aloe vera plant in texas Aloe Vera – Texas Tree Farms
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aloe vera plant in texas

aloe vera plant in texas Aloe Vera – Texas Tree Farms

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Description

aloe vera plant in texas Aloe Vera – Texas Tree FarmsAloe vera, also known as Aloe barbadensis, is a perennial succulent plant belonging to the Asphodelaceae family and native to the Arabian Peninsula. It has thick, fleshy, lance shaped leaves that grow in a rosette pattern from a central stem. The leaves are typically green to gray green in color and have serrated edges with small white teeth. Mature plants may produce tall flower spikes adorned with tubular yellow or orange flowers. Aloe vera is

Aloe vera, also known as Aloe barbadensis, is a perennial succulent plant belonging to the Asphodelaceae family and native to the Arabian Peninsula. It has thick, fleshy, lance-shaped leaves that grow in a rosette pattern from a central stem. The leaves are typically green to gray-green in color and have serrated edges with small white teeth. Mature plants may produce tall flower spikes adorned with tubular yellow or orange flowers. Aloe vera is primarily grown for its foliage and gel-filled leaves which are famous for their cooling effect on burns and skin irritations.

Scientific Name

Aloe vera (syn. Aloe barbadensis

Foliage: Evergreen

Leaves: The thick, lance-shaped leaves are gray-green (sometimes spotted with white when young). The edges are lined with small, soft white teeth.

Flowers: Mature plants (usually 4+ years old) produce a tall spike in summer topped with tubular yellow flowers. Aloe vera typically blooms in the late winter to early summer, with the peak flowering period usually occurring in spring (March through May).

Lifespan: Polycarpic Perennial  Unlike the 'Agave Whale's Tongue', which bloom once and die, a mature Aloe vera can bloom every year once it reaches reproductive maturity. The average lifespan for an indoor potted Aloe vera is 10 to 20 years and the average lifespan for an outdoor lifespan is 20 to 100 years. Even if the original "mother" plant eventually dies after 15 or 20 years, she will have produced dozens of genetically identical clones around her base. This allows the cluster to survive almost indefinitely if left undisturbed.

Mature Height

1-2 feet (flower stalks can reach 3 feet)

Mature Width (Spread)

1-2 feet (clumps can spread wider via "pups")

Growth Rate

Slow to Moderate

USDA Zone

Zone 8-11 (Best outdoors in 9-11; needs protection below 25 degrees F)


PLANT CARE & CHARACTERISTICS

Light Requirements: Bright Indirect Light to Full Sun. Indoors, it needs a very sunny window. Outdoors, it prefers full sun but appreciates some light afternoon shade in blistering desert climates to prevent the leaves from turning orange or "sunburnt." When grown indoors, place Aloe vera near a south- or west-facing window where it can receive plenty of sunlight throughout the day.

Water Requirements: Low. Aloe stores water in its fleshy leaves. The "soak and dry" method is best: water deeply, then allow the soil to dry out completely (at least the top 2 inches) before watering again. Over-watering is the most common cause of death, root rot. 

Drought Resistance: Exceptional. It is highly adapted to arid conditions and can survive long periods without supplemental water, though it looks "plumper" and healthier with occasional deep watering.

Soil Type: Gritty and Well-Drained. It requires a sandy or rocky soil mix. It will not tolerate "wet feet." In pots, a cactus or succulent potting mix is essential. A well-draining pot is important to prevent water-logging and root rot.

Deer Resistance: High. Deer generally find the thick, bitter sap and the prickly margins of the leaves unpalatable.

Pest/Disease Resistance: Moderate to High. If kept in the correct environment (low humidity, well-draining soil, and high light), Aloe vera rarely suffers from disease. For common pests like mealybugs, a cotton swab dipped in 70% isopropyl alcohol can be used to dab them away. For fungal spots, improving air circulation and keeping the leaves dry is usually enough to stop the spread.

Issue Description & Symptoms
Aphids / Mealybugs Small, sap-sucking insects that hide in the crevices of the leaves. You may see "honeydew" (sticky residue) or white, cottony clusters.
Aloe Mite Microscopic mites that cause "Aloe Gall"—an ugly, cancerous-looking growth or "wart" on the leaves or flower stalks.
Snout Beetle A more serious pest that bores into the center of the plant to lay eggs; the larvae then eat the plant from the inside out.
Root Rot The most common killer of Aloe. Caused by overwatering or poor drainage. Leaves will turn mushy, brown, or translucent at the base.
Fungal Leaf Spot Appears as small, dark brown or black spots on the leaves, often triggered by water sitting on the foliage in cool temperatures.
Aloe Rust A fungal infection that creates permanent black spots. It isn’t usually fatal but can ruin the plant's aesthetic.


Pollination: Aloe vera is generally self-incompatible, meaning a single plant cannot pollinate itself. To produce viable seeds, you typically need two different clones blooming at the same time.

HARVEST

Feature Guideline
Maturity Only harvest from plants that are at least 3 years old. Younger plants do not have the same concentration of active medicinal compounds.
Which Leaves? Always harvest the outermost, bottom leaves. These are the oldest and largest. Never harvest from the center "crown," as this is where the new growth happens.
Technique Use a sharp, clean knife. Cut the leaf as close to the main trunk as possible at a slight downward angle. Avoid "snapping" the leaf by hand, which can tear the plant's tissue.
The "Bleed" After cutting, stand the leaf upright in a container for 10–15 minutes. A yellow sap called aloin (latex) will drip out. This substance is a strong laxative and skin irritant; most people prefer to drain it before using the clear inner gel.
Frequency Do not remove more than 20–30% of the plant's total leaves at one time. If you over-harvest, the plant will become stunted.


STORAGE/SHELF LIFE

Form Storage Method Shelf Life
Whole Leaf (Fresh) Room Temperature (Cool/Dark) 1 to 2 days
Whole Leaf (Fresh) Refrigerated (Wrapped in plastic) 1 to 2 weeks
Extracted Gel (Pure) Refrigerated (Airtight container) 5 to 7 days
Extracted Gel (Pure) Frozen (Ice cube trays) 6 to 8 months
Extracted Gel (Preserved) Refrigerated (With Vitamin C/E) 1 to 2 months


Best Practices for Maximizing Shelf Life

1. The "Yellow Sap" Drain: As mentioned during harvesting, always allow the yellow liquid (aloin) to drain out for 10–15 minutes before storing or processing the gel. This liquid oxidizes quickly and can spoil the clear gel if left inside.

2. Preventing Oxidation: Once the clear gel is exposed to air, it begins to lose its potency. If you are storing extracted gel in the fridge, fill the container to the top to minimize the amount of oxygen inside.

3. Natural Preservatives: If you need the gel to last longer than a week without freezing, you can blend in Vitamin C powder (ascorbic acid) or Vitamin E oil. This helps stabilize the gel and acts as an antioxidant.

4. Signs of Spoilage: You should discard Aloe vera if you notice any of the following:

  • Smell: A strong, sour, or "pungent" odor (fresh aloe should have a very mild, grassy scent).
  • Color: The clear gel turns deep pink, brown, or dark gray.
  • Texture: The gel becomes excessively watery or develops mold on the surface.

PRUNING

Aspect Recommendation
Primary Goal To remove dead, damaged, or diseased leaves and to harvest healthy leaves for use.
Target Leaves Focus on the outermost leaves at the base of the plant. These are the oldest and most likely to show wear or be ready for harvest.
When to Prune Any time of year, though spring or summer is ideal as the plant is in its active growth phase and will heal faster.
The "Crown" Rule Never prune the center of the plant (the "crown"). This is the growth point; if damaged, the plant may stop growing or die.
Managing "Pups" If the pot is getting crowded, pruning includes removing the small "pups" (offsets) at the base to redirect energy to the mother plant.


Step-by-Step Pruning Process

1. Sanitize Your Tools: Use a sharp knife or garden shears cleaned with rubbing alcohol. This prevents the spread of fungal diseases like Aloe Rust.

2. Assess the Plant: Look for leaves that are turning brown, shriveled, or have dark spots. These should be your first priority for removal.

3. The Cut: Place your blade as close to the main stem as possible. Cut at a slight downward angle. Avoid leaving "stubs" of leaves, as these can rot.

4. Harvesting vs. Maintenance: If the leaves are healthy but the plant is simply too large, you can harvest these healthy outer leaves for their gel (see storage info above).

5. Remove Pups: If you want a single, large specimen, use a trowel to gently separate the babies (pups) from the mother plant's roots. These can be repotted into new containers.

6. Aftercare: After a heavy pruning session, avoid watering the plant for 2–3 days. This allows the "wounds" on the stem to callus over, which acts as a natural seal against bacteria and rot.

Essential Safety Note

Aloin Awareness: When you prune, the plant will "bleed" a yellow, latex-like sap called aloin. This can be a skin irritant for some people. If you have sensitive skin, it is a good idea to wear gloves.

Spines: While Aloe vera spines are softer than those on an Agave, they can still be prickly. Handle with care to avoid small scratches.

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Matthew
Charlottesville, 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
Belleville, US
★★★★★ 4
Great story
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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
Battle Creek, 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
San Leandro, 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
Lake Worth, 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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