SKU: 19056435092
snake tongue plant

snake tongue plant Buy Mother in Laws Tongue Phoenix, AZ | Sansevieria

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snake tongue plant Buy Mother in Laws Tongue Phoenix, AZ | SansevieriaThe Toughest Indoor Outdoor Plant for Phoenix Homes Mother in Law's Tongue Mother in Law's Tongue (Sansevieria trifasciata) is the single most indestructible plant you can grow in the Phoenix Valley. This upright, sword leafed succulent thrives in full sun patios, shaded entryways, bright indoor rooms, and dim office corners it simply does not care. Native to tropical West Africa, Sansevieria has adapted to survive extreme drought, low light, and

The Toughest Indoor-Outdoor Plant for Phoenix Homes — Mother in Law's Tongue

Mother in Law's Tongue (Sansevieria trifasciata) is the single most indestructible plant you can grow in the Phoenix Valley. This upright, sword-leafed succulent thrives in full sun patios, shaded entryways, bright indoor rooms, and dim office corners — it simply does not care. Native to tropical West Africa, Sansevieria has adapted to survive extreme drought, low light, and total neglect, making it the perfect choice for busy Scottsdale homeowners, Mesa rental properties, Gilbert office lobbies, and Chandler covered patios where other plants give up.

Mother in Law's Tongue Plant Details

Attribute Detail
Scientific Name Sansevieria trifasciata (syn. Dracaena trifasciata)
Common Names Mother in Law's Tongue, Snake Plant, Sansevieria, Saint George's Sword
Mature Height 2–4 feet
Mature Width 1–2 feet (clumping, spreads by rhizomes)
Growth Rate Slow to moderate — 2–4 new leaves per year
Sun Full sun to deep shade. Tolerates any light condition.
Water Very low. Extremely drought-tolerant. Overwatering is the #1 killer.
USDA Zones 9–12 (Phoenix is Zone 9b–10a — protect from hard frost below 32°F)
Soil Well-draining required. Adapts to Arizona caliche soils with added sand or gravel.
Foliage Evergreen — stiff, upright sword-shaped leaves with green-yellow variegation
Bonus NASA-proven air purifier — removes formaldehyde, benzene, and xylene

Mother in Law's Tongue Uses in Phoenix Landscapes

Covered Patios & Shaded Entryways

Mother in Law's Tongue is the top pick for Phoenix covered patios, north-facing entries, and shaded courtyards where most plants struggle. The upright, architectural form adds clean modern lines to outdoor living spaces in Scottsdale, Paradise Valley, and Chandler. Group 3–5 plants in matching pots for a designer-look patio border, or plant directly in a shaded landscape bed along a covered walkway.

Indoor Accent & Office Plant

Snake Plant is one of the few plants that actually thrives in air-conditioned indoor environments. Place it in a bright window, a dim hallway, or a fluorescent-lit office in Mesa or Tempe — it performs in all conditions. Its air-purifying qualities make it a smart choice for bedrooms, home offices, and commercial lobbies across the Phoenix Valley.

Modern Desert Container Plantings

The bold vertical leaves of Sansevieria look striking in sleek concrete, ceramic, or metal planters. Use a single large specimen as a patio focal point, or line up matching containers along a Gilbert pool fence or Peoria outdoor kitchen. Container planting also makes it easy to move indoors during rare hard freezes.

Low-Maintenance Ground Cover & Border

Planted en masse in a shaded landscape bed, Mother in Law's Tongue creates a dense, low-water ground cover that never needs mowing. Space 12–18 inches apart for a filled-in border within 2 seasons. Works beautifully under Desert Museum Palo Verde trees or along shaded property walls.

Best Time to Plant Mother in Law's Tongue in Phoenix

Spring (March–May) is the ideal planting window. Warm soil and long days fuel rapid root establishment. Fall (October–November) is the second-best option. Avoid planting outdoors in winter — Sansevieria is frost-sensitive and should be protected or brought inside when temperatures drop below 32°F.

How to Plant Mother in Law's Tongue

  1. Dig wide, not deep — 2x the root ball width, same depth. Sansevieria has shallow rhizome roots.
  2. Ensure drainage — break through any caliche layer. Add coarse sand or perlite if soil holds water.
  3. Backfill with native soil — a 50/50 mix of native soil and coarse sand is ideal for in-ground planting.
  4. Spacing — 12–18 inches apart for a border or mass planting; 2+ feet for standalone specimens.
  5. No water basin — Sansevieria prefers to dry out quickly. Skip the soil ring.
  6. Gravel mulch — 2 inches of decomposed granite. Avoid organic mulch that traps moisture against the base.

Watering Mother in Law's Tongue in Phoenix

First Year Watering Schedule

  • Weeks 1–2: Water once, deep soak, then let soil dry completely before watering again (5–7 days).
  • Months 1–3: Every 10–14 days in warm months.
  • Months 4–12: Every 2–3 weeks. Let the top 2 inches of soil dry between waterings.
  • After Year 1: Every 3–4 weeks in summer; monthly or less in winter. Outdoor plants in shade may need no supplemental water in winter.

Drip Irrigation

Place 1 emitter (0.5–1 GPH) 6 inches from the base. Sansevieria is far more likely to die from overwatering than underwatering. If leaves turn mushy or yellow at the base, you're watering too much. When in doubt, skip a cycle. Indoor plants in pots should be watered only when soil is completely dry — typically every 2–4 weeks.

Can Mother in Law's Tongue survive outdoors in Phoenix year-round?
Yes, in most of the Valley. It thrives outdoors in covered, frost-protected areas. During rare hard freezes (below 32°F), either cover the plant with frost cloth or move containers indoors. In most Phoenix winters, it handles outdoor conditions just fine.

Is Snake Plant toxic to pets?
Yes, Sansevieria is mildly toxic to dogs and cats if ingested. It typically causes nausea and vomiting. If you have curious pets, place the plant on an elevated surface or choose a pet-friendly alternative.

How do I propagate Mother in Law's Tongue?
The easiest method is division — separate the rhizome clumps when repotting. You can also propagate from leaf cuttings placed in well-draining soil, though this takes 2–3 months to root. Division gives you an instant new plant.

Why is my Snake Plant not growing?
In Phoenix, the most common reasons are overwatering (causes root rot) and too much direct summer afternoon sun (causes leaf burn). Move to bright indirect light or morning sun, reduce watering, and growth should resume in spring.

You May Also Like

  • Elephant's Ear — bold tropical foliage for shaded Phoenix patios and entryways.
  • Flapjacks — another tough succulent with dramatic paddle-shaped leaves that pairs well with Snake Plant.
  • Blue Elf Aloe — a compact, colorful aloe that thrives in the same containers and landscape beds.
  • Ponytail Palm — an architectural indoor-outdoor plant with similar indestructible qualities.
  • Firestick Euphorbia — adds vivid color contrast next to Snake Plant's green-yellow foliage.

How Many Mother in Law's Tongue Do I Need?

Snake Plant clumps stay narrow, just 1 to 2 feet wide, and spread slowly by rhizome, so it is planted in groups for a border, a mass bed, or matching containers. Space plants 12 to 18 inches apart and they knit into a filled border within about two seasons. Use this table to size a shaded bed or border run.

Border / bed length Spacing 12 in Spacing 18 in
10 ft 10 plants 7 plants
20 ft 20 plants 14 plants
Container cluster 3 to 5 plants per large pot for instant fullness

Mother in Law's Tongue Season-by-Season in Phoenix

  • Spring (Feb to Apr): Best planting window. Warm soil and long days push 2 to 4 new upright leaves and any rhizome spread for the year.
  • Summer (May to Sep): Thrives in heat under cover or bright shade. Direct west afternoon sun can scorch the leaves, so give it morning sun or filtered light. Monsoon humidity is fine as long as the soil drains and the base dries out between waterings.
  • Fall (Oct to Nov): Good secondary planting season. Growth slows as nights cool.
  • Winter (Dec to Jan): This is the one weak spot. Sansevieria is frost-sensitive and leaves turn mushy below about 32F. Cover with frost cloth on freeze nights or grow it in pots you can pull under cover or indoors.

At a Glance

✔ Drought-Tolerant   ✔ Evergreen   ✔ Low-Maintenance   ✔ Pool-Friendly (Low-Litter)   ✔ Fire-Wise   ✔ Deer & Rabbit-Resistant   ✔ Spineless

Plant It With

  • African Spear: a cylindrical Sansevieria cousin that layers texture in the same shaded bed.
  • Elephant's Ear: bold broad foliage for a tropical, shaded-patio pairing.
  • Flapjacks: paddle-shaped succulent that contrasts the upright sword leaves.
  • Ponytail Palm: another tough, sculptural indoor-outdoor plant with the same care needs.

Is Mother in Law's Tongue Right for Your Yard?

Snake Plant is ideal for covered patios, north entries, shaded courtyards, and indoor rooms anywhere in the Valley, in fast-draining soil or a pot where the roots dry out between waterings. It is not a fit for an exposed west-facing bed in full afternoon sun, a low spot that stays wet, or a frost-exposed location you cannot cover in winter. It is also mildly toxic to pets if chewed, so keep it out of reach of curious dogs and cats.

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Best wrap mask!
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Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Battle Creek, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Natrona Heights, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002

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