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redpajama_set_name: RedPajamaGithub


Founded in 1976, CMA is one of the most prominent manufacturers of professional and industrial dishwashing machines.
CMA products are marketed through a vast network of equipment dealers and chemical distributors serviced by multiple manufacturing representative companies to final-users primarily in sectors such as hotels, restaurants, fast food chains, hospitals and institutional canteens. CMA's success is based on strategic choices: offering high-quality machines designed to maximize productivity while minimizing operating costs, consumption of water, energy and cleaning products, as well as guaranteeing long-lasting efficiency. CMA provides top quality commercial and technical support, with product innovation always at the forefront. Another strong point of this Californian company is its leasing arm, Leasco that provides financial services to its customers throughout the USA.


There is a crucial question to be asked when reviving a play in the American theatrical canon: what do you do when 50% of your audience already knows the story? The answer, as seen elsewhere this season in Death of a Salesman, is not to reinvent the wheel. Often the fear in mounting a revival lies in an even more daunting question: how could we possibly try? Emily Mann's electric, accessible production of Tennessee Williams' A Streetcar Named Desire doesn't attempt to rewrite history, it simply delivers.
Much has already been made of Mann's predominantly African-American casting landscape. Racial specificity isn't the point of Williams' text, so, at first glance, the casting is incidental—a believable cultural and ethnic representation of the French Quarter. But it is deceptively incisive. Williams wrote amid ardent post-World War I nationalism, and while we might not see so much in-hating between European descendents and immigrants these days, contempt from a lighter-skinned Blanche toward a darker-skinned Stanley is a little too familiar. When Blanche takes her swipes against Stanley, painting him as a caveman, going so far as to call him an "ape," or when she suggests that "he is what [she and Stella] need to mix with [their] blood," her obvious caste-consciousness draws a sharp comparison. During this particular performance, Blanche's speech about Stanley's "sub-human"-ness got huge laughs, and later, when another character threatens to "turn the fire hose on [Stanley], same as last time," the bulk of people seemed to focus more on the famous "Stella" yell. This is Mann's way of commuting a classic text for a modern audience, without that audience realizing it outright. Her subtlety is wicked — race is neither shallow nor newsworthy here, and therefore all the more potent a method of turning the mirror.
As Blanche and Stanley, Nicole Ari Parker and Blair Underwood are brilliantly, thankfully unbound by their towering (and numerous) predecessors. Ms. Parker's Blanche is a nervous bird, a tremulous wreck of a woman. Her presence from her first minutes onstage tinge the next two hours with heartache—it's clear we haven't shown up to watch her break down, because she was in pieces from the get-go. But her charm. We cannot comprehend her fall without appreciating her heights, and Ms. Parker's effortless allure gives Blanche a depth and appeal beyond the "bipolar, alcoholic nymphomaniacs" of old. This Streetcar doesn't drive home Blanche's compulsive acquiescence to desire, it makes it clear how much she wants, no needs, to hold the desire of others. And she intones it all with a voice like silk and sand, turning even the most blatant "monologue moments" into something more like jazz riffs.
Mr. Underwood finds similar pathos in a role remembered for its crudeness, its sexual magnetism, and, yes, that yell. Underwood has presence to spare, and does not settle for coasting on his considerable good looks and swagger. His Stanley is less of the drunken, dangerous lout (though still more than a little threatening) and more of the man who holds his ground by any means necessary in order to stave off the pressure of self-loathing, vulnerability, disrespect, and disappointment. He doesn't know how else to cope, so he hits, or he drinks, or he rages. He does awful things, and while we don't condone them, we understand him. His performance works in counterpoint to give the production a satisfying push-and-pull.
Similarly satisfying were Daphne Rubin-Vega and Wood Harris as Stella and Mitch. Ms. Rubin-Vega makes impressive use of her distinctive voice, and we suspect that she isn't really "the quiet one" after all. She is torn between continuing as a loyal mirror for her sister or a loyal wife to her husband. Both come at considerable detriment, but her Stella is one who will always have to keep it together. Mr. Harris is likeable and makes the most of his character's turn, though his performance is slightly lost in the shuffle. He is best in the poker game scenes, where he has a surer presence than in small, one-on-one moments.
What this Streetcar lacks in innovation, it more than makes up for in harrowing, operatic commitment, simmering sensuality, and undeniable skill. This limited engagement hits Broadway like a bolt from the blue, and it is definitely worth the ride.


Two key concepts in Greaney and Kellaghan's book are those of meritocracy and ability. This paper sets out to present a critical evaluation of the major sociological and educational presuppositions on which these are based. By elaborating on the conceptual complexities of these two ideas we try to show how the scientific categories within which we formulate research issues are themselves value-laden. The authors' mode of analysis in this study was highly quantitative but largely atheoretical, conceptual issues, therefore, were not treated analytically or critically. Their failure to treat key concepts problematically belies the intense academic debate as to the nature of these phenomena. More importantly perhaps it leads to an oversimplification of the problems of social and educational equality, it does so by concealing the class-specific interests which the very notion of meritocracy, and their particular interpretation of the concept of ability, are likely to serve.


We are pleased to announce recent new hires.
Amy Morelock has joined the firm as Director of Human Resources. Amy brings over 25 years of broad based Human Resources and operations expertise and experience driving organizational performance through strategic leadership and innovative counsel. Her work experience ranges from start-ups to large corporate entities including SunCom, Payerpath, Zigmo and Circuit City. Amy holds a B. S. in Business Administration from Longwood College and is a certified Professional in Human Resources (PHR) and SHRM-Certified Professional (SHRM-CP).
Kevin Wilson has joined as Director of Community Engagement and will lead the firms' efforts to enhance strategic partnerships and expand the many ways Dominion Payroll engages and impacts the local community. Wilson previously co-owned and managed Sticky Rice and ToGoGo and previously served as president of the Uptown Civic Association and Fan Area Business Alliance and is a graduate of VCU.
Josh Orange has joined our growing Benefits Administration team as a Benefits Specialist. Josh was previously a Relationship Manager with Wells Fargo Bank and is studying HR Management at the University of Richmond.


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Tag Archives: thriller
I was recently interviewed by Chennai-based blogger Sarath Babu about my experience writing and having 'The Shrine of Death' published…
1.What motivates you to write?
Love of the story and the characters! That, I've realised, is the only thing that makes you want to keep writing, that brings you back to the book again and again, amidst all the periods of self-doubt and low inspiration. That's what happened for me with 'The Shrine of Death' – the story wouldn't let me go.
2. How did you feel after publishing your book?
For someone like me, who has always loved books and reading, to see my own words within the covers of a novel was an incredible feeling, almost surreal. I remember holding it in my hands for the first time and feeling almost tearful. It was, quite literally, a dream come true.
3. What are some of your favourite novels and authors?
I love reading fiction across all genres — I enjoy Edgar Allan Poe and Anne Rice as much as I do Georgette Heyer or P. G. Wodehouse. Crime writer Dick Francis is an old favourite of mine – Ilove the way he deftly draws his characters and their emotional lives, as much as the way he sets up his fast-moving plots. I love the dark and brooding atmosphere that Daphne Du Maurier conjures up in her all novels and short stories. I recently re-discovered the thrillers of Ira Levin — what a fascinating variety of plots he came up with! And I love the gentle humour and kindness in the writing of James Herriot.
4. Is there a specific reason for naming your novel?
I had actually given it a different name in the beginning – 'The Empath'. But my editor Himanjali Sankar and others at Bloomsbury India felt that wasn't the most evocative title, especially since many people may not even know what an empath was (and I could see their point!) So, she asked me for some alternative titles, and 'The Shrine of Death' was the most popular of the ones I came up with. As for why it's called that, it has to do with a special sort of Chola temple called a pallipadaithat is central to the mystery in my book. These are sepulchral shrines built to honour dead kings and queens – i.e. shrines of death! To know more about how the title came to be,you can check out this post in my blog: https://divyakumar.com/2018/04/05/why-the-shrine-of-death/.
5. Where do you write from? Do you go to some specific place, like beach side or the hills?
I wish! Most of my writing for this book was done at home since I began working on it at the time when I gave up my full-time job as a reporter to become a stay-at-home mom. I still do the same… I generally write at my spot on the couch or at my desk, either after everyone is asleep at night, or after everyone has left home in the mornings! But there are also times when I just need to get away from it all to write, and then my go to is usually a coffees hop. Both in Chennai before, and in Dubai now, I have certain favourite cafes where I love to go, order a cappuccino and write.
6. What inspired you to write the books (in general)? Any tales to tell…
I grew up in a home filled with books, and I've just loved stories for as long as I can remember.I wrote my first story, about a turtle and fish who were best friends, when I was five years old, and my childhood and teens are littered with ambitious novels I began and abandoned. And that doesn't count all the stories I've made up in my head and never put down on paper! Working as a journalist with The Hindu Metroplus, I covered the book beat, attending book launches and interviewing authors, and that was definitely a source of inspiration as well, meeting all these creative people and hearing their stories.
7. What was your biggest learning experience throughout the writing process?
The process of writing and rewriting, working and reworking, the steps that go into converting that first draft, the idea in your head, into something whole and complete, something cohesive and engaging. I've done that for feature articles, of course, but a 95,000-word novel is something else altogether!
8. Looking back, what did you do right that helped you break in as a writer?
I think there's no better training ground for becoming an author than working as a journalist. Just the act of writing and editing everyday hones your abilities. It teaches you to cope with days when the words just aren't coming that easily. It teaches you economy with words. It teaches you to be ruthless with your own writing. And exposes you to so many new experiences and interesting people.
9. Any best piece of writing advice that you would like to share with new or struggling writers?
Just keep going! This is neither new nor original advice, but it's the only thing that works – to keep writing. If you're feeling blocked or burnt out, take a break, take a breather, but then come back to it.
10. Something personal about you people may be surprised to know?
Like my main protagonist Prabha, I have a degree in computer science! But unlike her, my shift in careers happened early on – I did a second degree in journalism, and except for a brief stint as a web developer, had moved completely away from coding by my mid-20s.
11. Any future books that you would like to discuss now?
I'm actually working on a sequel to 'The Shrine of Death', and I'm hoping to do a trilogy eventually. You will get to know what happened next with the characters in TSoD, and there are, of course, many strange and disturbing new developments!
12. What other profession excites you the most?
If I wasn't a writer, I would love to be part of the music industry, as a singer, songwriter or composer!
13. Any special mention about your reader (be it with reviews/feedback or anything else)
The responses from readers are what matter to me the most, hands down. Nothing makes me happier than hearing from someone that they loved a particular aspect of the story or a were drawn to one of the characters; that they enjoyed curling up with the book while sick or during a long flight or layover; that they couldn't put it down, and had to race to the end! To be able to share this story that was in my head for so long, and to see how people who love to read like myself respond to it… it's just the best part.
14. Do you write the story at a stretch or you take your time to complete it? If you take a longer time, wouldn't you be forgetting the story? How do you tackle it?
I tend to write in fits and bursts – I write intensely for stretches, then go through phases when I'm not writing that regularly. But I'm in no danger of forgetting the story! In fact, the periods when I'm not writing is often when I keep mulling certain plot points in my head, and come up with ideas to fix any issues in the story.
15. Traditional or Self-Publishing? Why?
I don't know if I'm really equipped to comment on that, since I'm just one book old, and haven't tried self-publishing. I do see the pros and cons of both though, and can understand why authors may choose one or the other. For now, I see myself sticking with traditional publishing, but who knows, maybe it'll change in the future!
16. How is the response so far for the book?
It's been so encouraging! I've gotten good to great reviews from newspapers, bloggers, and readers alike, and I really couldn't have asked for more as a first-time author.
Filed under Fiction, Interviews, The Shrine of Death, Uncategorized
Tagged as author, bloomsbury india, crime, idol theft, interview, publishing, thriller, writing
The article is in Malayalam, but the video of me talking about the book at the end is in English! 🙂
https://gulf.manoramaonline.com/indepth/sharjah-international-book-fair-2018/The-Shrine-of-Death-novel-SIBF.html?fbclid=IwAR2p7Z1vVVrI9KX89H6m93ihCt38zOKFx5zOZgUzIAJJoZ159meDakAN–0#
Filed under Media coverage, The Shrine of Death, Uncategorized
Tagged as chennai, idol theft, malayala manorama, malayalam, novels, sharjah book fair 2018, shrine of death, thriller
Following the launch at the SIBF 2018, this interview appeared in one of the region's leading English dailies, the Khaleej Times.
The fiction title is a fast-paced thriller deal with the issue of idol theft and is a heady mix of crime, mystery, romance and the paranormal.
For debutant Indian novelist Divya Kumar, the protagonist in her maiden book The Shrine of Death had to be a woman. "It was a no-brainer," she explained to Khaleej Times, after launching her book at the Sharjah International Book Fair late last week.
The Dubai-based author and former journalist's first book was published by Bloomsbury India in April 2018. The fiction title is a fast-paced thriller deal with the issue of idol theft and is a heady mix of crime, mystery, romance and the paranormal.
"The book is a fictionalised account of actual events that occurred in Tamil Nadu in 2009 when a set of ancient Chola idols disappeared from an abandoned temple and were later discovered to have been smuggled out of the country," said Kumar.
"This was the watershed case that eventually leads to the high-profile arrest of Manhattan-based art dealer and smuggler Subhash Kapoor."
The book's central character – Prabha Sinhan – is an IT professional who gets pulled into the murky world of idol theft and goes in search of her missing friend Sneha Pillai.
"Mainstream Indian media often portrays a certain stereotype of women in mass media. Like a manic pixie dream girl, or a virtuous, pious woman, or an oversexed glam doll, or even a confused, flaky millennial," she added.
Kumar's character had to be a relatable, regular young woman who was not epitomised in any manner. "I also wanted my character to be strong, stubborn, and fiercely loyal," she said.
A former journalist of The Hindu newspaper in India, Kumar moved to Dubai in 2016. "I finished a big chunk of the editing and re-writing process in the UAE," she added.
Though the book had its first release in India, Kumar said she is extremely proud of being part of the Sharjah book fair.
"I wanted to write fiction for pretty much my whole life. From childhood, I've had a set of unfinished books and manuscripts. I worked at The Hindu from 2006 – 2011, but I stopped working full-time after my daughter was born," she said.
She began seriously working on the novel, and it took shape after details of the Chola idols case unearthed.
"I was still with The Hindu when the bust of the idol smuggling ring was in the news. From a local case in Tamil Nadu, the case went international as it was linked to an international crime ring. It was covered extensively in the India media and I followed it with a lot of interest."
For Kumar, the theme was a perfect fit for her book as she got increasingly fascinated with the subject. "The plot evolved out the details of the case," she added.
As she began writing the book, Kumar imagined it to be part of a trilogy. "I am definitely working on a sequel," she added.
dhanusha@khaleejtimes.com
The original article appeared here in the Khaleej Times.
Filed under Fiction, Interviews, Media coverage, The Shrine of Death, Uncategorized
Tagged as Bloomsbury, book fair, book launch, chennai, crime fiction, dubai, idol theft, sharjah, SIBF2018, thriller
My debut novel, 'The Shrine of Death' was recently launched at the prestigious Sharjah International Book Fair 2018 — the third largest book fair in the world, and the largest in the region!
Look what's on the shelf at the SIBF 2018!
Here's a glowing report of the launch in the Gulf Today!
SHARJAH: Debutant Indian novelist Divya Kumar received overwhelming response as she introduced "The Shrine of Death" to booklovers at the ongoing Sharjah International Book Fair (SIBF).
Published by Bloomsbury India, the novel was released in India in April 2018 to glowing reviews by the press and readers alike. Since then its arrival was awaited by the UAE book aficionados.
It is a fast-paced thriller dealing with the hot-button issue of idol theft, and has a heady mix of crime, mystery, romance and the paranormal.
During a conversation at the SIBF with the acclaimed poet and author Anuradha Vijayakrishnan, Kumar said that the book is a heavily fictionalised account of actual events that occurred in Tamil Nadu, India, in 2009, when a set of ancient Chola idols disappeared from an abandoned temple, and were later discovered to have been smuggled out of the country. This was the watershed case that eventually led to the high-profile arrest of Manhattan-based art dealer and smuggler Subhash Kapoor.
"The Shrine of Death" tells the story of Prabha Sinha, an IT professional in the south Indian city of Chennai, who is plunged into a murky world of idol theft, murder, and betrayal after she gets a mysterious phone call one night from her old friend Sneha Pillai. As she races to find answers before the people she loves get hurt, she seeks the help of Jai Vadehra, a troubled young man with a tragic past, and police officer Gerard Ratnaraj of the Idol Wing, CID, whom she can't help but be drawn to. Their search takes them from Chennai's newsrooms and universities to the abandoned sepulchral shrine of a Chola queen in the heartland of Tamil Nadu. And here there is a twist in the tale.
Divya Kumar is a journalist, writer and blogger, currently based in Dubai. She spent her early 20s studying and working in the US, dabbling in web-design and media studies, before settling down to a career in journalism. After returning to India, she joined The Hindu newspaper in Chennai, writing for The Hindu Metroplus, covering mainly the book and art beat.
"I started writing this book when I took a break for the birth of my first child. Naturally, it took me three years to complete the book. Fortunately, I didn't have to run after dozens of publishers. The only difficulty I faced was to convince famous literary agent Kanishka Gupta to have a look at my work. Once he agreed to, it was quite smooth as the editor, Himanjali Sankar, also had confidence in my work," she added. Encouraged by the tremendous response, she has already started working on its sequel.
Currently available at Jashanmal Books stand at the SIBF, the title will shortly be available at leading bookstores in the UAE.
Also featured in the SIBF 2018 newsletter! 🙂
Filed under Fiction, Media coverage, The Shrine of Death, Uncategorized
Tagged as book fair, book launch, chennai, crime fiction, idol theft, sharjah, SIBF2018, stolen idols, thriller
Book: The Shrine of Death
Author: Divya Kumar
Publication: Bloomsbury India
If reading Divya Kumar's The Shrine of Death while stretched out on a beach somewhere, remember to slap on some sunscreen and order enough beer to last you at least a couple of hours. Because once you start on this book, it's unlikely you'll set it down before you race to the end. The Shrine of Death has all the ingredients required for a thrilling beach read: an ambitious and beguiling beauty who stumbles onto a web of conspiracy and then vanishes, two amateur detectives — one of whom is harbouring a disquieting secret — and a dishy love interest (a man in uniform, no less).
The plot is fairly straightforward: IT professional Prabha Sinha gets an unsettling phone call from her old friend, Sneha, and is drawn into an investigation of her disappearance and the theft of some priceless Chola sculptures. The book switches between Prabha's perspective, and that of the troubled Jai, who is, for reasons of his own, helping her figure out what happened to Sneha.
Apart from the deftly managed suspense, what draws the reader in is Kumar's ability to flesh out characters. One gets a real sense of the emotional stakes involved, and, as the story progresses, the stakes only get higher. Given the premise — that of heritage loot, a major problem in India — this book could have quite easily been overloaded with research. But the writer maintains a light touch, although there should still be enough to satisfy art history and archaeology wonks.
This review for 'The Shrine of Death' was part of a round up of this season's detective novels the Indian Express' book section. You can read about all the other fabulous novels in the list here!
Tagged as book review, chola bronzes, crime fiction, detective novels, indian express, thriller
Loved doing this interview with Smita Singh for the amazing Bookaholicanonymous Blog!
"I was quite clear that this was not a historical novel. It was to be a fast-paced contemporary thriller with elements of Chola history woven in" Divya Kumar
Bookaholicanonymous is extremely happy to present Divya Kumar, author of the novel 'The Shrine of Death'. The book is a chilling crime thriller in which a beautiful young historian who discovered two priceless bronzes from the 10th century disappears without a trace. Her friend sets out to find her and is drawn into a world of fraud, murder and betrayal where no rules apply. Get hold of this racy thriller, we gurantee its unputdownable!
About Divya Kumar: Divya is a journalist, writer and blogger, earlier based in Dubai now Chennai. She spent her early 20s studying and working in the U.S., dabbling in web-design and media studies, before settling down to a career in journalism. She returned to India in 2006, and joined 'The Hindu' in Chennai, working as a senior reporter and feature writer with 'The Hindu' Metroplus for five years, covering mainly the book and art beat, before taking a break for the birth of her first child in 2011.
This is your first book right, what made you finally dive into the world of letters/books and become an author?
I've wanted to write a book for as long as I can remember. I've always been an avid reader – a bookaholic, in fact! – especially of fiction across all genres. And my childhood and adolescence are littered with novels I began and never got around to completing. As a features journalist in The Hindu in Chennai, I got to cover the book beat extensively, attending book launches and interviewing authors, and of course, reading all the books that came my way with relish. Through it all, the dream of writing my own book remained a constant. But it wasn't until I took a break from full-time reporting for the birth of my daughter that I finally got started. And this book idea was different – it took root in my head and didn't let me go, and unlike all those other times, I actually finished writing it!
How did the idea of the book come to you?
Quite literally in a dream! I woke up one morning with the character and tragic backstory of Jai, the empath, lingering in my mind. At that time, The Hindu was doing in-depth coverage of the bust of the idol smuggling ring allegedly headed by the Manhattan-based Subhash Kapoor, and the two parts – the character of the empath, and the idol theft plot came together in my mind almost as a complete whole.
Did you deliberately choose to not go in to the detailed history of the time (Chola kingdom) you have chosen to write about?
Yes, it was a conscious choice made as I wrote the book. I was quite clear that this was not a historical novel. It was to be a fast-paced contemporary thriller with elements of Chola history woven in, and I didn't want to bog down the narrative with long paragraphs of historical detail. The reader learns the pertinent facts along with my main character Prabha as she uncovers them, through her conversations with the professor, or through books she or Jai read, so that the history I reveal – about the great Queen Sembiyan Mahadevi, and about ancient sepulchral shrines or pallipadais – feel like an integral part of the scene, rather than a heavy info-dump that becomes a speed bump in the plot.
How much research did you have to do on idol thefts? Did being a journalist help you?
The research was primarily trawling through all the newspaper coverage of high-profile idol thefts stretching back a couple of decades, especially in The Hindu, and also going through the Tamil Nadu Idol Wing website, which had considerable detail on thefts they had uncovered. Being a journalist certainly helped me in sifting through the various sources of information and using them optimally.
How long did it take to finish writing the book?
About three and a half years. But the writing was not continuous. I began, as I mentioned, when my daughter was a baby, so initially I wrote only late into the nights or on weekends. I was also, during that period, doing a weekly column for The Hindu Metroplus and doing freelance reporting as well, so my work on the book often happened in fits and starts. I'd write intensely for periods and not at all for stretches in between. It wasn't until the final six months that I was focused entirely on the book and its completion.
You know Chennai more than any other city in India, is that why you based your novel on the city?
Yes, Chennai is the city of my birth, and although I grew up for most part in Muscat, Oman, I returned to Chennai every summer to my grandparents' house. It was the place I came to for college, and then again returned to after studying for a while in the U.S. Most of the important milestones of my life are linked to Chennai – it's the place where I began my career as a journalist and writer, where I met my husband and got married, where my daughter was born… So when I began to write my first book, it was only natural that Chennai would have a starring role in it!
Which of your characters did you develop first?
Jai, the empath. As I mentioned, his character arrived almost fully-formed in my head, and I knew from the start that I wanted to explore his past traumas and his struggles with his abilities alongside the idol theft mystery.
Did you weave a little bit of yourself in the character of Prabha as you were a Computer Science student?
I guess I did! Prabha is definitely not me – she's very much her own distinct person. But I suppose I did use certain aspects of my experiences and my life in shaping hers. One, as you mentioned, is the transition from computer science to journalism – though mine happened under very much more mundane circumstances than hers! And the other, maybe, is her search for roots and finding them in Chennai, something I went through after drifting between Muscat, India and the U.S. for the better part of a decade in my late teens and 20s.
Did you have someone in mind while developing the character of Gerard Ratnaraj?
Not really. He's a composite of the cops I read about while researching the idol thefts, with a liberal dose of my imagination thrown in!
When and what can we expect from your next book?
The 'when' is uncertain… all I can say is that I'm working on it and am about half way through currently. As for the 'what'… It picks up a few years after 'The Shrine of Death' and takes us back into the lives of the three main characters, Prabha, Jai and Gerard. Jai is struggling to deal with new aspects of his evolving abilities, even as more of his murky past is unveiled; Prabha is growing into her new career as an investigative journalist but that brings fresh conflict into her relationship with Gerard; and the three of them find themselves fighting against a powerful and dangerous enemy…
Bookaholicanonymous wishes Divya…all the best…and yes we are waiting for your next novel eagerly!
The original interview can be found here
Tagged as Blog, chennai, idol theft, interview, thriller
Really enjoyed doing this thorough, in-depth interview with the talented Mohammed Rayaan over at http://www.rayaanwriter.com!
Photo credit: Shuchi Kapoor
Divya Kumar is the author of 'The Shrine of Death', a thriller novel released in April 2018 by Bloomsbury India. She is also a freelance journalist. Her column, 'Toddler Talk' in the Metro plus has garnered many fans.
In her website, she describes herself as "Singer-songwriter and sometimes pianist. Movie geek. Netflix addict. Tennis nut. Mom of one little diva. Former physics student, computer scientist, web developer and media studies grad student among other things. Card-carrying member of the Happy to Have Been a Gulfie club."
How did you get the idea to write 'The Shrine of Death'?
Divya: It literally came to me in a dream! I woke up one morning with one of the main characters of the story, Jai, fully formed in my head – his tragic backstory, his struggles. At that time, The Hindu was doing a lot of coverage on idol theft in Tamil Nadu, and the bust of the international smuggling ring headed by Manhattan-based art dealer Subhash Kapoor, and I was following it closely. So, the two – Jai's story, and the idol theft plot – sort of just came together in my head, almost as a complete whole.
What kind of research did you have to do when writing your novel?
Divya: I did as much reading as possible on the idol theft cases in the news, as well as from the TamilNadu Idol Wing's website, which had considerable detail on the busts, and I ensured that my information on the Chola dynasty was historically accurate. Especially helpful was a talk I attended on Chola temples by historian Pradeep Chakravarthy, from where I got the final piece
of the plot puzzle – pallipadais, shrines built to honour dead Chola kings and queens. But all of that was just a jumping off point for the story – the bulk of it comes from my imagination.
Can you tell us about your writing regime and your approach of writing a novel?
Divya: When I started writing this novel, my daughter was just about a year old, so there was no regime to speak off! I wrote whenever I could, late into the nights after she slept, or on the weekends, when I left her with my husband for a few hours and sat at a cafe with my laptop. The result was that I wrote intensely in bursts, but then there would be long stretches in between when I barely wrote at all. It got easier as my daughter got older – now I set aside three to four hours every morning while she's in school to focus on writing or editing.
But I still like to write late into the night on occasion – though I pay for it in the morning! I always have a basic plot outline, an overall idea of where the story must go, and basic character
arcs mapped out before I begin my novel. But, of course, as I get deeper into writing each part, the plot evolves and changes, and the character arcs get tweaked to so that it all works, and fits together as a cohesive whole.
Can you tell us about your life as a journalist?
Divya: I began writing for The Hindu's Metroplus supplement in Chennai after I returned from the U.S., where I was studying. It was, in all ways, a wonderful experience – we had a young, lively group of reporters and our editors were experienced and dynamic.
Books and art became my beat, so I had a chance to interview visiting authors – everyone from Amitav Ghosh to Jeffrey Archer – and leading artists in the city, and cover book launches and contemporary art shows.
I also got to explore Chennai, the city of my birth, and came to know it in a way I might never had been able to do otherwise. I think a lot that I learnt and experienced in the years I worked for The Hindu reflects in the setting and the themes of 'The Shrine of Death'.
Who is your favourite author and your favourite books?
Divya: I love reading fiction across all genres — I enjoy Edgar Allan Poe and Anne Rice as much as I do Georgette Heyer and P. G. Wodehouse. I don't have a single favourite author, but there are elements of different authors' writing I love. For instance, crime writer Dick Francis is an old favourite of mine — I've always loved the way he foregrounds his characters and their emotional lives, even in the midst of a fast-moving plot.
I love the dark and brooding atmosphere that Daphne Du Maurier conjures up at will on her novels and short stories. I recently re-discovered Ira Levin — what a genius for plot the man had! And I love the gentle humanity and kindness in James Herriot's writing.
Can you suggest tips for aspiring writers on how to get their novel published by reputed firms?
Divya: Being just one book old, I don't know how much gyan I can give, but I can try! I guess the main thing is to make sure your manuscript is ready before you send it out – clean it up, edit, and revise until you feel sure it's good enough to be out there. You want to make sure the agent or editor is seeing the best possible version of your work.
Also, it's worth putting some effort into how you package your submission – your query letter/email, your synopsis etc. Make sure you stick to the guidelines the agent or editor lists on their website. These are small things that can make a difference. A lot of writers in India approach publishing houses directly;
I chose to approach Delhi-based Kanishka Gupta, one of the country's top literary agents. He believed in the book enough to take me on, and he made things happen at record speed thereafter. Based on my experience, I can safely say that there's nothing like having a dedicated, hardworking agent in your corner to make your publishing dream come true!
It must be quite difficult being a journalist. How do you manage to get new ideas for your articles?
Divya: As a features journalist, I never found it difficult to find story ideas! People are an endless source of inspiration, their stories, their accomplishments. Not just the people you meet when you go out to cover an event or a story, but the people you meet in daily life as well. And when that fails, you can always look within your own experiences for the germ of an idea.
How do you manage your life as a journalist and a fiction writer?
Divya: Journalism has taken a bit of a backseat for me in the last two years. It was partly that I came away from Chennai to Dubai, where I'm currently based, and partly that I've been pretty focused on completing the book and getting it published, and starting work on my next book. But in the preceding years, I was juggling a weekly column, doing freelance writing, and working on the book as well, and that happened pretty organically – I worked on the book when I didn't have looming deadlines, and put it on the backburner when I did!
Do you get writer's block? If yes, how do you handle it?
Divya: In my experience, if I'm feeling blocked and unable to write, it's due to one of two things – fatigue or plot problems. Sometimes, if I've been writing intensely for a stretch, I hit a point of burnout, and start hating everything I've written. When that happens, I've found that just taking a step back and giving myself a break from the book helps a lot. Then I come back to it with fresh eyes, and find that hey, it's not too bad after all, and the words start flowing again.
But sometimes, that doesn't do it. And those times, I've realized that there's often an issue with the story itself. Maybe I've written myself into an uninspiring corner, or some aspect of the characterisation is just not working. Then it's worth reassessing/tweaking the original outline to try and fix the problem.
What principles do you live by?
Divya: I believe in kindness, in the old-fashioned concept of being nice. I always try to see the other person's point of view, to be empathetic. But I also have very clear boundaries; I don't stand for anyone disrespecting me or hurting the people I care for. I am extremely straightforward — I don't have the inclination or the patience to play games – and excessively honest, to the point where I put sometimes myself in a spot by being unable to lie. But this is who I am, and I take pride in the ethical code I live by. I'm a friendly person but also intensely inward-looking. I need my own space, and I think that can sometimes be off-putting to people. But those who are close to me know that I will be there for them, no matter what.
Can you tell us a little bit about yourself?
Divya: I was born in Chennai, but I actually grew up for most part in Muscat, Oman, and finished my schooling there. Then began what I think of as my wandering years – I was in Chennai studying physics for a couple of years before transferring to the U.S. to complete my undergraduate studies – a dual degree in Computer Science and in Journalism at Rutgers University. I worked there as a web-developer and coder briefly, before deciding conclusively that programming was not for me! I then did my masters coursework in Media Studies before once more returning to Chennai. It was then that I interviewed at The Hindu. A position had just opened up at the Metroplus and was offered to me – the rest, as they say, is history. I knew after just a few days on the job that there was nothing else I'd rather be doing.
Can you tell how your normal day goes by?
Divya: Like any mom, my day starts early, packing lunches, making breakfast, and sending the family off to school/office. I wrap up my chores by 10 a.m. and begin my day's work. During my intense writing phases, I'll jump directly into reading through/reworking the previous day's writing, and then continuing where I left off. At other times, I might spend an hour or two responding to emails, messages, etc. before getting into editing/writing. At still other times, I might take a break from writing altogether and work on my music. Then my daughter comes home from school in the afternoon, and it's time to make the evening meal, take her down for playtime, and then back home for the dinner, and the bedtime rush…
Can you talk about your experience as singer/song writer?
Divya: Music is an essential part of me. I almost always have a song running through my head, that I'm humming under my breath. I am a classically trained singer, having learnt Hindustani vocal music since childhood. I enjoy singing Indian semi-classical and light music, but my heart really lies in Western music, specifically classic rock/folk/pop music. I'm an alto and have performed in choirs through school, college and beyond. I also play a little piano (not as much as I'd like!) and have been writing my own songs for as long as I can remember. In the last couple of years, I've begun to record my covers of some old favorite Western songs, and hope to share more of my own original songs soon too! You can check out my covers at my Sound cloud account: (https://soundcloud.com/user-396816675.)
How did your column "Toddler Talk" came about?
Divya: The idea for the column really grew out of the writing I was doing on my blog, divyakumar.com, at that time. After the birth of my daughter, I took some time off from full-time reporting, and was freelancing for The Hindu. I began to write humorous posts on my daughter's escapades on the blog, and found that people enjoyed them. When I was asked to do a column for the revamped Metroplus, I suggested 'Toddler Talk', a light-hearted look at raising this generation of high-maintenance, tech-savvy toddlers. My editor liked the idea, and the column was born. I loved writing it – it was such fun way of recording the memories of my daughter's Terrible Twos and Threenager years, and also proved to be a wonderful way to bond with other moms going through the same experiences.
The original interview can be found here.
Tagged as author, chennai, crime fiction, fiction, idol theft, journalist, shrineofdeath, the hindu, thriller

redpajama_set_name: RedPajamaCommonCrawl


The 'W' National Park lies 150 km south of Niamey, at the point where Niger, Burkina Faso and Benin meet. Together with the contiguous parks of the same name in Burkina Faso (part of IBA BF008) and Benin (BJ001), it forms the largest tract of protected savanna in West Africa. In the north-east the boundary of the park is formed by the Niger river. The river here makes several sharp turns, which together form the shape of the letter 'W' from which the park takes its name. In the south the boundary is formed by the Mékrou river (which also forms the international frontier with Benin), in the west by the international border with Burkina Faso and in the north by the Tapoa river. Large parts of the park are rocky, as a result of outcroppings of metamorphic Precambrian rocks (e.g. quartzites, schists and gneisses). In certain areas, these are overlain by Tertiary sediments, which give rise to widespread laterite-capped plateaus. Along the three rivers there are Quaternary alluvial flood-plains. The vegetation is predominantly wooded savanna and shrubland, transitional between the Sahelian and Sudanian savanna-types, together with a small amount of grassland. In addition to the flood-plains along the Niger river, there are gallery forests along its main tributaries and a number of ephemeral pools and wetlands in upland areas. Average annual rainfall in the park for the period 1961–1990 was c.700 mm.
See Box and Table 2 for key species. At least 355 species of bird have been recorded from the park, of which at least 48 are intra-African wet-season migrants, 63 intra-African dry season migrants and 63 dry-season migrants from Eurasia. Several species of global conservation concern have been recorded. In addition to Circus macrourus, of which more than 30 are likely to be present annually during the northern winter, Falco naumanni is a rare dry-season visitor. There is also a possible observation of Prinia fluviatilis from just north of the park boundary in suitable habitat, which also occurs within the park. Of the Sudan–Guinea Savanna species, Coracias cyanogaster and Galerida modesta are dry-season vagrants while Hypergerus atriceps is a rare dry-season visitor. All other 18 species are proven or likely breeders. The six species of the Sahel biome occur mostly during the dry season and all are uncommon to rare. However this site, together with Makalondi (NE002), are the only IBAs in the non-breeding range of some of the Sahelian species.
The various aquatic habitats are important for waterbirds. The largest single waterfowl count during January–February 1993–1998 was of 10,337 birds in 1997, along the Niger river only. Further counts may reveal totals of more than 20,000 waterbirds. Significant observations include a group of nine Ciconia nigra at a small wetland in January 1998 while, in March 1997, 1,412 Sarkidiornis melanotos, 7,979 Dendrocygna viduata and 325 Plectropterus gambensis were counted on the river. In addition, there are quite large rookeries of egrets, etc. in the interior of the park, which have never been properly censused.
Non-bird biodiversity: A total of 82 species of mammal have been identified, including Loxodonta africana (EN), Panthera leo (VU), Acinonyx jubatus (VU), Syncerus caffer (LR/cd) and 11 species of antelope; Trichechus senegalensis (VU) also occurs.
BirdLife International (2019) Important Bird Areas factsheet: 'W' National Park. Downloaded from http://www.birdlife.org on 23/04/2019.


text:
Journal Poll: Most NM voters approve of gov's virus response - Albuquerque Journal
Journal Poll: Most NM voters approve of gov's virus response
By Dan McKay / Journal Staff Writer
Published: Thursday, September 10th, 2020 at 10:11PM
Updated: Friday, September 11th, 2020 at 12:05AM
SANTA FE – By a rate of nearly two-to-one, New Mexico's likely voters approve of the way Gov. Michelle Lujan Grisham is handling the coronavirus pandemic, according to a new Journal Poll.
Sixty percent of those who responded said they approve of her response while just 32% disapproved – a spread fueled by broad support from voters who identify as liberal or moderate. The remainder had mixed feelings or wouldn't state an opinion.
President Donald Trump, by contrast, was graded less favorably by New Mexico's likely voters. The Journal Poll found 36% of those who responded approve of his handling of the COVID-19 pandemic and 55% disapproved.
Lujan Grisham, a Democrat, has aggressively confronted the pandemic this year with business restrictions, a mask mandate and a travel quarantine, triggering court fights and opposition by Republican leaders.
A former state health secretary, Lujan Grisham has pleaded repeatedly with New Mexicans to stay home as much as possible to limit the spread of the deadly disease, and in weekly news conferences, she has sometimes scolded people for failing to wear masks in public.
Brian Sanderoff, president of Research & Polling Inc., which conducted the survey, said the results suggest voters take the public-health threat seriously.
"These restrictions have had tremendous consequences in New Mexico, especially on our small businesses and restaurants," he said in an interview. "Despite all this, a majority of voters approve of her handling of the pandemic, which demonstrates that people are really concerned about their health and the safety of their families."
Democratic and Republican voters had much different views of the governor's response to the pandemic. The Journal Poll shows 84% of Democrats approved of her handling of the disease while 10% disapproved – a 74-point spread.
Republicans were more split, but they overwhelmingly disapproved of her response – with just 28% in support and 63% opposed, a spread of 35 points.
The opinions of independent voters more closely matched the electorate as whole, as 58% reported approval of the governor's handling of the pandemic and 31% disapproved.
Sanderoff said the broad overall approval may not reflect the intensity of people's feelings.
"Only one-third of New Mexico likely voters disapprove of the governor's handling of the pandemic," he said, "but many of these people have very intense feelings about the governor's restrictions."
The survey shows significant differences by region. Most voters in the Albuquerque metropolitan area, Las Cruces and southwestern New Mexico, and the north-central part of the state approved of Lujan Grisham's handling of the pandemic.
But voters were split in northwestern New Mexico, with disapproval ahead by 1 percentage point.
In eastern New Mexico, a majority of likely voters disapproved of the governor's response.
Conservatives back Trump's job
Trump's handling of the pandemic sparked a much different response.
The president – a Republican who has sometimes downplayed the threat of the virus and highlighted optimism about the possibility of new treatments and vaccines – wins strong approval among Republican, conservative and east side voters.
And in the northwestern part of the state, more voters approve than disapprove of Trump's pandemic response.
Conversely, his performance was rejected by liberals, moderates, Democrats and independents. Voters in the Albuquerque area and north-central New Mexico were mostly likely to disapprove of Trump's handling of the pandemic.
"The governor and the president have different overall philosophies on this matter," Sanderoff said, "and they've approached the handling of the pandemic in very different ways."
Polling method
The Journal Poll is based on a scientific, statewide sample of 457 likely general election voters who also voted in either the 2016 and 2018 general elections, or both.
The poll was conducted from Aug. 26 through Sept. 2. The voter sample has a margin of error of plus or minus 4.6 percentage points. The margin of error grows for subsamples.
All interviews were conducted live by professional interviewers, with multiple callbacks to households that did not initially answer the phone.
Both cellphone numbers (74%) and landlines (26%) of likely general election voters were used.
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text:
/** For different kinds of math operations we need, some unconventional
 * @module
 */

const sum = function (vals) {
  let total = 0;
  for (let vali = 0; vali < vals.length; vali++) {
    total += vals[ vali ];
  };
  return total;
};

const roundMoney = function (val) {
  // Only round values for display. In actual calculations and
  // storage objects, keep things exact. Also, this doesn't restrict
  // to two decimal places. Do that in the input's attributes.
  return (Math.round(val * 100) / 100); // val = '' returns 0
};

/** This is how we've seen it done in MA tables
 *
 * @see Math was observed at {link http://www.mass.gov/eohhs/docs/masshealth/deskguides/fpl-deskguide.pdf}
 * @see More notes on data at {link https://docs.google.com/document/d/1DRNm1TLP31s_yDdsH8IDoRV7_KjjJ46NyAaZOgLoQmY/edit#}
 * @todo Implement US State specific rounding? Benefit program-specific?
 */
const moneyToWholeNum = function (val) {
  return Math.ceil(val);
};

/**
 * Turns a value into a float, limits it in between min and max, and
 *     makes sure to return a number (not NaN).
 */
const limit = function (initialVal, minMax) {

  // @todo Add trailing 0's somewhere
  let min = minMax.min,
      max = minMax.max;

  let raw   = parseFloat(initialVal),
      value = raw;

  if (typeof min === `number` && !isNaN(min)) {
    value = Math.max(min, raw);
  }

  if (typeof max === `number` && !isNaN(max)) {
    value = Math.min(max, raw);
  }

  if (isNaN(value)) {
    value = 0;
  }

  return value;
};

let toMonthlyAmount = {};

/** @see {@link https://docs.google.com/document/d/13kb1hsxMi6pN9oAUGsTatDz4OSX5IeDLF9B-ddPjMCk/edit#heading=h.hxz256tmbsz9} */
toMonthlyAmount.weekly = function (evnt, weeklyVal) {

  let monthlyRaw = weeklyVal * (4 + 1 / 3),
      monthly    = toMonthlyAmount.monthly(evnt, monthlyRaw);
  return monthly;

};

toMonthlyAmount.monthly = function (evnt, monthlyVal) {
  // Monthly is used for a lot of things and is the one we want to store
  let monthlyInBounds = limit(monthlyVal, { min: 0 });
  return monthlyInBounds;

};

/** For what we used to guide the math of what counts as a month,
 *     @see {@link https://docs.google.com/document/d/13kb1hsxMi6pN9oAUGsTatDz4OSX5IeDLF9B-ddPjMCk/edit#heading=h.hxz256tmbsz9}
 */
toMonthlyAmount.yearly = function (evnt, yearlyVal) {

  let monthlyRaw = (yearlyVal / 12),
      monthly    = toMonthlyAmount.monthly(evnt, monthlyRaw);
  return monthly;

};

export {
  sum,
  roundMoney,
  moneyToWholeNum,
  limit,
  toMonthlyAmount,
};


text:
By Lawrence Hoffman
The University of California, Berkley ("UC") and the Eli and Edythe L. Broad Institute of MIT and Harvard ("Broad") are locked in an all-out battle (called an interference) before the U.S. Patent and Trademark Office Patent Trial and Appeal Board (the 'PTAB' or 'Board') over the past several years to determine who was the first inventor of the CRISPER-Cas9 gene editing technology.
The biotech world is wildly excited about the potential uses of this technology and the likely licensing fees could be in the billions of dollars.
The Board has just reached a decision in the matter. Broad definitely won the battle, but just what it won, and what UC lost, is far from clear.
For those of you (like me) not in the biotech field, CRISPER is the acronym for 'Clustered Regularly Interspaced Short Palindromic Repeats', a genetic phenomenon found in prokaryotic cells, i.e., those without nuclei such as those in bacteria. CRISPRs are not found in eukaryotic (plant and animal) cells. CRISPERs function as an immune system for such cells.
The Board did not actually determine priority of invention, but rather decided that the UC and Broad inventions were not the same, and not obvious variations of each other. It therefore ruled that there never should have been an interference. As a result, Broad, which already has 12 patents and one more on the way, will keep them all for now, and UC might also get a patent.
At the risk of oversimplification, the UC application discloses use for editing genes only in a prokaryotic environment. Also, the experiments disclosed were only in vitro. There is no mention or a suggestion in the UC application that the CRISPER-Cas9 technology will work, or should be used for editing genes in eukaryotic cells.
However, the claims of the UC application do not specify the environment. The disclosures and claims of Broad's patents and the pending application, however, are directed specifically to use with eukaryotic cells. In brief, the PTAB said the eukaryotic species is patentable over UC's generic claims because there was no concurrent reasonable expectation that UC's technology would work with eukaryotic cells.
This saga is definitely not yet over. UC can appeal the Board's decision to the Court of Appeals for the Federal Circuit (CAFC), or it can accept the reality of concurrent patents. If it doesn't appeal, or if it loses the appeal, the result may be that users of the technology have to obtain licenses from both UC and Broad. However, the ultimate value of the UC patent is far from clear. The validity of the patent can be challenged in court, e.g., on the ground that the disclosure does not support generic claims. Alternatively, a court could reasonably find that, even apart from the question of validity, the claims cover only use in a prokaryotic environment. If either of these defenses succeeds, UC's patent may end up essentially worthless.
There is even the horrible possibility (from UC's standpoint) that the US PTO will reopen the prosecution of its application and reject its claims for lack of a written description to support its broad claims. UC may then have to narrow its claims to a prokaryotic environment. That, too, could make its patent worthless.
To read more, a comprehensive article dealing with many aspects of this case has been posted here: http://www.ipatent.co.il/crisper-cas9-broad-institute-1-berkeley-0-maybe/
About the author: Larry Hoffman has a B.S. in Electrical Engineering and Comp. Sci. from the Massachusetts Institute of Technology and a J.D. from the George Washington University School of Law. He has been practice since 1965 specializing in IP law and product liability defense. He is registered to practice before the USPTO, the U.S. Court of Appeals for the Federal Circuit and the state and federal courts in New York, Maryland, and the District of Columbia. His work includes preparation and prosecution of patents in countries throughout the world, and counseling on IP and product safety matters. He has been involved in the trial of close to 100 lawsuits of various kinds. You can reach him at Lawrence@ipatent.co.il.


text:
Q: SciFi novel read around 1990s-2000s about time travel with drugs I read this book in France, around 1990s, or early 2000s maybe. It looked new so it may have been written recently. I read it in french, but I cannot tell if it was translated from a foreign language...
I was a teenager at this time but the book was quite hard to read so likely not a young adult book.
At some point in the future, they know a drug that gives the ability to time travel in their mind, or dreams. But it was risky, because if they took too much of it, they could stay there for ever and the body might stay braindead.
A scientist of the future uses some drug to time travel and he goes in the mind of a business executive of the past (maybe the 1980s) to investigate a conspiracy in a big company.
My memory is very blurred, it was book hard to read because of time loops (like in the Groundhog Day movie) he lives some situations several times and modifies some details.

A: It does sound a bit like Now wait for last year by P.K. Dick- main character is an organ transplant donor that after taking a drug (apparently originally developed as a chemical weapon) is able to travel back in time and see alternate historylines

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Platyrrhinus recifinus är en fladdermusart som först beskrevs av Thomas 1901.  Platyrrhinus recifinus ingår i släktet Platyrrhinus och familjen bladnäsor. IUCN kategoriserar arten globalt som livskraftig. Inga underarter finns listade i Catalogue of Life. Artepitet i det vetenskapliga namnet syftar på staden Recife i nordöstra Brasilien där de första exemplaren hittades.

Med 40 till 43,5 mm långa underarmar och en vikt av 14 till 19 g är arten en medelstor medlem av släktet Platyrrhinus. Individerna blir med svans 58,5 till 93 mm långa och exemplar i södra delen av utbredningsområdet är störst. Bakfötterna är 10,5 till 13 mm långa och öronen är 16 till 20 mm stora. På ovansidan förekommer mörkbrun till gråaktig päls och undersidan är täckt av ljusare päls. Kännetecknande är två vita strimmor i ansiktet mellan ögonen samt en längsgående vit linje på ryggens topp. Liksom andra bladnäsor har Platyrrhinus recifinus hudflikar (bladet) på näsan där den centrala delen liknar en hästsko. Avvikande detaljer i tändernas konstruktion skiljer arten från nära släktingar som Platyrrhinus incarum och Platyrrhinus lineatus. Fladdermusens tandformel är I 2/2, C 1/1, P 2/2, M 3/3, alltså 32 tänder i hela tanduppsättningen.

Arten förekommer i östra Brasilien i en bredare region vid Atlanten. Den lever i tropiska städsegröna skogar och i andra fuktiga landskap. Ibland besöker Platyrrhinus recifinus torra områden när det finns ett vattendrag i närheten. Individerna lever i kulliga områden och i bergstrakter mellan 200 och 1530 meter över havet.

Individerna vilar i täta bladansamlingar, i trädens håligheter och i grottor. De bildar där mindre flockar. Platyrrhinus recifinus äter främst frukter. Ungarna föds i början av regntiden. Flygande exemplar fångades med hjälp av slöjnät nära markytan och upp till 16 meter ovanför grunden.

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Bladnäsor
recifinus
Däggdjur i neotropiska regionen

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