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Combating Anti-Asian Violence through UN Human Rights Mechanisms
by Alyssa Yamamoto
Committee on the Elimination of Racial Discrimination, Discrimination, Executive Order 9066, Hate Crimes, International Convention on the Elimination of All Forms of Racial Discrimination, International Human Rights, United Nations, United Nations Human Rights Council
Editors' note: For our series on the 80th anniversary of Executive Order 9066, signed on Feb. 19, 1942, we are republishing a Just Security article on the use of international human rights mechanisms to combat anti-Asian discrimination and violence, originally published on Apr. 2, 2021. An additional author's note, dated Feb. 18, 2022, discusses the ongoing problem of anti-Asian hate in the United States and its connection to State policies of anti-Asian discrimination, including the incarceration of Japanese Americans during World War II.
Author's note (Feb. 18, 2022): Tomorrow marks the 80-year anniversary of Executive Order 9066, which effectively authorized the forcible removal and mass incarceration of people of Japanese descent, including U.S. citizens, in concentration camps.
The anniversary follows the brutal killings of Christina Yuna Lee and Michelle Go in New York, the one-year anniversary of the tragic death of Vicha Ratanapakdee, and a spate of hate incidents against Asian Americans and Pacific Islanders in the United States. According to the Stop AAPI Hate coalition, 10,371 anti-Asian incidents, ranging from verbal harassment to physical assault, were reported from March 2020 to September 2021. In San Francisco alone, anti-Asian hate crimes reportedly went up 567% last year. While there is disagreement regarding the racial motivation of some of these incidents, what is clear is that many members of the Asian American and Pacific Islander community, including myself, remain unsettled and fearful.
The recent rise in anti-Asian racism and violence must be situated within America's ugly 150-year history of State-sanctioned discrimination against Asian Americans and Pacific Islanders—and of course, an even longer history of broader xenophobia and racism. Time and time again, the U.S. government has fomented and perpetuated anti-Asian sentiment, weaponizing in particular its national security apparatus. Examples abound, including the incarceration of Japanese Americans during World War II, the "yellow peril" trope of the Cold War, the systemic targeting and profiling of South Asians since 9/11, the targeting of Chinese academics under the China Initiative, and most recently, anti-Asian fearmongering tied to the COVID-19 pandemic.
In April 2021, I wrote about using international human rights law mechanisms to combat anti-Asian discrimination and violence. Since then, President Joe Biden signed into law the COVID-19 Hate Crimes Act and enacted several other measures to combat racism, xenophobia, and intolerance against Asian Americans, Native Hawaiians, and Pacific Islanders in the United States. These are important steps, but as ongoing incidents of anti-Asian hate show, more is needed. In line with international legal obligations, the United States must protect fundamental rights and freedoms, including the right to life and the security of the person and the right to freedom of expression, without discrimination. Only a human rights-compliant response to combating doctrines of racial superiority and to ensuring adequate redress for past and ongoing harms will help the U.S. government regain its credibility as it espouses human rights values on the world stage.
Originally published Apr. 2, 2021:
On Tuesday, March 30—two weeks after the tragic slaughter of eight people, including six Asian women, in Georgia—President Joe Biden announced several initiatives to respond to the surge in anti-Asian violence in America. These include a COVID-19 Equity Task Force subcommittee focused on anti-Asian xenophobia; a Department of Justice cross-agency initiative committed to improving data collection and transparency, community outreach, and law enforcement training on anti-Asian violence; and funding for support programs for domestic violence survivors from the Asian American, Native Hawaiian, and Pacific Islander communities.
These are all steps in the right direction. But largely absent from the national conversation about anti-Asian violence is the broader international landscape. The escalating attacks against Asian Americans and Pacific Islanders in the United States are part of a global phenomenon fueled by the COVID-19 pandemic. As United Nations Secretary-General António Guterres warned as early as May 2020, "the pandemic continues to unleash a tsunami of hate and xenophobia, scapegoating and scare-mongering." Human Rights Watch and others have documented a worldwide rise in anti-Asian attacks since the start of the pandemic, including in Australia, Canada, France, Italy, New Zealand, Russia, and the United Kingdom.
Tackling anti-Asian violence calls for an international response. Where States parties have violated their obligations, they can and should be held accountable. Holding States in addition to individual perpetrators accountable is particularly important as it tackles head-on the systemic and institutional nature of racial discrimination and violence.
The U.N. human rights mechanisms—primarily the International Convention on the Elimination of All Forms of Racial Discrimination (CERD), but also others—offer a valuable framework for understanding the scope of State obligations to combat racial discrimination. They provide potential avenues for holding States parties, including the United States, to account.
Accountability Under the Convention on Elimination of Racial Discrimination
The principle of non-discrimination can be found in all core international human rights instruments, but the prohibition of racial discrimination is most fully expressed in the CERD, which the United States ratified in 1994. As stated in the CERD preamble, the signatories "[r]esolved to adopt all necessary measures for speedily eliminating racial discrimination in all its forms and manifestations."
With this ambitious purpose in mind, the CERD requires States parties to implement wide-ranging negative and positive obligations. For instance:
Article 2(1)(c) of the CERD requires States parties to "take effective measures to review governmental, national and local policies, and to amend, rescind or nullify any laws and regulations which have the effect of creating or perpetuating racial discrimination wherever it exists."
Article 4 requires States parties to "undertake to adopt immediate and positive measures designed to eradicate all incitement to, or acts of, [] discrimination." According to the Committee on the Elimination of Racial Discrimination—the body of experts tasked with monitoring implementation of the CERD—the requisite "measures" comprise the full gamut of "legislative, executive, administrative, budgetary and regulatory instruments, at every level in the State apparatus, as well as plans, policies, programmes and preferential regimes in areas such as employment, housing, education, culture and participation in public life for disfavoured groups, devised and implemented on the basis of such instruments."
Article 5 obliges States parties to "undertake to guarantee," without racial discrimination, fundamental human rights, including the rights to security of person, public health, freedom of movement and residence, and fair trial.
Article 6 mandates effective access to procedural and substantive remedies.
Article 7 obliges States parties to "undertake to adopt immediate and effective measures, particularly in the fields of teaching, education, culture and information, with a view to combating prejudices which lead to racial discrimination and to promoting understanding, tolerance and friendship among nations and racial or ethnical groups." This may entail "information campaigns and educational policies calling attention to the harms produced by racist hate speech," as well as "training of law enforcement officials in the protection of human rights."
Under the CERD, all States parties are required to submit regular reports to the Committee on the Elimination of Racial Discrimination explaining how they are implementing the CERD. After the first year of acceding, States parties must report to the committee every two years. The committee then reviews the report and issues its concerns and recommendations—called "Concluding Observations"—on the State party's compliance.
In addition, where there is sufficient evidence of CERD violations, individuals and States parties may initiate proceedings against a State party in three ways:
First, under Article 14 of the CERD, individuals or groups of individuals may bring a complaint against any State party that has accepted the competence of the Committee on the Elimination of Racial Discrimination to receive such complaints. The individual(s) must be subject to the jurisdiction of the State party.
Second, under Article 22, States parties may refer an inter-State dispute concerning interpretation or application of the CERD to the International Court of Justice. Such recourse is available where the dispute is not settled "by negotiation or by the procedures expressly provided for in th[e] Convention."
Third, as my colleague Nawi Ukabiala explained in a previous post in the context of the Black Lives Matter movement, under Article 11, States parties can initiate inter-State conciliation procedures against another State party for "not giving effect to the provisions" of the treaty. These procedures may result in an ad hoc Conciliation Commission of five human rights experts issuing a report with their (albeit non-binding) findings and recommendations.
Notably, while the United States has made a reservation to the jurisdiction of the International Court of Justice under Article 22 and has not accepted the competence of the committee to receive individual complaints under Article 14, it has not made a reservation to Article 11, so it could be subject to the inter-State conciliation procedures. It is also subject to Concluding Observations issued by the Committee on the Elimination of Racial Discrimination.
Although neither prospective conciliation findings nor Concluding Observations are legally binding, they would apply crucial moral and social pressure on the U.S. government that would carry substantial weight in the present geopolitical landscape. As others have written, anti-Asian violence has serious foreign policy and national security implications. The credibility of States like the United States espousing human rights values on the international stage has suffered due to a poor human rights track record on multiple issues at home. For instance, China has leveraged such issues—most recently taking the United States to task for systemic racism in a scathing Report on Human Rights Violations in the United States—to deflect from its own human rights violations in Xinjiang.
The findings under the CERD may carry particular weight with the Biden administration, which unlike the Trump administration, has nominated a U.S. representative to the Committee on the Elimination of Racial Discrimination, explaining that this "nomination underscores the value that the Biden administration places on the Committee's work."
Several other States facing escalating anti-Asian attacks may also be on the hook under the CERD—including potentially before the International Court of Justice. For instance, the United Kingdom, Italy, Australia, New Zealand, and Canada have all ratified the CERD. None has made a reservation to the jurisdiction of the International Court of Justice under Article 22, or the inter-State conciliation procedures under Article 11. Italy and Australia have also recognized the competence of the Committee on the Elimination of Racial Discrimination to receive complaints from individuals or groups under Article 14.
So who may step up to the plate? Asian States parties to the CERD may have a special interest in initiating inter-State proceedings against States parties failing to live up to their CERD obligations in light of the surge in anti-Asian discrimination. But as Nawi has argued, any State party to the CERD likely enjoys standing to initiate proceedings against another State party, even if it lacks a special legal interest in the alleged dispute. This is because State party obligations under the CERD are likely obligations erga omnes parties, i.e., obligations that each State party owes to its fellow States parties based on "shared values."
Potential CERD Claims
Although a full-fledged jurisdictional and merits analysis of potential CERD claims per State falls beyond the scope of this post, at first glance, several CERD claims may be viable.
For instance, individuals and/or States could allege incitement through the active propagation of racial hatred by public officials and the failure to sanction. It is well-documented that public officials across the globe have adopted exclusionary and racist rhetoric since the outset of the pandemic. Just as former President Donald Trump stoked anti-Asian sentiment by adopting rhetoric like the "China virus" and "Kung flu"—including on the very night of the Atlanta killings—a governor in Italy claimed that Italians would better handle the pandemic than the Chinese due to Italians' "culturally strong attention to hygiene, washing hands, taking showers, whereas we have all seen the Chinese eating mice alive." At least one study has found such State rhetoric to be directly linked to anti-Asian sentiment.
There may also be viable CERD claims stemming from the shortcomings of State party responses, however well-intentioned. For instance, States parties may fail to provide effective access to remedies due to limitations in existing criminal or civil law. In the United States, this underlines the importance of all States adopting hate crime laws—including South Carolina, Arkansas, and Wyoming, which presently have none on the books. Sufficient federal legislation is also vital; this includes the COVID-19 Hate Crimes Act and the No Hate Act.
States parties may also fail to adopt sufficiently wide-ranging policies and programs—not just at the federal level, but also the local level. Grassroots, community-wide measures are part and parcel to the CERD, and equally important as executive and regulatory reforms.
Other Relevant Human Rights Mechanisms
The CERD is but one of several human rights mechanisms that provide for the prohibition of racial discrimination. Others include the International Covenant on Civil and Political Rights and the International Covenant on Economic, Social and Cultural Rights, which like the CERD, provide for inter-State and individual complaint mechanisms.
Individuals, groups, civil society organizations, inter-governmental entities, and national human rights bodies may also submit information of alleged abuse to the Special Procedures of the Human Rights Council, including the U.N. Special Rapporteur on contemporary forms of racism, racial discrimination, xenophobia and related intolerance.
The Rabat Plan of Action on the prohibition of advocacy of national, racial or religious hatred that constitutes incitement to discrimination, hostility or violence, the Durban Declaration and Programme of Action, and the Camden Principles on Freedom of Expression and Equality also offer critical norms and guidance for ensuring human rights-compliant measures to combat doctrines of racial superiority and systemic racism.
Given the deeply intersectional nature of racial discrimination often combined with discrimination on the basis of gender, disability, and other characteristics, other human rights instruments like the Convention on the Elimination of All Forms of Discrimination Against Women may also prove relevant. For anti-Asian discrimination in particular, racialized misogyny and hyper-sexualization in contravention of other core human rights instruments are especially commonplace.
The current surge in anti-Asian violence builds on latent prejudices. It is part of the broader trend of discrimination against and scapegoating of racial, ethnic, and other minorities during the pandemic. As Amnesty International and Human Rights Watch have documented, this includes anti-Black discrimination in the United Kingdom, anti-African discrimination in China and France, anti-Roma discrimination in Bulgaria and Slovakia, and anti-Muslim discrimination in India. While the COVID-19 pandemic has exacerbated such discrimination, the existing structures and systems of racism in States may predetermine the groups most vulnerable to abuse.
Now more than ever, independent assessments of systematic violations of State non-discrimination obligations are needed. In the meantime, the threat of potential complaints lodged against States parties should pressure them to strengthen their efforts to bring themselves into compliance with the CERD and undertake a human rights-based response to anti-Asian attacks and other forms of structural racial discrimination.
(The views expressed in this post are solely those of the author and do not necessarily reflect those of her employer or any organizations with which she may be affiliated.)
IMAGE: People march during a Stop Asian Hate rally in downtown Detroit, Michigan on March 27,2021, as part of a nationwide protest in solidarity against hate crimes directed towards Asian Americans in the wake of the Atlanta, Georgia spa shootings that left eight dead. (Photo by SETH HERALD/AFP via Getty Images)
Alyssa Yamamoto
Alyssa T. Yamamoto is the Robina Research & Advocacy Fellow to the UN Special Rapporteur on the promotion and protection of human rights while countering terrorism. She is also a visiting fellow at the Human Rights Center at University of Minnesota Law School and the Geneva Academy of International Humanitarian Law and Human Rights.
In the Global Resistance to Autocracy, Turkey's Boğaziçi University Faculty Deserves Pride of Place
by Ayşe Candan Kirişci and Kemal Kirişci
From Egypt, Sisi's Long Arm of Repression Targets Americans Too
by Mohamed Mandour
The U.N. Fact-Finding Mission: An Accountability Turn for Iran?
by Sun Kim

redpajama_set_name: RedPajamaCommonCrawl


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Chris Bosh's home burglarized, $340 K in goods stolen
By Kurt HelinApr 4, 2013, 11:49 AM EDT
This just sucks.
The Miami area home of Chris Bosh was broken into and burglarized while he was out at celebrating his birthday, according to NBCMiami.com (hat tip to The Big Lead).
The home of Miami Heat player Chris Bosh was robbed and $340,000 worth of watches, rings and purses were taken, Miami Beach Police said Thursday….
But on Wednesday night, Bosh was out celebrating his 29th birthday at Briza on the Bay on Bayshore Drive in Miami with a Moroccan themed party, which included belly dancers and fire breathers. And a camel named Henri greeted guests.
(Just a note as someone who was a crime/court reporter for years — Bosh's home was burglarized, not robbed. There's a difference and if he was out it was burglarized.)
That just sucks. If you've ever been the victim of this (I have) you know replacing the stuff is part of it, but it's the sentimental value of some items and the loss of feeling fully safe in your own home that are worse. I feel for Chris.
Also, like you I'm thinking I need to get invited to the next party Chris Bosh throws.


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> Rory Bremner at The Ryder Cup
Rory Bremner at The Ryder Cup
Rory Bremner - look out for him at The Ryder Cup
If you're at Gleneagles over the next few days, look out for Rory Bremner, who will be raising funds for Quarriers, official charity of The 2014 Ryder Cup.
"Money raised at The Ryder Cup will go towards Quarrier's Coaching for Life campaign, which is about inspiring and supporting vulnerable young people so they can make the most of their potential and rewrite their future," says the comedian, impressionist and television presenter.
"Tessa and I are only too aware how lucky our girls are – this is our way of helping those children in Scotland who are not as fortunate." Rory and his wife, Scottish sculptor Tessa Campbell Fraser, bought their house in The Borders five or six years ago and now split their time between the Kelso area and their family home in Oxfordshire.
"I wanted our daughters, Ava and Lila, who were eight and six years old at the time, to have the same wonderful Scottish childhood I had," says Rory, who was brought up in Edinburgh.
"Edinburgh was a great place to grow up," he continues. "We lived in a grand house in Merchiston Crescent which had been split into small flats so we weren't quite as posh as you might think!"
Although Rory and his older brother went to boarding school in Berkshire, the Bremner boys spent their school holidays in Edinburgh. "I loved coming home from school," Rory says.
"I'd climb to the top of Blackford Hill, which I still consider one of the best views in the world. Looking out to the Forth Bridges, just visible to the west, sweeping over south Edinburgh, up to the castle and the Old Town, across to Salisbury Crags and Arthur's Seat and, in the distance, the coastline and the Bass Rock.
"I learnt to ski in the Pentland Hills at Hillend, I learnt how to swim at Warrender Park Baths and I would cycle to golf courses all over the place, including Gullane, which, on reflection, was quite a long way.
"Whenever I drive around Edinburgh, so many wonderful memories come back to me.When I was a student, during university holidays, I worked a night porter in the George Hotel. I'd sometimes finish early and at four in the morning, just as dawn was breaking, I'd be walking across the Meadows as Edinburgh woke up around me. That was magical."
Read the full interview with Rory Bremner in the August issue of the Scots Magazine. To order back issues of The Scots Magazine, email shop@dcthomson.co.uk.
The PGA Centenary Course where the Ryder Cup 2014 will be played
Rory Bremner – look out for him at The Ryder Cup
Quarriers
• Scottish charity Quarriers was established by Glasgow shoe retailer William Quarrier in 1871, when the self-made businessman started looking after orphaned and destitute children.
• A few years later, William Quarrier set up the Orphan Homes of Scotland at Bridge of Weir, where children lived in specially-built cottages, under the supervision of house fathers and house mothers.
• By the 1900s, Quarrier's Children's Village had over 40 children's cottages, Mount Zion Church, a large school, a fire station, workshops, farms and, next to the village, Scotland's first TB sanatorium.
• Between 1878 and the mid-1980s, over 30,000 children were cared for in Quarrier's Village.
• Nowadays, Quarriers provides care and support for people with a disability, children and families, young people, young homeless people, people with epilepsy and carers.
www.quarriers.org.uk
Top Royal Moments At Balmoral – Gallery
The Crown of Scotland With Queen For The Final Time


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Q: Unable to get the Angular editor within the Eclipse AngularJS plugin to work properly I'm running Eclipse Mars on Ubuntu.  Using Tern, PyDev, and AngularJS Eclipse plugins.
When I'm editing an HTML file with angular code, the "ng" attributes are not recognized by the editor.  According to the documentation, it seems that I should be able to hover over an angular directive and the editor should display some context sensitive help but  I get nothing.
The other possibly-relevant symptom, is that on the tab at the top of the edit window, there is a "dg" icon, and not an "A" icon.  According to the documentation, I should see the red Angular "A" icon.  I checked the pull-down for the available editors when opening the file and I see things like Django Editor, HTML Editor, Text Editor, Web Browser, System Editor, Default Editor, JavaScript Editor.  None of these solve the problem.  I don't know if perhaps there should also be an "Angular Editor", but if so, I don't have it.
I've gone through the process of converting the converting the project to an AngularJS project, by right-clicking the project from the Project Explorer, and selecting Configure.  The code seems to behave OK, but I'm just not getting any recognition of the "ng-" terms.  Any ideas?

A: If you've installed the Angular JS plugin, you should have simultaneously installed tern, unless you unchecked all of the tern-related options.  If you did so, uninstall the plugin and reinstall it with these options checked (you most likely need all of them, unless you don't use PHP with Angular, in which case you can skip those options).
After checking this, there are two more things you need to do to get recognition of the "ng-" directives recognized and code completion working in both the HTML and JSP editors (and PHP if you use it):

*

*Right-click on the project with which you want to use Angular and make sure you have converted it to an Angular JS project (under the Configure option near the bottom of the list of options).  If it is not listed as an option, you have already converted it.   NOTE: You cannot create a "new" Angular JS project - you have to first create a static or dynamic web project and then convert it to an Angular JS project using this method.

*Right-click on the project again, and this time select "Properties", at the bottom.  When the project properties are displayed, then expand the "Validation" option and click on "HTML Syntax".  Be sure to check the checkbox for "Enable project-specific settings" at the top of the resulting display. Under the following area for "Selecting the severity level for the following...", collapse the Elements section (the first section, which will probably be expanded by default), and expand the "Attributes" section immediately below it.  Set the behavior for the first option, "Undefined attribute name", to "Ignore".  Click "OK", restart Eclipse, and the editors should now recognize and do code-completion for Angular directives.  Good luck.  Angular is great stuff, especially once you get Eclipse totally on-board with it.

Question:  Why couldn't the Angular JS installer be made to handle these finicky details?

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Sirens Studio
Sirens Supper
Vetting Board
Narrate Bookstore
Denver, Colorado | October 24–27, 2019
Archive for Sirens Studio
Nia Davenport: In the collective conscience, literature defines who matters and who is human enough to have stories told about them…
Posted on July 2, 2019 at 9:00 am | No Comments
Tagged: interview, Sirens 2019, Sirens Studio
Sirens Studio takes place October 22–23, 2019, just prior to the official start of the conference, and gives attendees the opportunity to enrich their learning in the form of small-group workshop intensives. We're thrilled to interview a few members of our tremendous faculty on their work, reading, inspirations, and workshop topic! Today, we're chatting with Nia Davenport, who will lead the reading workshop "The Danger of the Single Narrative" this fall. To learn more and register, please visit our Sirens Studio page.
Accompanying our interview is a selection of book covers Nia references in her interview below: Leigh Bardugo's Six of Crows, Sabaa Tahir's An Ember in the Ashes, Roshani Chokshi's The Gilded Wolves, Ilona Andrews's Kate Daniels books (first in series is Angel's Blood), Nalini Singh's Guild Hunter books (first in series is Magic Bites), and L.A. Banks's Vampire Huntress Legend books (first in series is Minion).
AMY TENBRINK: Let's start at the very beginning! You have a bachelor's degree in biological sciences, a master's degree in public health and another in teaching, you've worked in public health, you currently teach both science and English to kids (and lead the Science Department), and you write fiction. How do you manage to do it all?
NIA: Haha. That is an excellent question. If I was asked this question four years ago, I would've said a lot of sleepless nights, cramming tasks into every spare second of my day, and forgetting to feed myself a lot of the time. I've learned that my former way of doing things isn't healthy or sustainable. Now, I've found a better rhythm. Teaching provides me the privilege of having summers off. So, I draft new writing projects during the summer when I can give them full-time attention without running myself into the ground. I use the fall and winter, when I'm back at work, to work with my agent to revise those summer projects. For me, book edits are much less time consuming than writing initial drafts. With edits, the foundation is already laid.
Teaching is also a job that comes relatively easy for me because I have amazing students. I love what I do, and when I'm at work it doesn't feel like actual work. Since I write a lot of Young Adult stories, it also helps me write better. I'm constantly around young adult voices, having meaningful conversations with them about real-world issues. So, it allows me to see the world from a teenager's perspective, and I employ that cool advantage in my writing.
AMY: What ultimately drew you to teaching? What do you love about being in a classroom and working with students?
NIA: I was a tutor before I decided to teach. The fact that working with students as a tutor never felt like a drag and it was a job that I never dreaded going to, is what drew me to teach. I realized I have a passion for learning and working with kids. Kids are amazing. Teaching them is also a constant learning process for me. I think I learn as much from them as they do from me.
The thing I love most about being in the classroom and working with students is being able to engage them in conversations about real-world issues. So often, adults dismiss teens as not having anything intelligent or competent to say. This couldn't be further from the truth. A lot of them see things with more clarity and intelligence than us adults.
As a teacher, it's never my mission to just deliver instructional content to my students. I care more about if they leave my classroom having more confidence in who they are as a person and having a greater love of critical analyses, reading, and investigating new things than I do them knowing the difference between a complex sentence and a compound-complex sentence or how DNA is replicated.
AMY: What kinds of fantasy books do you use in your classrooms? How do you incorporate them into your curricula? How do your students respond to these books—and which ones have they loved?
NIA: I teach Sophomores who are pretty mature, so I use fantasy books skewed toward older YA or adult books which fit nicely in a crossover space. I pick books with thrilling plots, a good amount of gore, intrigue, betrayal, deception, fights—you know, all the things that in my experience easily hook a good number of reluctant teen readers into loving a book. In fact, I use exclusively fantasy books in my curriculum because by the time my students get to me as sophomores, they've had years and years of English classes with virtually no fantasy books and they are bored to death with realistic fiction. Not that there aren't some really amazing realistic fiction stories that have been recently published. But a lot of educators elect canon stories that lack diversity and that fail to reflect the identities and experiences of the students reading them—which fosters an aversion to books in my opinion. Six of Crows by Leigh Bardugo and An Ember in the Ashes by Sabaa Tahir are both books that I incorporate into my curriculum every year.
I use Six of Crows to teach literary elements such as symbolism, theme, tone, mood, etc. More powerfully, I use it to facilitate discussions about dealing with grief, trauma and PTSD. I also use Six of Crows to discuss themes of identity, belonging, tolerance and acceptance. It's a book that is intentionally diverse, and it does diversity pretty well. Before we start reading the book, we talk about how literature functions as a compact between readers and society. In the collective conscience, literature defines who matters and who is human enough to have stories told about them and who can be discarded or isn't a part of humanity enough to have stories told about them. This then segues into a discussion of why diverse storytelling matters and why kids, teens, and adults need stories that reflect their individual identities and experiences.
My students really enjoy our fantasy reads and many of them tell me that the books have prompted them to enjoy reading when they did not before, specifically because they've seen themselves within the pages of the book and that is a powerful experience.
I keep talking about Six of Crows, but it is always an automatic hit with my students. It offers a plethora of diverse protagonists that make it easy for most of my students to see themselves reflected in some way in one of them. The same is true for The Gilded Wolves by Roshani Chokshi which I used in my classroom for the first time this past year.
AMY: What do you look for in your personal reading? What kinds of stories, worldbuilding, characters, or craft really speak to you?
NIA: In my personal reading, I love books with female protagonists who refuse to be pushed around and who are fighters. Ilona Andrews' Kate Daniels books, Nalini Singh's Guild Hunter books, and L.A. Banks' Vampire Huntress Legend books are my all-time top three treasured reads in no particular order. If you're familiar with any of these, that should give you a pretty good idea of my reading tastes. I like immersive stories with epic world-building that are rooted in mythology. I like myth and magic and paranormal creatures and worlds with powerful, ruthless beings who are lethal and brutal. I also like a pretty steamy romantic subplot.
AMY: This fall, you're presenting a workshop intensive for readers titled "The Danger of the Single Narrative" as part of the Sirens Studio. Would you please give us a preview of what Studio attendees can expect to discuss and learn?
NIA: Sure! I intend to lead a discussion on the harm that's caused when only one type of representation of an identity is depicted over and over again in books. When stories feature Black characters, are there certain tropes, conflicts, or settings we automatically expect? Furthermore, do we judge the merit of those stories by the amount of pain or trauma inflicted on Black protagonists? "The Danger of the Single Narrative" will discuss several popular SFF books written by Black authors which feature Black protagonists. We will explore the struggles, settings, and identities put forth by these works and examine why stories that do not explicitly deal with Black pain are just as valid and necessary as stories which do.
AMY: Sirens is about discussing and deconstructing both gender and fantasy literature. Would you please tell us about a woman or nonbinary person—a family member, a friend, a reader, an author, an editor, a character, anyone—who has changed your life?
NIA: L.A. Banks is that person for sure. Her Vampire Huntress Legend books were the first time I ever picked up a paranormal series and saw myself, a Black woman, featured in the genre I adore. I was in college, and I bought all of her books and devoured them in one summer. I've always had a knack for writing, and I've always been an avid reader, but L.A. Banks' stories are what prompted me to start dreaming about writing my own stories professionally. Her stories didn't just give me a Black heroine. They gave me my culture, my unique experiences as a young Black woman, and a reflection of my family and relationships and friendships in a book.
Nia Davenport has always harbored a love of both science and crafting stories. After college, Nia studied and worked in the public health sector before discovering a passion for teaching. As an English and Biology teacher, Nia strives to make a difference in the lives of young people, minimize disparities in education for youths of color, and help students realize their dreams and unlimited potential. As a Black writer, her goals are much the same. Nia is also a freelance reviewer for Booklist.
For more information about Nia, please visit her Twitter.
Sirens runs on donations, volunteer hours, and magic
Posted on June 28, 2019 at 9:00 am | No Comments
Tagged: community, essay series, newsletter, programming, Sirens 2019, Sirens Studio
Sirens Newsletter—Volume 11, Issue 6: June 2019
Programming Decisions Are Out
Stay on Target with Sara Megibow
Introducing Sirens Essays!
Support Sirens
Your Sirens Community
Get Them While They're Hot
Congratulations to all our accepted presenters and thank you to everyone who proposed programming for this year's conference! Our official big reveal is coming in July, so if you're waiting with bated breath to see this year's presentations and programming schedule, you don't have to wait much longer. Just a reminder, all presenters must be registered to attend the conference (and paid in full) by July 10th.
If you are dying to know something coming up on the schedule this fall, the Books and Breakfast titles have been announced and here's more information to help you select which titles you want to discuss over morning coffee. Or tea. We know how you all feel about tea.
Continuing our monthly get to know you series of this year's Sirens Studio faculty, we spoke to Sara Megibow, an agent from kt literary. Sara's background in Six Sigma process improvement serves as magic-viewing goggles in her current role, where she proves that creative, passionate, literary people are not incompatible with the analytic and strategic world of publishing. During the Sirens Studio, Sara will be leading a professional development workshop, "Heroines Can Fly," aimed at helping attendees define and achieve their personal goals.
Tickets are still available for this year's Sirens Studio! And if you haven't already checked out our past interviews with other Sirens Studio faculty, here are those links (with Nia Davenport, Juliet Grames, and Rebecca Roanhorse yet to come):
Mishell Baker
Nilah Magruder
Amy Tenbrink
This month we debuted Sirens essays, sometimes scholarly, sometimes personal, always thoughtful pieces crafted by members of the Sirens community. We hope these essays give you something to think about—and we think they're a great example of the kinds of topics, debates, and programming that Sirens has to offer.
Both of the essays we shared in June examined the tricky task of specifying the individuals and instances that make up a great, long established, subtle system of injustice but in quite different contexts.
Nivair H. Gabriel's academic paper, "Remake the World": Algae, Art, and Indigenous Futurist Thought in Alaya Dawn Johnson's The Summer Prince, takes a deep dive into the techniques used by Johnson to build a world's worth of problems into the finite pages of her "cli-fi" novel.
Meanwhile, Robyn Bennis shares a personal shopping trip story as a tool to discuss the benefit-of-the-doubt optimism of cisgendered people and the mathematical theory they need to let go of polite indifference.
When we created Sirens, we created something big and bold and bright: a place to discuss gender in fantasy literature through an intersectional feminist lens—and celebrate the remarkable, diverse work of women and nonbinary people in this field. In doing so, we also created an upside-down budget where our expenses exceed our revenue. We do this deliberately—even though it gives us heart palpitations—so we can keep our registration prices low and make Sirens more affordable for more people.
But how do we close that budget gap? Through the magic of the dozens of people each year who donate a few bucks or a hundred, a fun or amazing auction item, or a few new or used books. If you are able to support Sirens, here are several ways you can help.
Whether you have read, are considering reading, or just plain curious about Emiko Jean's Empress of All Seasons, check out this month's book club review on the blog and Goodreads. Amy has a lot of feels about the monster women, warrior women, and more.
From our volunteer review squad, Christina Spencer shared what books from this year's reading list broke the mold of her avid reading mind in her list of 5 books that broadened her horizons.
Also up for review is E.K. Johnston's The Afterward. This epic, young adult fantasy about what happened in the years after major world-saving heroics won over Andrea Horbinski with its real-world relatable political and economic drags but lost her in other ways. Click here for her full report.
Click here to see the summer's new releases in fantasy fiction.
Erynn's Pick:
Myth, magic, and forensic investigation. Karen Lord's newest heroine, Dr. Miranda Ecouvo might have correctly put together the pieces of a string of strange murders and incarcerated the guilty party but since she has landed herself into a dimension of mazes and memories with the Trickster God, that seems doubtful. In Redemption in Indigo, I love how Karen Lord smudged the lines between myth and realism to tell a wonderful tale. Unraveling seems ready to do the same and to meander between layers of plot, philosophy, and humor.
Faye's Pick:
A murder investigation at a magical school? Count me in! But Sarah Gailey's debut novel is so much more than wizards, wands, and boarding school. Unreliable narrator Ivy Gamble hasn't a drop of magic in her and, perhaps because of that, is estranged from her magical sister, Tabitha. When Ivy investigates a murder at the school where Tabitha teaches, Ivy gets to step into that world of magic. If this is anything like Gailey's American Hippo novellas, I expect terrific characters, a fascinating setting, and, as Gailey has discussed, a queer story.
This newsletter is brought to you by:
Questions? Concerns? Please email general queries to (help at sirensconference.org) and questions about programming to (programming at sirensconference.org).
Sara Megibow: Publishing can feel opaque and frustrating, but we're often frustrated with process, not people
Posted on June 13, 2019 at 9:00 am | Comments Off on Sara Megibow: Publishing can feel opaque and frustrating, but we're often frustrated with process, not people
Sirens Studio takes place October 22–23, 2019, just prior to the official start of the conference, and gives attendees the opportunity to enrich their learning in the form of small-group workshop intensives. We're thrilled to interview a few members of our tremendous faculty on their work, reading, inspirations, and workshop topic! Today, we're chatting with literary agent Sara Megibow, who will lead the career development workshop "Heroines Can Fly" this fall. To learn more and register, please visit our Sirens Studio page.
Accompanying our interview is a selection of book covers from Sara's clients: K. Arsenault Rivera's The Tiger's Daughter, Sirens 2019 Guest of Honor Rebecca Roanhorse's Trail of Lightning, Margaret Rogerson's Sorcery of Thorns, Julie E. Czerneda's The Gossamer Mage, and Jaleigh Johnson's The Door to the Lost.
AMY TENBRINK: Once upon a time, you were a process specialist and Six Sigma corporate trainer with GE. Can you tell us a bit about what that entails? How did you find your way into that career and what did you love about it?
SARA: Of course! Thank you!
I graduated college in 1996 which was the height of the dot-com boom (especially in Boulder, CO, where I was living). You asked how I found myself there and it was as simple as looking for my first post-college job. That's how robust the job market was at the time.
A process specialist is someone who analyzes internal company processes and measures, then defines and improves them for profit. This might be something as simple as "please improve our hiring process" or as complex as "we need to prove 10% added profit on internal ordering procedures." I loved it! There are very clear rules on process improvement and it starts with defining parameters. Anything that's "outside of scope" gets pushed aside so an analyst can focus on the goal. The mantra was, "stay on target…stay on target" and I found that refreshing and inspiring.
I use analytics a lot as a literary agent. Publishing is opaque, confusing and ever-changing. But, if I define a process within publishing and analyze it carefully for profit, it really all does fit together like a big puzzle. Authors might find publishing frustrating but I find that we are frustrated with process and not with people. Behind it all, publishing is filled with passionate, experienced, enthusiastic, hard-working, focused people—and that fills me with joy!
AMY: What challenges exist for literary agents, either generally or for you personally as you switched to this field? How do you tackle professional challenges?
SARA: I can't speak for all agents but for me, the biggest challenge is explaining publishing processes to my clients. The second biggest challenge I face is setting client expectations.
I think the way we tackle challenges is…together. I communicate regularly with my clients and keep detailed notes and spreadsheets on their work, their goals, and their progress. And because publishing can feel opaque and ever-changing, we talk and email and strategize.
AMY: This fall, you're presenting a career development workshop intensive titled "Heroines Can Fly" as part of the Sirens Studio. Would you please give us a preview of what Studio attendees can expect to discuss and learn?
SARA: I describe the publishing industry as a duck. On the surface, the duck floats serenely in the water. Underwater, though, it is paddling madly.
Beneath the surface, there are many, many moving parts when it comes to working in publishing—author, agent, editor, publisher, sales representative, book buyer, bookseller, librarian, publicist, art director, subsidiary rights agent, blogger, reader, etc. For each of us there are dreams and goals, tasks and deadlines, successes and failures.
This workshop will focus on defining our individual goals as they intersect with our job(s) in publishing. Then, we'll take those goals and quantify how to measure them for success.
SARA: My aunt is a Holocaust survivor. She's 82 years old now and didn't speak about the experience until recently. Recently, at age 80, she lit Hanukkah candles again for the first time since escaping the camps. She said that she finally felt safe enough again to light the candles and that watching our generation of Jews "go on" inspired her. The way that my aunt has embraced hope is a lesson for me.
Sara Megibow is a literary agent with kt literary out of Highlands Ranch, Colorado. She started working in publishing in 2006 and represents New York Times-bestselling authors Margaret Rogerson, Jason Hough, Jaleigh Johnson, and Roni Loren. Sara is actively acquiring and represents authors who write middle grade novels (all sub-genres), young adult novels (all sub-genres), romance novels (all sub-genres) and science fiction/fantasy for the adult market. Always LGBTQIA+ friendly!
For more information about Sara, please visit kt literary's website or her Twitter.
Why inclusive heroism is not just suggested, but essential
Posted on May 30, 2019 at 9:00 am | Comments Off on Why inclusive heroism is not just suggested, but essential
Tagged: books, community, guests, newsletter, programming, Sirens 2019, Sirens Studio
Sirens Newsletter—Volume 11, Issue 5: May 2019
What does heroism mean to Roshani Chokshi?
Sirens Studio Faculty Spotlight
2019 Books and Breakfast Selections
Programming proposal submissions are officially closed…
Sirens Community Round-up
Start your summer with these 66 new books this month
"To me, heroism is the act of celebrating the individual. There's not a one-size-fits-all when it comes to the Chosen One." – Roshani Chokshi
Continuing our series of getting to know this year's guests of honor, this month we're getting to know our first ever Sirens Studio guest, Roshani Chokshi, known for the Star-Touched series, the Pandava series, and The Gilded Wolves.
In our interview, Roshani extolls most eloquently the way a hero's weakness is possibly more important than her strength. And while storytelling may have created important bridges in her own identity, it took some overcoming to insert herself into her own narratives. Jae Young Kim, from the Sirens review squad, praises Roshani's tales in her review of Aru Shah and the End of Time, and our community rallies to share their favorite sarcastic animal sidekick in fantasy in our #SirensIcebreaker.
If you finish Roshani's books and need to get cozy in some more of her work, visit this list we put together here, or check out some of her book recommendations here. We also advise poking around on her enticing website, roshanichokshi.com, or be floored by the most glamorous of fantasy author Instagrams!
If you haven't yet signed up for the Sirens Studio, well, why not? Faculty this year include:
For reading workshops: teacher and author Nia Davenport, Soho Press Associate Publisher and brand-new debut author Juliet Grames, Dr. Jen Michaels, and Sirens Guest of Honor Rebecca Roanhorse
For writing workshops: Sirens Guest of Honor Mishell Baker and author and illustrator Nilah Magruder
For career development workshops: agent Sara Megibow and media industry executive vice president (and Sirens co-founder) Amy Tenbrink
Buy your tickets here!
This month, we interviewed fabulous faculty member, Nilah Magruder, who will lead the writing development workshop "The Visual Narrative: Developing Illustrated Projects and How to Write Like an Artist" this fall. Nilah discusses finding inspiration sources for her artistic styles, teaching writers to bridge narrative and visual story, and who she still needs to send copies of her books to. [Note from Erynn: Nilah's How to Find a Fox is the only book on the Sirens reading list my toddler has finished. He recommends.]
Each year, Sirens showcases the breadth and complexity of our annual theme through our Books and Breakfast program. We select a number of popular, controversial, and just plain brilliant books that address aspects of our theme, and then attendees bring their breakfast and join a table to discuss one of those books—another chance to deconstruct, interrogate, and celebrate the work that women and nonbinary authors are doing in fantasy literature!
For 2019, we've selected eight 2019 Books and Breakfast titles that we hope will expand your definition of who might be a hero or what acts you consider heroic. Toward that end, we're highlighting four areas in this year's selections: religion, race, gender/sexuality, and body—and please note that some titles sit on multiple axes, not just the one they're listed under!
The Bird King by G. Willow Wilson
The Sisters of the Winter Wood by Rena Rossner
Future Home of the Living God by Louise Erdrich
Gender/Sexuality
Dreadnought by April Daniels
The Tiger's Daughter by K. Arsenault Rivera
Faith Volume 1: Hollywood and Vine by Jody Houser, Francis Portela, and Marguerite Sauvage
Gullstruck Island by Frances Hardinge
Click here for more on our Books and Breakfast program and this year's selections, including a detailed spotlight on The Bird King and The Sisters of the Winter Wood!
…and the vetting board is hard at work reading all the amazing submissions. Fist bumps of gratitude to everyone who sent in proposals! Decisions will be made and relayed to you by email by June 12th. If you have any questions in the meantime, send them to (programming at sirensconference.org).
For her book club this month, Amy Tenbrink reviewed Claire Legrand's Furyborn, with exceptional praise on the satisfaction from a "competent" book, on the blog and Goodreads.
From our Sirens Review Squad, Lily Weitzman put together this list of seven short stories to refresh readers in need of variety, and Jo O'Brien's review of Kiersten White's The Dark Descent of Elizabeth Frankenstein, a companion to Mary Shelley's classic, envisions the struggle to break free from toxicity and reclaim personal power.
Scroll through the official Sirens Twitter feed to admire all the geeky treats from the May the Fourth Sirens Meet-up in Denver! Other Sirens satellite parties joined up in New York and Seattle this month. For those who will be in Boston on June 6th or D.C. on June 22nd, click here to get the scoop on those meet-ups.
By clicking on our collage of May's new fantasy books!
"I met the devil at a Motel 6, poolside."
Cheeky author and Sirens attendee Robyn Bennis has delightfully captured the misanthropic esprit de 2019 with The Devil's Guide to Managing Difficult People. Jordan is stuck in a bleakly entertaining deal with the devil that is highly relatable. If it's at all like her previous novel The Guns Above, I expect great characters and battles on top of the humor.
Dr. Suzanne Scott mentioned it in her book round-up last month, and I'll definitely be checking out Ebony Elizabeth Thomas's The Dark Fantastic, a detailed analysis of the diversity—and lack thereof—in children's books, television, and film. Thomas's scholarly work traces the narratives of four black female characters in four popular fandoms: Bonnie Bennett from the CW's The Vampire Diaries, Rue from The Hunger Games, Gwen from the BBC's Merlin, and Angelina Johnson from the Harry Potter series.
Five Books that Roshani Chokshi Loves
Posted on May 24, 2019 at 9:00 am | Comments Off on Five Books that Roshani Chokshi Loves
Tagged: book list, books, guests, Sirens 2019, Sirens Studio
For our 2019 theme of heroes, Sirens Studio Guest of Honor Roshani Choskhi shares the book list she curated for the heroes theme. If you enjoy her work, we encourage you to check out these other reads, spanning middle grade, young adult, and adult. Take it away, Roshani!
1. The Serpent's Secret by Sayantani DasGupta
2. The City in the Middle of the Night by Charlie Jane Anders
3. The City of Brass by S.A. Chakraborty
4. Snow White Learns Witchcraft by Theodora Goss
5. Water Trilogy by Kara Dalkey
Roshani Chokshi is the New York Times bestselling author of the Star-Touched series and Aru Shah and The End of Time, Book #1 in the Pandava series. She grew up in Georgia, where she acquired a Southern accent but does not use it unless under duress. She has a luck dragon that looks suspiciously like a Great Pyrenees dog. Her work has appeared in Strange Horizons, Uncanny Magazine, Shimmer, and Book Smugglers. She is a 2016 finalist for the Andre Norton Award, and a 2016 Locus finalist for Best First Novel. Her short story, The Star Maiden, was longlisted for the British Fantasy Science Award.
For more information about Roshani, please visit her website or her Twitter.
Roshani Chokshi's Aru Shah and the End of Time subverts patriarchy from the very beginning
Posted on May 23, 2019 at 9:00 am | Comments Off on Roshani Chokshi's Aru Shah and the End of Time subverts patriarchy from the very beginning
Tagged: book reviews, books, guests, review squad, Sirens 2019, Sirens Studio
The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books (often fantasy literature by women authors) they've read and enjoyed. If you're interested in sending us a review to run on the blog, please email us! Today, in honor of Roshani's Guest of Honor week here at Sirens, we welcome a review from Jae Young Kim on Roshani Chokshi's Aru Shah and the End of Time.
Roshani Chokshi's middle grade debut, Aru Shah and the End of Time, is delightful from start to finish. I am not even mad that Chokshi ended the book on a wicked cliffhanger, because it means she has to give us a sequel! (Book two, Aru Shah and the Song of Death, came out on April 30, and it's on the top of my to-be-read pile.)
Twelve-year-old Aru Shah thinks she's just an ordinary middle schooler trying to fit in. One day, on a dare, she rubs a cursed lamp and discovers she is, in fact, the reincarnation of one of five Pandava brothers, semi-divine heroes of a famous Hindu epic—and she must save the world. Mild spoilers ahead, but they are on the book's jacket copy and are revealed very early on.
Chokshi dives deeply into the rich world of Hindu mythology, introducing gods, demons, beasts, and magic that is exciting, weird and fun. I love all mythology and fairy tales, so for me, this was an easy sell. It's also not a surprise that a book curated by Rick Riordan on his Rick Riordan Presents imprint tells a story with mythology bursting from every page. But Chokshi adds her own stamp on a very old story. I am very glad that she chose to have the brothers be sisters. How can someone be reincarnated hundreds of times and always be male? Patriarchy, of course, but to have Chokshi subvert that from the very beginning was deeply gratifying.
And it's not only important that Aru is a girl, she's an Indian-American girl. As a Korean-American girl, I would have loved to see girls of color accepted without question as heroes— nay, heroines—of the story. I had read books with white girls as protagonists, but that meant ignoring an important part of myself, being Korean. Aru is not only a girl but an Indian girl, and her identity deeply informs how she interacts with the world around her.
The diasporic aspects of this re-telling were compelling for me but may be a mixed sell for others. Reimagining demons as hair stylists and night bazaars as Costco is just fun, and as one character in the book notes, "families moving to new countries and imaginations evolving" means adapting and changing. But Aru still maintains traditions like not eating beef, as a Hindu, or pranama, touching the feet of elders, or immediately calling all Indian women auntie upon meeting them. Since I am also of the Korean diaspora, I appreciate the references to American pop culture, and the unique take on mythology and culture from that lens, while still maintaining traditions of our families. Chokshi tells us the stories she's loved and heard many times, but provides context for the readers. The one minor gripe I have is that some of the references feel a bit dated, like Johnny Cash and Die Hard, and may resonate more with adults than children. I say this only because I understood all of the American pop culture references, and I am definitely not twelve years old.
My favorite part of Aru Shah and the End of Time, though, is Aru and her found family. She meets a fellow Pandava sister, Mini, very early on and the development of their relationship is amazing. I love romance storylines, and out of most of my reading, I don't often see a family and friend relationship celebrated as much as Chokshi's Aru and Mini. It's clear that Aru and Mini becoming sisters is just as important as their quest to save the world.
If you love friendship stories, sibling stories, reimagined Hindu mythology, and just plain fun, Aru and Mini's adventures will crack you up and warm your heart. So run, don't walk to the bookstore and be glad you get to jump right into the sequel when you're done!
Jae Young Kim is a born-and-bred New Yorker and a lifelong fan of fairy tales, fantasy and science fiction. She is a non-profit attorney by day and writes when she can, not always by night. The only thing that keeps her up until dawn these days is a good book.
Further Reading: Roshani Chokshi
Posted on May 22, 2019 at 9:00 am | Comments Off on Further Reading: Roshani Chokshi
Tagged: further reading, guests, Sirens 2019, Sirens Studio
Did you already love Aru Shah and the End of Time? And the sequel? And The Gilded Wolves and all the books and novellas in the Star-Touched series? As part of Roshani's Guest of Honor week, we're pleased to compile some of her short fiction, poems, articles, and guest posts, found around the web.
Roshani's short fiction:
"The Wives of Azhar" (2015): Originally published in Strange Horizons, a retelling of the Bluebeard story where the murdered wives get their revenge.
"The Vishakanya's Choice" (2015): Originally published on The Book Smugglers, a short story about a vishakanya (poison maiden) who meets a conqueror and makes a bargain.
"The Star Maiden" (2015): Originally published in Shimmer, a short story about a girl whose grandmother claims to be a star maiden.
"A Trade at the Fox Wedding" (2016): Originally published in Mythic Delirium, a short story in which a girl escapes to the forest and stumbles into the fox wedding.
Roshani's poems:
"Antyesti (the Hindu burial)" (2014): A poem originally published in The Feminist Wire
"To the High School Sweetheart, in Snatches" (2015): A poem originally published in Strange Horizons
"Dancing Princesses" (2017): A poem originally published in Uncanny
In Roshani's own words:
"On Wanting All the Things" (2015) on Read. Sleep. Repeat. : "When you deny someone the right to claim multiple voices, you devalue the power of their words in different settings. What ends up happening is that one pool of our imagination — our families, our loved ones, our lullabies in strange tongues, our food and our jokes — becomes a shackle."
"A Crown of Wishes: Roshani Chokshi on the Inspiration to Finish a Novel" (2017) on The Book Smugglers: "I'm writing for myself. I'm writing to honor my voice. I'm writing to honor this story."
"'A Crown of Wishes' Author Roshani Chokshi is writing for Second-Generation Kids Like Her" (2017) on Bustle: "I am not writing for the native Filipino or native Indian because I'm writing for an audience like me — second-culture kids whose exposure was different, but whose claim to those tales is the same."
"The Secret Meaning Behind Nick Jonas and Priyanka Chopra's Indian Wedding Ritual" (2018) in InStyle: "As a writer and the daughter of immigrants, I spend a lot of time thinking about ceremony and tradition, how things have changed—and not changed—in the crossing of oceans."
"As an Indian Bride-to-Be, Seeing Priyanka Chopra and Nick Jonas Break Tradition Took My Wedding Stress Away" (2018) in The Oprah Magazine: "Since childhood, I've been haunted by a voice whispering: choose one. This is why watching Chopra and Jonas do the opposite was so important to me. They didn't choose one side—they chose both."
Roshani Chokshi: There's not a one-size-fits-all when it comes to the Chosen One
Posted on May 21, 2019 at 9:00 am | Comments Off on Roshani Chokshi: There's not a one-size-fits-all when it comes to the Chosen One
Tagged: guests, interview, Sirens 2019, Sirens Studio
We're pleased to bring you the fourth in a series of candid, in-depth interviews with this year's Sirens Guests of Honor, covering everything from inspirations, influences, and craft, to the role of women in fantasy literature, and discussing our 2019 theme of heroes! We hope these conversations will be a prelude to the ones our attendees will be having in Denver this October. Today, Sirens co-founder Amy Tenbrink speaks with Roshani Chokshi, our first ever Sirens Studio Guest of Honor.
AMY: What does heroism, especially in the context of speculative fiction, mean to you? How did you set about reimagining the Pandava brothers as Aru and Mini, reluctant, contemporary seventh-grade heroines? And please tell me that you knew how girls would react to their heroism! Because my seven-year-old niece—who demanded to know why everyone in Harry Potter was a boy—can't get enough Aru and Mini.
ROSHANI: To me, heroism is the act of celebrating the individual. There's not a one-size-fits-all when it comes to the Chosen One. You can have the bravest, most compassionate mermaid in the world try to rise up against the forces of a Cheeto Overlord, but if the second she hits land, she's barking in the eloquent lexicon of elephant seals, we're still kinda fucked. A ridiculous example, of course, but to me it reflects how each of these character's strengths and weaknesses makes them—and only them—uniquely fit to tackle the story's situation. Kids need to see a thousand versions of heroism. They need to see themselves and feel that greatness and valor doesn't belong to one type of person.
The Pandava brothers all had defining characteristics—the strong one, the beautiful one, the wise one, the responsible one, the one who's good at everything wtf. I loved reimagining how their strengths and, more importantly, their weaknesses would translate in the modern world. For example, Arjuna—the main hero of the Mahabharata and whose soul Aru possesses—has a lot of doubt. And it really struck a chord with me that in the struggle to be brave, we often question the paths we're on.
As for the girls' reactions, that grew out of the Sailor Moon fanfiction I used to write. In those stories, me and my best friends became sailor scouts. Our reaction to this newfound strength and responsibility??? UTTER PANIC. "WHAT NO, TAKE IT AWAY, DO NOT WANT." So, very similar to Aru and Mini.  I'm glad your niece enjoyed!!
AMY: Relatedly, perhaps, how do you set about writing gender in your work? Your characters frequently defy and subvert stereotypes, such as in A Crown of Wishes when Gauri's go-to problem-solving technique is violence, while Vikram's is charm. Your characters also often address gender issues on the page, from the gods' relentless assumptions that Aru and Mini could not possibly be the reincarnated Pandava brothers to Laila's admonishment of Tristan in The Gilded Wolves that "If you get in the way of a woman's battle, you'll get in the way of her sword." How do you build these characters that are wholly themselves, despite our societal expectations of their gender?
ROSHANI: I love this question mostly because it makes me feel very smart. Woohoo! Characters take me a long time. They don't come naturally to me, and it's one of the parts of my craft I'm always working on. I think the reason why I struggle with building characters is because they demand a part of your soul, and I'm loath to make more Horcruxes and end up as a noseless Voldemort. I give each of my characters a part of myself. Either a part I'm ashamed of or a part I'm proud of, and then I put those characteristics in situations that move in the opposite direction…that which made me feel shameful becoming a benefit, that which I was proud of becoming its own poison. That is how they stay themselves despite the expectations the world may shove upon them. When it comes to societal expectations of gender, it makes me happy when a character celebrates who they are relentlessly, even if they've got other flaws. For example, Vikram is a prince and he knows he's smart and adorable and celebrates that in himself. He would walk around in a shirt that says "BETA HERO" and really not think less of himself. Laila is different. She is a character aware that she exists on the margins; aware that she's exoticized; aware that she sometimes must participate in exoticizing herself to live in this world. But she thinks no less of herself. I think knowing how your characters think of themselves is key to making them feel more alive.
AMY: Your dad is Indian and your mom is Filipino, and in an interview with Rick Riordan, you said, "The way that we bridged those cultural gaps at home was fairy tales and stories…. The more things that you read, the more stories, fables, etc., the more you see that they're all the same across every cultural spectrum." And you can see that, so readily, in your work, from your contemporary, America-set version of the Pandava legends, to your latest novel, Paris-set The Gilded Wolves, which features both Indian Laila and half-Filipino Enrique. You've also spoken eloquently about trying to bridge those gaps in your own life, including in your wedding this year! What is it like to put these cultural bridges, and related colonial deconstructions, into your work?
ROSHANI: It's honestly sometimes awkward. I never know if I'm crossing into the realm of TMI or if I sound like a broken record. At the end of the day, all I can reassure myself with is that I needed to hear these perspectives when I was younger and those resources weren't available to me. The very least I can do is try to help someone else avoid that situation of feeling erased and invisible. I think about this a lot when I look at some of my earliest stories. I was 22 before I wrote my first story with a character who looked like me. Until then, they were all named Erin or Hailey or Alice. I didn't write myself in because I felt like I needed permission from the books I read.
AMY: Just when I thought I couldn't possibly love any of your work more than Aru Shah, along you came with The Gilded Wolves: a dazzling, dizzying heist novel set in Paris during La Belle Époque. But your Paris is not all champagne and magic and courtesans, it's racism and colorism and colonialism. Then you layered in a series of riddles based on things like the Fibonacci sequence, a cast of gloriously unique and hilarious characters, and a lush, slow-burn sensuality. How did you even begin to create this work? And perhaps more importantly, how did you get it from your head to the page?
ROSHANI: I'm so glad you enjoyed!!! The Gilded Wolves really challenged me both craft-wise and imagination-wise, and is far different from anything I've ever written. I rewrote the story top to bottom about eight times, and there were so many points at which I thought I should just throw in the towel and beg my publisher to let me write something else. The Gilded Wolves had innocent, jovial beginnings. I just wanted to write a National Treasure-esque tale without Nicolas Cage (lol). But the setting and deciding to put imperialism on the page changed the emotional scope of the book, and when I dug deeper into the characters and their motivations, I realized this couldn't just be "Ooh! A thing! Let's go to where the thing says!" I had to think about what this trilogy was saying overall and that took a lot of failed attempts! Getting it from my head to the page was like an organized, military attack. My whole apartment was taken up with plot/emotional schematics. The door to my office had red notecards in a vertical line that outlined every plot beat and plot twist. Beside those cards were the individual emotional arcs and beats that needed to be hit. It was…rough. But it taught me a lot!
AMY: You've shared how Aru Shah came to be: You'd heard about the new Rick Riordan Presents imprint and emailed your agent that same day to ask about the opportunity. Then you wrote the first three chapters in a "fugue state." And they bought the books! So often we're taught that ambition is unseemly and unlikeable. Would you please share what it was like to chase that dream—and what it felt like when you heard that Rick Riordan Presents would be publishing the Aru Shah series?
ROSHANI: Ambition is riotously attractive and let no one tell you otherwise! I think with any dream chasing, there's a certain amount of feeling like you've lost touch with the ground. You're drunk and floating on external validation, your head feels like it's in the clouds, and it's great until you start wondering if you're too far away to hear commonsense. Like, how DARE you be so happy? How DARE what you wanted and worked hard for suddenly happen? Being a woman of color makes me especially awkward when it comes to talking about my accomplishments. I always deflect it, thinking that the happier I am, the higher the chances that the universe will snatch it away because of arrogance. The wonderful thing about an experience like RRP was that it was harrowing. For the first time, I felt very…public…in a way that I hadn't experienced with my other books. I got bullied. I got weird Insta comments and DMs. And not taking ownership of my words was no longer an act of modesty but cowardice. It taught me to articulate that I was proud of the story I'd written, that someone couldn't take this from me and don't you dare chase me because I chase back.
ROSHANI: I have dutifully spoiled my moms, sisters, grandmother and aunts so I know they'll forgive me for not writing a novella of their wondrous and noble qualities for this answer and picking someone else for a change. I would say my eighth grade English teacher, Ms. Koscik. I did not like my seventh grade English teacher (except for that one and ONLY time she liked my writing) and I had a deficiency in her class. More than that, I always felt foolish. But in eighth grade, Ms. Koscik nurtured my imagination. She made me feel that what I said was worth saying. Eighth grade was when we tackled Arthurian myths and World Mythology, and read Shakespeare and engaged with the language. It was awe-inspiring. Sometimes it only takes one person to say they're listening to make us have the courage to speak up.
Nilah Magruder: Art is a storytelling tool writers can use to make their work stand out
Posted on May 16, 2019 at 9:00 am | Comments Off on Nilah Magruder: Art is a storytelling tool writers can use to make their work stand out
Sirens Studio takes place October 22–23, 2019, just prior to the official start of the conference, and gives attendees the opportunity to enrich their learning in the form of small-group workshop intensives. We're thrilled to interview a few members of our tremendous faculty on their work, reading, inspirations, and workshop topic! Today, we're chatting with Nilah Magruder, who will lead the writing development workshop "The Visual Narrative: Developing Illustrated Projects and How to Write Like an Artist" this fall. To learn more and register, please visit our Sirens Studio page.
AMY TENBRINK: Your work is amazing—anyone who hasn't glanced through your portfolio or spent an afternoon with M.F.K. should do so at once—but the scope of your work is also amazing! You've storyboarded for Dreamworks and Disney; you've created comics for Marvel; you've illustrated for other authors, such as Daniel José Older's Dactyl Hill Squad series; and you've written and illustrated both a children's book (How to Find a Fox) and a graphic novel (M.F.K.). How did you find your way into doing all these wonderful things?
NILAH: Actually, I think Twitter had a lot to do with it. That's how I first met Daniel José Older. He was editing an anthology, Long Hidden, and I may have tweeted at him or retweeted one of his tweets, but he saw I was an artist and reached out about contributing to the anthology. So we've known each other since then, and then when he sold Dactyl Hill Squad, he suggested my name to Scholastic and luckily they thought it was a good idea. I actually asked Kathleen Wisneski—the editor at Marvel who hired me for A Year of Marvels—recently how she became familiar with my work, and she suggested it might have been through Twitter, too. It helped that I was doing a webcomic at the time, but meeting other webcomic artists and finding a community through social media was also instrumental in building M.F.K.
AMY: I imagine that each of your projects is quite different. For example, storyboarding or creating for someone else must be very different from crafting your own graphic novel. And creating a children's picture book must be very different from a graphic novel—and certainly your artistic style is very different in How to Find a Fox and M.F.K. How do you approach these different types of projects?
NILAH: The needs of each project come first. When I'm working for a client, usually they tell me what those needs are, haha. It can be difficult to switch from project to project, so I always take time to research and reset my brain. For picture books, I'll go to the bookstore or library and check out what's new. For graphic novels, I'll do some exploratory drawing, or read through notes or scripts I've already written. It's similar for storyboarding, though in addition to scripts there's usually also animatics or design sheets to reference. And for illustrating book covers, I keep Pinterest boards of illustrated book covers to inspire me.
AMY: What do you love about all the different things you do? Do you have a favorite type of project or a soft spot for something in particular that you've done?
NILAH: I have a background in marketing and journalism; in those jobs I often had to shift focus at the drop of a hat. Or maybe I just have a short attention span, LOL. The point is that I enjoy moving around and juggling multiple projects. When I get stuck on or bored with one, I can move to another. The glue that binds them together, though, is story. I love storytelling in its various forms, and I gravitate to whatever medium has the best storytelling potential at any given time. It's hard to pick a favorite because each type of project has its challenges, but I guess I'll always gravitate to stories about girls and women on journeys of discovery, whether they're searching for home, love, or foxes.
AMY: In 2015, you won the Dwayne McDuffie Award for Diversity in Comics for M.F.K. What advice do you have for creators generally, but in particular for creators who are not white, cisgendered, heterosexual, and male?
NILAH: I usually answer this question with "finish something," but this time I'll add: trust your instincts. Because of the homogeneity in creative industries, you'll sometimes find that you don't have very many role models or examples for the type of story you want to tell or the type of creator you want to be. Get used to throwing caution to the wind and forging your own path. I usually create for myself and say, "If I like it, then it's likely at least one more person in the world will like it, too." So I create for me and that person; just the two of us.
AMY: This fall, you're presenting a workshop intensive for writers titled "The Visual Narrative: Developing Illustrated Projects and How to Write Like an Artist" as part of the Sirens Studio. Would you please give us a preview of what Studio attendees can expect to discuss and learn?
NILAH: As a visual artist who also writes, I've noticed that there can be a disconnect between the two sides. The conversations I have with artists are very different from the conversations I have with writers. With this workshop, I hope to bridge the divide. We'll be discussing art as a story-telling tool, the responsibilities of the writer on illustrated projects and the responsibilities of the artist. We'll cover where to find artists for your project and how to approach them. We'll also be discussing some design techniques that writers can employ to make their writing stand out. Visual arts as a medium and as an industry can feel intimidating and exclusive, but I believe there's a lot that writers can learn about their own craft by embracing the visual arts.
NILAH: Haha, I told my mother I was stumped on this question and she said, "Well, you always have to answer with your mom!" She's certainly where I got my deadpan sense of humor. There have been a lot of influential women in my life who have shown me the value of strength, kindness, commitment, and creativity. One such woman was my art professor Joyce Michaud. My final year at Hood College was a big one for both of us; just as I was preparing for graduation, Joyce was reinstating the art program, which had ended ten years prior. I'd been majoring in communication arts up until that point, but with Joyce's encouragement and guidance, I took art as a second major… in my last year of school! I took more classes that year than any other year in my schooling history. It was challenging and frustrating, and Joyce pushed me hard and I was not always grateful, haha! But I made it through my senior thesis, I aced all my classes, and I graduated.
A couple years later, when I decided I was ready to look into animation programs, I went back to Hood and met with Joyce for more guidance. She hardly gave me a chance to tell her what schools I was considering when she said, "Oh, you have to go to Ringling." I've since attended Ringling and graduated, and now work as a storyboard artist and writer for animated television in Los Angeles. Joyce had a pretty huge role in getting me from a college student who was particularly good at drawing to a working professional artist. Have I given her copies of my books? I should really do that.
Nilah Magruder is a writer and artist based in Los Angeles. From her beginnings in the woods of the eastern United States, she developed an eternal love for three things: nature, books, and animation. She has written and storyboarded for television studios like DreamWorks and Disney. She also illustrates children's books, including the Dactyl Hill Squad series by Daniel José Older from Scholastic. Nilah is the author of M.F.K., a middle-grade graphic novel from Insight Editions and the winner of the Dwayne McDuffie Award for Diversity, and How to Find a Fox, a picture book. She has published short fiction in the anthology ALL OUT (edited by Saundra Mitchell), in Fireside Magazine, and for Marvel Comics. When she is not working, Nilah is watching movies, growing herbs, roller-skating, and fighting her cat for control of her desk chair.
For more information about Nilah, please visit her website or her Twitter.
How do heroes confront power structures?
Posted on April 30, 2019 at 9:00 am | Comments Off on How do heroes confront power structures?
Tagged: guests, newsletter, programming, Sirens 2019, Sirens Studio
Sirens Newsletter—Volume 11, Issue 4: April 2019
What does heroism mean to Dr. Suzanne Scott?
The Programming Proposal Window is Open (Until May 15th)!
Sirens Studio, Get to Know Your Faculty: Amy Tenbrink
By You, For You
Look at all the fresh spring books blooming this month
"Heroism, at least from my perspective, is about the defiance of expectations…all heroes force us to grapple with how the normative is entrenched, and our own relationship to hegemonic power." – Dr. Suzanne Scott
If you're in need of a pick-me-up, just pop over to Suzanne's faculty bio on the University of Texas website, which reads like a Sirens wishlist. And as if that's not enough to get you super excited for our first-ever scholar Guest of Honor in October, check out our interview with Suzanne where we talk fandom, feminism, cosplay, Cordelia Chase, and more on her role as a Professor of "Geek Culture"." You can also read a review of Suzanne's book, Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry from our review squad, and you can find some more of Suzanne's academic writing around the web, which we've compiled here. In honor of Suzanne, check out people's #SirensIcebreaker on their favorite or most memorable fandom experience. Last but not least, take a crash course in fan and media studies with a list of Suzanne-recommended works.
Sirens's amazing, magnificent, you-have-to-see-this programming is proposed by…attendees! That means you! (No, you don't have to be registered to propose programming, only planning to attend—or planning to attend if your proposal is accepted.)
You have an amazing fantastic must-be-discussed topic for this year's Sirens! Great!
Are you ready to tell us about it? Submit your proposals here.
Do you have questions about types of presentations and what you need to submit? The guidelines are here.
It's good, but you need to bounce your ideas around or find some collaborators? Visit us on Twitter or our unofficial Facebook group to connect with other Sirens. Or join the upcoming chat on May 13th, from 9–11 p.m. Eastern (6–8 p.m. Pacific).
You'd like to submit, but on what? Find some ideas to spark your imagination on Twitter at #SirensBrainstorm.
Want to get to know this year's Vetting Board? We chat with a few of them here.
You might know Sirens co-founder Amy Tenbrink, but do you know about her ass-kicking career powers? We interviewed her earlier this month to find out what drives this legendary lady and what Studio attendees can expect from her career development intensive, "Negotiating Your Professional Life." "Unless you're willing to sacrifice your ambition, your assertiveness, and your self-respect, I recommend that you start getting comfortable with the idea that you will sometimes make any number of people…very uncomfortable." Also, check out her thoughts of Mingmei Yip's The Witch's Market for her book club read this month on the blog and Goodreads.
The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books they've read and enjoyed! This month, we're lucky to have two indie booksellers stop by with recs, as if you needed more books to add to your shelf.
Casey Blair reads, reviews, and waxes poetic on Nahoko Uehashi's The Beast Player, translated into English by Cathy Hirano. It's "a coming-of-age story, but it is also a meditation on, in particular, what it means to be free." Full review here.
Celebrate the joy of reading with Sami Thomason's list of 7 Fantasy Books for Bibliophiles, "from middle grade to young adult to adult, about enchanted books, magical libraries, and the power of the written word." Read the full list here.
Sirens Studio is filling up because of course it is. Have you seen this year's faculty? This is going to be awesome, so get your ticket today.
Missed the Programming Chat? There will be one more May 13th!
Programming Scholarships: our fabulous community raised funds for three scholarships for presenters, and now is the time to apply! Simply specify your interest in being considered when you submit your programming proposals, which again, are due May 15th.
But October is too faaaar! Fear not, this May you can attend a Sirens Meet-Up in Denver (May the Fourth Dessert Party!) or New York (BYOBlanket and picnic!). Details for Seattle on May 25, Boston on June 6, and D.C. on June 22 coming soon!
By clicking on our collage of April's new fantasy books!
I was drawn to this book by what looked like the traditional tarot High Priestess relaxing in her off-time on the cover. However, Marina Colasanti's A True Blue Idea is actually a collection of ten short, illustrated, and often dark fairy tales by a long-established Brazilian author/artist only now being translated into English. Her poetic style utilizes irony and symbolism, and her work has been described as "feminist utopian fiction" and a "unique blend of the poetic and the socially conscious."
Sometimes, all I need is a heartwarming graphic novel with adorable art to make me have faith in the world again. In Mai K. Nguyen's Pilu of the Woods, Willow gets into a fight with her big sister, and runs away to the woods, where she meets a forest spirit named Pilu. Call me millennial mush, but I'm in full favor of acknowledging, naming, and feeling all the feelings for the good of one's emotional health. This one is a purported gem about grief, growing up, nature, and family. And there's a dog, too!
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text:
Havas Group India announces senior management elevations
The elevations come as part of the group's overall growth strategy
07 Jan, 2021 - 11:25 AM IST | By indiantelevision.com Team
Mumbai: Havas Group India has announced key elevations in its senior management team for Havas Media and Havas Creative. The elevations come as part of the group's overall growth strategy of identifying and acknowledging talent and leaders who have played a crucial role in the growth of the company.
Erstwhile Havas Media managing partner -- north and west Uday Mohan has been promoted to president -- north and west.
Mohan has been with Havas Media for the last 13 years. He has been instrumental in building the Gurgaon operations of Havas Media Group into one of the largest operations in NCR. In spite a very difficult 2020, he was able to grow both the Gurgaon and Mumbai operations with key client acquisitions like ACC Cement, and most recently the esteemed Domino's Pizza win.
Havas Media national head buying R Venkatasabubramanian will now be president and national head investments.
Venkat has been associated with Havas Media Group for the last two years. He has been able to put Havas Media Group among the top media buyers in the country and built a very strong investment team across markets.
Havas Creative managing partner - north Manas Lahiri has been elevated to president - north.
Lahiri has been with Havas for over two years and has astutely managed the turnaround of the Gurgaon Creative Operations in one of the most demanding and challenging markets. From stabilising the biggest relationship with Reckitt Benckiser which includes brands like Durex, Vanish, Harpic, Mortein, Veet to acquiring new clients like William Grant & Sons, Suzuki, Fortis, Norton, Hike, and finally Dabur Honey and many others, he has delivered exceptional results.
Mohan and R Venkat will continue to report to Havas Media Group India CEO Mohit Joshi, and Lahiri will continue to report to Havas Group India group CEO Rana Barua.
Rana Barua said " I am excited to announce well deserved key elevations from our Havas Group Senior Leadership team, that will further accelerate growth and enhance the value proposition of our organisation and take the agency to greater heights. 2020 has been a challenging yet very satisfactory year for the agency in terms of clients, revenue, awards, and fame. I look forward to Uday, Manas and Venkat to soar higher and take us to even greater achievements and targets."
Havas MediaUday MohanMohit JoshiR VenkatRana BaruaDurexVanishHarpicMorteinVeet
RB (Reckitt Benckiser), relaunched Colin, India's No.1 glass and household cleaner brand in an all-new avatar today. The iconic Colin brand has been relaunched by RB India keeping in mind the current requirements of the Indian consumer. The new Colin not only delivers on its impeccable shine...
NEW DELHI: Infidigit has won the SEO mandate for cure.fit, a health and fitness business. The Bengaluru-based start-up offers digital and offline offerings including fitness training, healthy meals, mental well-being, and primary care. As part of the mandate, Infidigit will extend its extensive SEO...
Bottle Openers is a full-service digital agency specializing in 'Creative Performance' that smartly integrates design with technology to showcase the brand's communications with a streak of creativity. Backed by industry stalwarts from the best of Indian digital agencies, they operate with a...
NEW DELHI: Following the launch of the all-new MG Hector 2021, MG Motor India has now joined hands with Cheil India to drive a nationwide, 360-degree marketing campaign. The campaign, named It's a Human Thing to Evolve, builds on the idea of MG Hector's It's Human Thing and captures the internet...
Urban Company appoints Abhinav Tyagi as SVP - marketing
NEW DELHI: Urban Company (formerly UrbanClap) has brought on Abhinav Tyagi as SVP - marketing. The appointment is in sync with the company's efforts to invest in and attract world-class leadership to further accelerate business growth. An alumnus of the Delhi College of Engineering and IIM...
MAM Media and Advertising People
Bombay HC allows Sebamed's filmstars kee nahi, science kee suno campaign
NEW DELHI: The Bombay high court has permitted German personal care brand Sebamed to continue with its advertising that calls out HUL brands Lux, Pears, and Dove along with Santoor for their harmful pH levels. HUL had moved the court against the ads, claiming that they "disparaged" and "denigrated...
Gas-O-Fast is all set to rule the market with new marketing strategies for 2021
Gas-O-Fast, a subsidiary of Delhi-based pharma and wellness company Mankind Pharma is all set to roll their marketing strategies and govern the market in 2021. Gas-O-Fast is known for its Ayurvedic antacid which comes with natural Jeera and natural Ajwain variants and is focused on establishing a...
Pratik Gandhi relates how a Duroflex mattress helped him sleep better
NEW DELHI: Sleep solutions brand Duroflex has teamed up with Scam 1992 star and theatre actor Pratik Gandhi to create a video that shines the spotlight on the merits of sleeping on a research-backed branded mattress.


Paul William Beltz PC is a SIC: 811199 - Attorneys Office based in Buffalo, New York . You can call them at 7168521000 or check the details below for more contact information about the firm. The record of Paul William Beltz PC law firm profile that we have is not complete, if you are the representative of this company then please contact us to update this company profile information in our website.