, shelves, and tabletops where a climbing vine would be impractical.
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Light

Bright indirect light — an east or west-facing window is ideal. The Fat Boy tolerates lower light better than many collector aroids, but in good bright light it produces larger leaves, more vivid bronze new growth, and a more compact, robust rosette form. Avoid direct harsh afternoon sun — it scorches and bleaches the glossy leaves. Gentle morning sun is fine and beneficial. A grow light at 12–14 hours works well indoors and produces consistent new growth year-round.

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Watering

Allow the top 50% of the soil to dry out before watering thoroughly — much drier than most Philodendrons. The swollen petioles store water and the plant tolerates short dry spells with ease; consistent soggy soil is the primary cause of root rot in this species. Water deeply and allow to drain completely; empty the saucer after watering and never allow to stand in water. In winter reduce frequency further — the petioles provide a visible cue: slightly softened or less plump petioles indicate the plant is ready for water. Filtered water preferred; room temperature.

💦

Humidity

Average indoor humidity (40–55%) is ideal — one of the few Philodendrons that actively prefers drier air. The thick petioles store moisture internally and excessive ambient humidity can encourage fungal issues on the leaf surfaces and around the stem base. Do not mist. No humidifier needed. India's typical indoor climate is naturally well-suited. Keep away from excessively humid bathrooms or very damp corners. Good air circulation around the plant is beneficial.

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Growing Media

Well-draining, airy mix — 40% orchid bark, 30% perlite, 20% quality potting soil or coco coir, 10% worm castings. pH 6.0–6.5. The mix must drain immediately and completely; any sustained moisture retention around the roots causes rot in this semi-succulent species. A terracotta pot with drainage holes is strongly recommended — the porous walls assist evaporation and prevent moisture build-up between waterings. Repot every 1–2 years in spring; slightly root-bound is preferred. Move up only one pot size at a time.

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Feeding

Balanced liquid fertilizer at half strength every 3–4 weeks during the growing season (spring through early autumn). Apply to moist soil only. The Fat Boy is not a heavy feeder; consistent but light feeding during active growth produces robust new leaves. Flush soil every 3 months to prevent mineral salt build-up. Stop feeding in winter. Avoid high-nitrogen formulas — they push soft, watery growth that is particularly susceptible to rot in this semi-succulent species.

⚠️ Common Issues & Quick Fixes

Soft, Mushy, or Collapsing Petioles

The most Fat Boy-specific complaint — and the most serious. Mushy, collapsing petioles indicate root rot from overwatering. Unpot immediately, inspect the roots — trim all blackened or mushy sections with clean scissors, allow the root ball to air-dry for several hours, repot in fresh completely dry well-draining mix, and do not water for at least 2 weeks. Going forward: allow top 50% of soil to dry before watering; terracotta pot; no saucer standing water.

Yellow Leaves

Overwatering — the primary cause in this species. Allow the soil to dry much further between waterings and check that drainage is excellent. One older leaf yellowing as a new one unfurls is normal cycling. Widespread yellowing with soggy soil: unpot, trim rotted roots, repot in fresh mix, water less going forward.

Leaves Staying Small or Growth Stalling

Insufficient light or the plant being too root-bound. Move to a brighter indirect position. Check whether roots are circling the pot base — if so, repot one size up in spring. Begin consistent feeding every 3–4 weeks. In good conditions the Fat Boy produces large, substantial leaves; small leaves are a reliable indicator that one of these three conditions needs attention.

Brown Leaf Tips or Edges

Mineral build-up from tap water or over-fertilizing. Switch to filtered water, flush the soil thoroughly every 3 months, and reduce fertilizer concentration. Existing brown tips are permanent — trim neatly at a slight angle; new growth in improved conditions will be clean.

Fungal Spots on Leaves or Stem Base

Excessive humidity or water splashing on the leaf surfaces or stem base — this species prefers drier air than most aroids. Improve air circulation, stop any misting, and reduce ambient humidity. Remove badly affected leaves. Apply a diluted neem oil solution to the stem base and leaf surfaces as a preventive. Move to a drier, better-ventilated position.

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Quick Plant Profile

Botanical Name Philodendron martianum Engl. 'Fat Boy'
Named After Carl Friedrich Philipp von Martius — German botanist who catalogued Brazil's Amazon flora
Common Names Fat Boy Philodendron, Cannifolium Philodendron, Swollen Petiole Philodendron
Family Araceae
Origin Brazil; Atlantic rainforest and rocky outcroppings; epiphytic and lithophytic
Defining Feature Dramatically swollen, hollow, inflated petioles — water storage organs; unlike any other Philodendron
Petiole Function Semi-succulent water storage — plant tolerates dry spells; plump petioles = well-hydrated; soft petioles = water needed
New Leaf Colour Bronze flush on emergence; deepens to deep glossy green as leaf matures
Growth Habit Self-heading rosette; non-vining; no climbing; no moss pole needed; compact upright clump
Humidity Note Prefers drier air (40–55%) — one of the few Philodendrons that does NOT benefit from a humidifier
Light Bright indirect; tolerates medium light; no direct harsh sun
Watering Top 50% dry before watering; much drier than most Philodendrons; terracotta pot recommended
Temperature 18°C–30°C; no cold drafts; no sustained cold below 15°C
Mature Size 30–60 cm in pots; significantly larger in-ground in tropical gardens
Propagation Stem cuttings with at least one node; allow cut end to callous before placing in bark or sphagnum
Ideal For Collectors, Desks, Shelves, Low-Maintenance Setups, Aroid Enthusiasts, Gifting
Care Level Easy — bright light, let it dry well, avoid overwatering and excess humidity; the rest takes care of itself
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Matthew
Port Orchard, 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
San Leandro, 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
Whiting, 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
Louisville, 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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Matt M
Lexington, US
★★★★★ 5
Will reading Wired for Story really make you smarter?
Format: Paperback
In my 36th year as a would-be and penniless writer, I found myself exiled to a dark rough and tumble city in the Far West, guns blazing as a steely-eyed wordslinger for hire. But then one day I stumbled upon Lisa Cron's book Wired for Story. The book's title had my curiosity. A few sample pages later grabbed my attention and has held it ever since. But the price wasn't right for a poor, humble English teacher living in China upon a Chinese salary. I had bills to pay, a mistress to please, and habits to feed. It seemed to me that Amazon.com was colluding with other dark powers to suck humanity dry; why else would they charge more for a digital book than its paper copy? But then I heard ghostly voices, the cinematic intonations of Morpheus telling me to choose between the red and blue pill; Obiwan Kenobi, "Use the Force"; Nike commercials, "Just Do It!"; and other such shadows flickering upon the wall of my TV room. Even this very particular retail website seemed to whisper across all the vastness of cyberspace, reminding me of my destiny via a personalized showcase of products, that I was not just born to buy... So I added it to my cart. About a download and two chapters later I found that I was still happy after the post-purchase buzz ran its course. This book should be required reading for all writers - and anybody else seeking an inoculation against the raging pandemic of competing narratives spewed out from marketers, pundits, prophets, and others posing as guardians of the truth - most of whom seem to be more enraptured than enlightened. For writers though, Wired for Story is quite different from other "how to" books, as Lisa Cron approaches the craft of storytelling from a neuroscientific point of view. She makes the case that writers aren't just entertainers: they are some of most powerful shakers and shapers of human perception. So if storytellers are like snake oil salesmen, then what is the difference? Both seem to be highly skilled in crafting story, using imagery, and evoking emotions, memories, desires. The difference is all about marketing. Salesmen claim to have knowledge, skills, and expertise, that they, and they alone have whatever it takes to get the facts right and fix things. They market their brands cloaked in story, as if they have a monopoly on truth, or at least the can-do spirit and problem-solving experience needed to improve the economy, save the world, whatever. It doesn't matter that time and time again reality proves them wrong; they will always have another story to spin. The difference between those who would use the power of story to express themselves versus those who would use it for personal gain is, perhaps, a fine red line marking the shadowy borders of between ethics and morality. Storytellers differ because they use words to hook audiences and manipulate a willing reader's central nervous system. They make no claims to knowledge or expertise. Indeed, fiction writers will be first to emphasize their work is fictional, and not based on any real life events or people. Their best writing leaves readers thinking, questioning, minds opening, empathizing, expanding their worldviews, the list goes on almost ad infinitum. Storytellers speak for themselves and let audiences think for themselves; pundits speak for others and tell audiences what to think. What's more, the art and craft of story, as well as the talent and hard time in solitary confinement required for their honing, is estimated to take an average storyteller at least 1,000,000 words or 10,000 hours - not including all the reading, language arts development, and life experience necessary to get to a point one needs to seriously embark on such a ludicrous and un-economical vocation. This means that fiction writers who risk everything for dubious prospects of financial reward must have something else driving them - and a good day job. A presidential candidate though, who has genuinely done the time, and crafts speeches with the skill of a poet or bard, should hypothetically have the critical thinking background, moral authority, and empathy to be a great leader. But in the final analysis, actions contradict words; their ability to spin tales proves the old universal theme that the pen is mightier than the sword. Now when I finish Wired for Story sometime this week, I will be one step further on this endless quest to actually sell stories for a living (i.e. stories fit for the fiction aisle of an actual bookstore, not a review for an online retailer). Until then, I'm probably just a hypocrite acting as if a single book alone makes a smarter man, when in fact I know little of anything (which is why I became a writer in the first place) -- or maintaining such a humble pretense. But I don't know myself well enough to be certain. That kind of exploration would be a whole other story - but it would be unsafe to say that I lived happily ever after reading this book. The End
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Reviewed in the United States on October 11, 2012

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