Monthly Archives: July 2011

Michele Lang–Writer


Michele Lang writes paranormal tales set in contemporary, urban settings:  the stories of witches, lawyers, goddesses, bankers, demons, and other magical creatures hidden in plain sight.  In addition to writing fiction, she has practiced the unholy craft of litigation in both Connecticut and New York.

As a lawyer, Michele founded and directed Project Dandelion, a program dedicated to helping women to escape poverty and achieve self-sufficiency.  Project Dandelion, created in 1992, helps women and their families by offering workshops, one on one consultations, written materials, and legal advocacy.

Michele lives with her family in the village of Sea Cliff, NY.  Ms. Pendragon is her first novel.

What made you want to become a writer?

Books.  I’ve been a fanatic reader since I was two years old, and even when I’m not reading, stories tell themselves in my head.  Books are the most magical objects I know…think of it!  Someone who’s been dead for hundreds of years can speak directly to you through his or her words, and you can complete their story simply by reading it.  Writing fiction is the greatest job in the world.

But it goes deeper than that.  I believe with all my heart that we are here for a reason.  Part of why I am alive is to help other people to rev their own creative engines and get them excited about their own missions in life.  As a lawyer, I helped women to find their way through the legal system and out of dangerous situations.  As a writer, my work is designed to amuse, inspire, and liberate people from the more deadening aspects of daily life. My books celebrate the power of dreams to change the world.

Was the journey difficult? Any help? Any obstacles?

My primary obstacle was fear.  And my greatest fear was that I wasn’t good enough to write the stories down as I heard and saw them in my mind.  I also feared that I didn’t have the right to tell my own stories at all.  I had to learn to believe in myself, trust my talent.  Once I accepted the fact that my job was to tell the stories, not judge how good or bad they are, I could get out of my own way and write them.

My sixth grade teacher, Mr. Brady, helped me a lot.  He called my parents into school to tell them I was the best writer he’d ever taught.  His encouragement gave me permission to become a writer.  Writers don’t need someone else to tell them they can write.  But Mr. Brady’s belief in me meant so much.

 Any lessons learned on your writer’s journey?

It’s never too late to have a happy childhood. If you love something and it makes you wildly happy to do it, believe you are meant to do that very thing, and give yourself the time and permission to do it right.  You deserve it!  And for all you know, someone out there needs you to do it, too.

Where does that inner drive to write come from?

Sometimes it’s a whisper, sometimes a roar, but that inner voice keeps on telling the stories.  If I don’t write them down, I start to go a little crazy.

How do you keep readers turning pages?

Most people learn and grow as a result of surviving their worst nightmares.  When a reader cares about a character and their troubles, they will keep reading to find out how they make it through the train wrecks and disasters. I love all my characters, especially my villains.  But I’m terribly hard on them.

How often will you revise and re-write your work?

It depends on the needs of the story.  My first draft comes at a white heat, and I’m careful not to go back and edit what I write as I’m getting that first draft down on paper.  After I let the rough manuscript sit for awhile, I go back and do a hard edit.  Sometimes I edit so hard that I end up rewriting huge chunks of the story.  But once I do that hard edit, the toughest part is over.  I do a light polish to make sure the manuscript shines before I send it off to my editor.  After my editor takes a look, I sometimes do another hard edit…but it’s never as extensive as the first one.

 What are some creative ways you’ve learned to generate ideas?

I love transmuting the affairs of the world into fiction.  What in society infuriates you?  Drives you to despair?  Makes you laugh for joy?  Take those passions, those struggles, and put them in a fictional place, give these problems to fictional characters to grapple with.   For example, like many people I find myself obsessed with the threat of terrorism.  I take my desolation and my hopes and churn them into my stories.

I also mine ancient legends, like those of Robin Hood, King Arthur, or the Greek gods.  What would those characters do in a different setting?  With different enemies?  I’ll interview characters and legendary figures to get answers to these questions, and before I know it, they’re telling me their story.

What are some practical solutions for writer’s block?

Deadlines.  Get some – if you can’t get a publishing contract that forces you to write, find a writer’s group that can give you an outside deadline to meet.  I find that writing fast shuts down the inner censor because I don’t have time to listen to it.

Also, try to write something every day, even if only a sentence.  It keeps you in contact with that inner voice, the stream of stories that keeps flowing under the surface.

 Do you have a favorite book?

I love so many books — I can’t pick a favorite.  I will say that I loved reading Watership Down by Richard Adams. I first read it when I was twelve, and I read it over and over again. I loved the quest in that book, the loyalties of the characters, the deep struggles they all fought to survive.

Do you have a favorite time of day when you like to write?

The early morning.  I’m all alone, the outside world is quiet, and afterwards, I can enjoy the rest of my day knowing that I got to write first.

 What is one saying or proverb you live by?

Never give up on your dreams.  Eleanor Roosevelt once said, “The future belongs to those who believe in the beauty of their dreams,” and I think she was right.


Read everything you can get your hands on.  And write.  For so long I aspired to write. I dreamed of writing, read voraciously, wrote long journal entries about writing.  It was all good, but at some point, you need to stop analyzing and dreaming, and commit.  Embrace the inevitable dreck of your early efforts, and despite the dreck, believe.  Have faith in your ability to improve and have the humility to admit how much you have to learn.  Your love for words will take you everywhere you need to go.  Please don’t wait any longer to get started.

Don’t be afraid of the day job.  I could never have become a writer if I hadn’t practiced as a lawyer first – I learned about human nature, and how to finish what I start.  Find a job that stretches you and brings you in contact with a lot of people, if your temperament suits you to that kind of job.  Give yourself time to get good at that job, and to make friends with people who aren’t writers.  The more deeply you live your life and love the people in your life, the more material you will have to write about.

If you write in genre fiction, do yourself a huge favor and join a local or national writers’ group like Romance Writers of America.  I’ve learned about the business of writing from generous writers who’ve shared so much knowledge with me.  If you can’t afford to join, haunt the blogs of your favorite authors and learn from them.  But please don’t stop yourself from writing while you learn, because the best way to learn is to set yourself free and write.


Where can we find out more about your work?


For excerpts, contests and more, please visit my website:


I also give talks at libraries, reading groups, and schools.  Please contact me at regarding interviews or speaking engagements.


Finally, my first novel, Ms. Pendragon, comes out this month in paperback.  You can find it at your local book store or on





Ben Rekhi– Director

Ben Rekhi, Waterborne’s twenty-something writer and director has been making bold statements on film for more than a decade. He graduated from the NYU School of Film and Television, where he directed, shot, and produced several award winning shorts, including The Waste Project, which won the Best Actor prize at the First Run Festival, and Dirty Laundry, for which he received a Post Production Grant from Warner Bros. Pictures. Upon graduating, Rekhi went on to direct music videos for Hindi pop star Sanjay Maroo that aired on Zee TV in India. Rekhi’s video for Interscope Record’s band Dredg (for the song ‘Of the Room’) was voted number one on the Fuse TV Network program Oven Fresh, with over thirty million viewers.

Ben got his first break in the film industry working on the set of the Coen Brothers’ cult classic O Brother, Where Art Thou? as a camera intern under world-renowned cinematographer Roger Deakins, ASC. He was subsequently hired by O Brother star George Clooney to shoot the behind-the-scenes documentary for Clooney’s directorial debut Confessions of a Dangerous Mind starring Julia Roberts, Drew Barrymore, and Sam Rockwell.

In Los Angeles, Rekhi has interned and worked in development, production, and management at New Line Cinema, Sony Pictures, and MGM before forming his own production company, Drops Entertainment, under which he produced his first feature film, Bomb the System. The independent 35mm feature, which stars Mark Webber (Storytelling, Jim Jarmusch’s Broken Flowers) and was cut by award-winning editor Jay Rabinowitz (8 Mile, Requiem for a Dream ), was nominated for the prestigious 2004 Independent Spirit Award for Best First Feature against Monster, House of Sand and Fog , and Thirteen. In addition to participating in nearly thirty film festivals around the world with Bomb, Rekhi also co-managed the sale and distribution of the picture in the U.S. to Palm Pictures for it’s 2005 theatrical release and to Japan and Australia as well. Rekhi recently signed with ICM and Mosaic Media Group, and is currently producing the independent 35mm comedy CarBabes , as well as developing the screenplay for Waste, an inside look at the harsh and often dangerous lives of NYC garbage men.

What was the journey like?

It’s hard to say because I feel like I am still on the journey. The creative journey has been tremendously satisfying. The process of having an idea, going out and shooting it, editing it into something that makes sense, and then showing it to an audience is the most gratifying experience I can think of. I went to film school at NYU, which was a thoroughly enlightening experience. We were given equipment and instruction of how to master the craft, but the ideas and inspiration still had to be born within ourselves. I made a lot of friends, many of which I still work with until this day. While in school, we were making music videos for local hip hop artists in New York, and a few summers I had the great fortune of working on a few feature films as an intern, namely “O Brother, Where Art Thou?” and Goerge Clooney’s “Confessions of a Dangerous Mind.” I learned more in working on these films than I did in four years of film school! Upon graduation from NYU, I moved to Los Angeles and started at the bottom of the totem pole, making copies and answering phones at various production companies, all to pay my dues and understand how the industry works. I can’t say I’ve figured everything out just yet, but after three feature films under my belt, I can say the journey thus far has been worth it!

Was the path from dream to realization difficult?

To be honest, the path has not been easy and at many times extremely treacherous. Anyone who has attempted working in the arts can tell you, it’s not an easy way of making a living. There is very little money in it, especially when you are starting out, and it is extremely competitive. For every one spot in Hollywood, there are literally thousands of people vying for it. You have to go above and beyond, work long hours, master your craft, and try not to hurt anyone along the way, all in hopes that your films may get seen above the clutter of all the media out there. To even begin the journey, you have to ask yourself, why I am doing this? For me, it’s even a question, it was a compulsion, I HAD to do this. Once I realized that, I knew that it was independent filmmaking or bust! but one of the toughest lessons that I have learned, and continue to learn, is how working relationships are different than friendships. Although it is many people’s dreams to work with friends to realize their dreams, I have learned to be very cautious in who to work with in pursuing these dreams. In many forms of art, the artist works alone (ie. writing, photography, painting, sculpting, etc). But the filmmaking process is different because it is collaborative and requires vast amounts of people, resources, and financing. When you are making a movie, as with any small business venture, you are going to be under tremendous amounts of stress with very little sleep or money. In these circumstances, people’s true colors shine through, which sometimes is not a good thing. It is important wo work with people that understand the value of teamwork and collaboration, because after all, no filmmaker is an island! You have to pick and choose your battles, and hope that everyone has the same goal in mind.

As hard as it’s been, nothing compares to the feeling of finishing a film and sharing that experience with your team. When the lights go down in a theater, and the projector flickers on, there is an indescribable rush that you get, sharing your art with the world. Filmmaking is communicating, it is a two way street that requires an outlet, an audience. That feeling is what keeps me going.

Who were some of your role models?Favorite filmmakers?

I grew up on Spielberg and Lucas, but have since explored many groundbreaking filmmakers who work outside of the studio system. Michael Winterbottom, Steven Soderbergh, Alejandro Innaritu, Michael Haneke, the Coen Brothers, Wes Anderson, etc. I think if anyone is serious about getting into filmmaking, you have to look outside of mainstream cinema to see the real pioneers and innovators of the industry.

What advice would you give to a young aspiring filmmaker? 

Do it. Don’t make plans to study it, don’t think you have to go to film school, and don’t make excuses. With technology where it is, anyone can pick up a camera and with no money, can start making films. The more hands on practice you get, the more you will develop as a filmmaker. I can’t tell you how many times I hear people complaining that they have an idea but don’t have the money, or who have seen a film and think they can do it better. Build a body of work. Becuase believe me, you will make mistakes at first. Better to get those creative ones out of the way early, so when you do have an opportunity to make a film, you can make the most of it.

Where can we find out more about your work?

Bomb the System, my first film as producer, is out on DVD, as is Waterborne, my directorial debut. You can view the trailer for my third film CarBabes at Also please check out and Fortunately, there has been great exposure for our work, so if you are really bored, type “Ben Rekhi” into Google and a bunch of fun stuff comes up.

Copyright 2005-2011, Jolene Owen. All rights reserved. This interview is free to copy, publish and circulate. You may reprint or publish it without permission in any format. Please credit: Jolene Owen as interviewer. The views expressed herein are those of the interviewees and do not necessarily reflect the interviewer or the official position of the publishing company, its various departments and/or the Institute of Interactive Journalism. If you’d like to be interviewed, or would like to send our team an interview, or just send us lots of gifts and candy, contact us at:  Please do not try to contact interviewees through the institute. We never release confidential information or fwd messages. No exceptions.


Melanie Zimmer– Puppeteer

Melanie Zimmer has worked as a storyteller for fourteen years and also performs puppetry as Dancing Bear Puppet Theater. She has worked across the country, performing in a variety of venues, live and for television audiences. She has performed with marionettes, rod puppets, hand puppets and shadow puppets and is the current president of PGUNY, the Puppetry Guild of Upstate New York, a local arm of the Puppeteers of America. As a storyteller, she has performed live and on television, performed symphony narration and spoken at the Massachusetts Institute of Technology for the League for the Advancement of New England Storytelling.

Melanie Zimmer has created puppets using a variety of techniques including carved wood, jigged wood, polymer clay, sheet foam, fabric, and paper mache. She also is an experienced mask maker and has created masks using a variety of media.

What made you want to become a storyteller?

When I was young, I was quite shy and embarrassed to speak in public so when I was in college at the University of Texas in Austin, I decided to overcome that, I would practice public speaking. I joined Toastmasters, a public speaking organization, and that did help me. Years later, I heard a group of storytellers perform and I thought that storytelling was an even better medium of expression because there was so much more that could be done with that using gesture, facial expression and character voices. I joined a storytelling guild in Clinton, NY called The Pearl in the Egg. The group was named after a medieval storyteller. Little is known of her other than the name she called herself, but the group was very helpful. I was able to listen to other, more advanced storytellers and to tell stories myself. In the guild, you could bring a completed work to present, or a fragment that you were working on. After you told, you could ask the group to critique you. Much of the advice was very useful and helped me develop as a storyteller. The other advantage the guild offered was that it would find you work. There were a certain amount of work that came into the guild, and it was distributed among the storytellers who wanted jobs. Being in front of an audience of strangers was essential to developing my skill as a storyteller. Sometimes I would go to the Salt City Storytellers in Syracuse, NY. The group was so-named because salt used to be mined in the Syracuse area. That group was quite different from the Pearl in the Egg. Salt City did not offer you jobs or critique you, but they did have open mic once a month where you could perform or listen to other tellers. They also, at that time offered inexpensive workshops on issues of importance to storytellers. Salty Sam (William Lape) gave a workshop on telling for radio. Another woman gave a fabulous talk on types of fairies and so on.  The Pearl in the Egg also offered workshops, but only occasionally. Their workshops were not given by members, but by well-known storytellers who were hired for the day and so I was exposed to the wisdom of a number of great tellers through that. As I became a better storyteller, and bolder, I took on more work. During this time I was still working full time elsewhere. Eventually, I decided to begin working on puppet theater as well with a partner. We were called A Room in the Woods since my last name – “Zimmer” means “room” in German. Julie’s last name “Waldas” meant “Woods.” We also performed masked interactive Greek theater. Though the partnership did not last, I remained both a storyteller and a puppeteer forming Dancing Bear Puppet Theater after my partner left.

Was the journey difficult? 

Iam not sure if the journey was difficult or not. Perhaps it was and is both. I was helped by many kind people and great advisors. I was helped by my reading and research, and I was helped to start economically in a strange way. When I decided to become a full time performer, I had been an independent contractor selling non-fiction books to libraries (public and school libraries) across New York and Vermont. When I began selling books from my supplier, they promised I would always be paid when the order was sent in. However, within months, they changed their plan and paid only when the libraries paid them which was sometimes a year after the order was taken depending on their budget cycle. That left me with a horrible financial gap in the beginning, but later when I decided to start the puppet theater, it enabled me to stop selling books to build the theater, and still have an income from sales made six month to a year earlier.

One of the biggest obstacles I have is time. As a performer, I have to generate my own publicity, book my own shows, build the shows in the case of the puppet theater, load, unload, drive to the destination which may be very far away even in a different state, and perform. Sometimes it is hard to do it all. If I get busy performing, sometimes the other areas are ignored and then later I will see less work because of it. It is a bit like doing two or three jobs.

The other major obstacle has been my voice. Because I do extreme character voices, often by the end of a telling session or after several consecutive sessions, I would become hoarse. I worked very hard to overcome this studying with a speech pathologist, an expert on the Alexander Technique, and taking a college course on speaking voice. This situation has improved tremendously. It is very dangerous to abuse your voice and if you have vocal discomfort, you should seek training so that you do not permanently damage your voice. After all, a storyteller without a voice isn’t much of a storyteller.

What were some of your favorite stories growing up? 

Quite honestly, I have no recollection of anyone reading folk tales or anything else to me when I was young. I must have heard them somewhere because I knew the common fairy tales, Mother Goose rhymes and the like, but I don’t recall hearing or reading them. My first memory of reading is lying in bed between the age of five and six reading a pictorial dictionary. Strangely, I still do read dictionaries sometimes. Words and language have always interested me. It doesn’t surprise me that no one would read to me before bed. As a small child, I had horrible vivid nightmares such as being eaten by a lion, and other grotesque dreams. My father had been the same as a boy. He shared a room with his brother, and once awoke in the middle of the night convinced they were trapped in the hold of a ship. It was so real to him, he was actually able to convince his brother of this, and the two of them knocked a hole in the bedroom wall trying to escape. By the time I was in second or third grade my nightmares had ceased, or at least I did not remember them any more. I do remember seeing a monster when I was maybe between eight or ten, though. I had gone to bed and was just laying there in the dark. The bedroom door was open and the light from the hall illuminated the doorway.  I looked over, and there was a short creature standing there with its hand on the door knob. It didn’t stand much taller than the door knob, and it had a long tail. It stood upright, but instead of flesh, its body seemed composed of flashing, moving energy like it was made of electricity or some such thing. The movement was in jagged fashion, almost the way lightning moves and was bluish in color. I was horrified and just stared at it for the longest time and it watched me, still standing in the doorway. Finally, I was so scared, I ducked my head under the covers and curled up tight. I stayed like that for some time. When I dared look again, the creature was gone. I never saw it again. I never told my parents. Years later, though, when I was an adult, my mother confided in me that she had often seen strange creatures around her bedroom and bathroom at the house when we were living there. At least I wasn’t the only one seeing things.

I do remember in Junior High School when I would stay with my grandmother she would read to me after lunch from library books. In High School and Junior high I liked to read mysteries, science fiction and biographies. I do know my grandmother was a storyteller when she was young. She would tell the neighborhood children ghost stories, and scare them half to death, but she never told me any. My grandfather on my father’s side was an amateur historian specializing in Maine local history and the American Civil War. He would make up the most ridiculous things to tell us girls. I think storytelling was present in members of our family even though I might not remember having been read to or reading stories when I was young.

 Is there a difference between writing a story and telling a story?

I think there is absolutely a difference between telling a story and writing a story. Perhaps the most important thing I do in learning a story to tell is to not write it, or if I do, to write it after I have completed creating it. I have found that if you simply memorize writing on a page, two things happen. First, if you forget one little thing, you are suddenly lost, struggling for the next word or line. Secondly, if you are thinking about words on the page, you are not as likely or able to interact with the audience, such as have good eye contact with them, etc. For that reason,  I recommend if you are creating a story to be read, write it. Then the words are all important. However, if you are creating a story to be told, tell it, then write it afterward or record it electronically as you tell it if you think you will forget it and need to refresh yourself later. Storytelling involves words, but also the face, the eyes, the voice, the body. None of that can be written easily on the page. Also, there are big difference in the way things will be said. If you have a written story, you will likely see things like “Sally said…” “He said…” In telling a story, you probably would not say that. You can tell by your body and voice who is speaking. To say “he said” or “she said” would just be boring.

Traditionally there was a world of difference between on oral story and a written one. Societies that had no written language or societies in which few people wrote, told stories in a completely different way. Things were repeated again and again with small variations throughout the story in ways which would lose an audience’s interest today. The whole structure was different. I think telling a good story today is a compromise between the old way and the written way.

What is the difference between a fable, a parable, and a fairy tale?

I think I would like to expand this question to include also, folk lore and folk tale because it can be confusing. First, let’s look at the words “folk lore.” “Folk” means people, and “lore” is any kind of wisdom or knowledge. Folklore, then can be any kind of wisdom of knowledge that was or is passed down among the people it can be stories, it could be some sort of craft or medicinal knowledge. “Folk tales” are specifically tales or stories that were told by the people. This is different from a modern story. Each piece of modern literature is written by a person or perhaps a couple people, in some cases. Folk tales are not. They were passed down orally – mouth to mouth. No one person invented a folk tale. Sometimes you will see books containing a folk tale and it will say “ by” and then an author’s name, but this is, in fact, inaccurate. In actuality, it should read “retold by” because the “author” has not made up that story, but simply told it in his or her own way. A folk tale has been passed down generation to generation, changing over time, often existing with many variations, and often existing in many countries. There is no author. Many folk tales were collected and written down during the 1800’s and so we think of them as being static, as being what we see on the page, but that is only the version that was recorded. A fairy tale is something different in a sense. A fairy tale is often a magical story that involves, if not fairies, magical creature or events, typically in an unspecified time and place, and often has a transformation included in the story.  It may or may not be a folk tale. Some folk tales are fairy tales, some are not. Hans Christian Anderson wrote (he made up) fairy tales, as have other authors. The Brothers Grimm collected fairy tales that were folk tales, and did not make them up. To make this even more confusing, at the time of the Grimms, (they were German) there was no distinction yet between folk and fairy tales as there is today. The word they used which meant both was marchen Now for parable and fable. I am actually going to get out my dictionary for this one. I infrequently tell fables. According to my old Websters Dictionary a parable is a species of fable. A parable is a “story or allegorical relation or representation of something real in life or nature from which a moral is drawn for instruction.” The same dictionary describes a fable as “A feigned story or tale , intended to instruct or amuse: a fictitious narrative intended to instruct some useful truth or precept.”  Hmmm…I believe I would like to leave this distinction to someone wiser than myself.  I’m not certain how much more I can add to that discussion beyond the hint if you always use the word “fable” for either of the two, you’ll not be wrong.

 If you could be one character in a story who would you be and why?

If I could be one character in a story, I might like to be Baba Yaga, from Russian lore. She is the witch-like character who lives in a house that stands and rotates on chicken legs and is surrounded by a fence of skulls and bones in the woods. She rides in a mortar rowing with a pestle and sweeps away her tracks behind her with a broom. Yes, she is strange, but what I like about her is this. All the heros and heroines are always lacking something, and so venture forth on a journey to find that thing, be it wife, a husband, a kingdom, riches, a key to unlock a spell, whatever it may be. They go on a journey, at last obtain what they need, and it is over. They live happily ever after. Baba Yaga, however is just there. She is unchanging, and unconcerned with those things. She has an eternal quality about her and is surrounded by symbols of life (seeds) and death (bones and skulls.) She is powerful and deeply connected with nature. Recall her three riders, the red one – her dawn, the white one-her day, and the black one- her night. She is full of mystery and appears as some sort of primeval natural force. I like her for that.

If you could have coffee with one famous storyteller who would it be and why?

I might like to have tea (I’ve never been one for coffee) with either Jacob or Wilhelm Grimm. I am fascinated by their collection process – scouring old libraries for manuscripts and interviewing peasants for their folk tales. However, I am also interested in the other work of the Grimms. Jacob, the older of the two, did a great deal of work regarding the classification of languages, discovering the roots and origins of the languages that spread across Europe and beyond. Inside an unabridged dictionary, you might well find a language tree showing the relationship of all the Indo-European languages. We owe this tree to Jacob Grimm. He and Wilhelm also created a German dictionary that was so great in scope, and took so long to compile, that it was not finished until almost a century after they began its work, in 1960 though the project was begun in the 1852. That would certainly be something to discuss over tea! (Though rumor has it the brothers passed on sometime during the entries for the letter “F” so I’m not sure if they’d have the full picture on the project.) Jacob and his younger brother Wilhelm, the sickly, and more social of the brothers translated the Elder and Younger Eddas. The brothers  taught themselves to read a dozen languages, and much of the knowledge we have today of the old Norse myths stems from their translation work of the Eddas.  Again, that would make for very interesting conversation. Another option might be to speak with a now unknown Celtic storyteller as I would be curious about how stories were studied, learned and told, and since the Celts had no written language, much of that process remains mysterious today.

What inspires you as a storyteller?

This has changed over time. Initially I was interested in the actual physical telling of the story – the sound of the characters, what they might be like. Now I am more interested in noticing the transition between the oral tradition and the written tradition, and also the world wide similarities among folk tales.

What advice would you give a storyteller faced with writer’s block?

Sometimes the best way to make progress is to step away from the work. My greatest inspirations come at times when I am not just sitting at a table with a pen in hand, but rather when driving, walking my dalmatian, Cuchulain, in the woods, lying in bed, or even soaking in the bathtub. ( I heard Agatha Christie, the mystery writer, used to write in the tub. I think she was really on to something.) The key is to be in a relaxed state where you can access your imagination. I also helps to have a great deal of knowledge about a variety of subjects so that you may draw on that, combine things in new ways and be original.

What stories are you working on presently?

I am working on a puppet show and it involves a leprechaun that comes to the New World, but I won’t tell you any more. It’s a secret! (Leprechauns are known to be secretive, you know.) Actually, the idea comes from a talk on leprechauns I gave years ago. When I was researching them, I was astounded at the number of people I personally met who claimed to have seen Leprechauns in the U.S. so I thought I would do a show on that premise. Apparently we have a large indigenous population of Leprechauns here, or maybe they emigrated at the time of the potato famine. Whatever the case, they certainly weren’t registering at Ellis Island. Interestingly, the people who testified to seeing Leprechauns here weren’t necessarily Irish or Irish descendants but were from a broad variety of backgrounds including Native American so keep your eyes peeled!

Finally, what advice would you give to someone wishing to pursue a career in storytelling?

First and foremost, tell stories. You will improve as you perform, and as you age too as your understanding of the stories will deepen. There may seem a great deal to learn at first, but really, it an illusion. When dealing with folk tales, eventually you will find that there is a tremendous repetition of plots among them. These storylines exist regardless of the location world wide with only slight variations and so like me, you will find a story from Norway will be almost identical to one told in China. (This is true of folk tales, not modern literary tales.) According to one classification system of folk tales, there may be as few as a hundred of these story possibilities, even when the plot seems relatively complex. Sometimes the elements are mixed and matched. Sometimes the story is almost the same entirely. And the story lines can skip from folk tale to myth, and remain relatively unchanged. What this means for you, is that learning a great body of material is entirely possible. Often when I am telling stories, kids will ask me how many stories I know, and I really don’t know how to answer as there are a limited number out there, with many variations. Once you get to a certain point, you find the stories are repeating, and so they become very easy to learn, since you already know the story. Someday, when someone asks you how many folk tales you know, perhaps you will be able to  quite honestly answer “all of them.”

Though I know this article is about storytelling, and storytelling is an interesting profession, I would like to encourage young people to go into puppetry. The truth is, there are few itinerate puppeteers left. Almost no young people are entering the profession and old puppeteers are dying off or retiring. If this continues, once the middle age puppeteers reach retirement, live puppet shows will become rare indeed, and many young people may never experience the excitement and wonder of that kind of live performance. In one sense, puppetry is a form of visual storytelling and the two profession share many techniques. Both puppetry and storytelling tell a story. Both require voice work. Puppetry is more labor intensive, but creates a worthwhile and unique experience that I believe is worth the extra effort, and it allows the artist to create mobile visual art as well as using the artist’s vocal expression. For those intending to go into puppetry, you may search out Puppeteers of America online for information and resources. (There are also Canadian members, in fact, the Great Lakes Regional Conference was held in Canada this year.) For those interested in storytelling who wish to join an organization there is LANES or the League for the Advancement of New England Storytelling, and also NSA or the National Storytelling Association that has a yearly conference in Jonesborough,TN each October for those wanting to surround themselves with great storytelling.


Where can we find out more about your work?

My website is


Copyright 2005-2011, Jolene Owen. All rights reserved. This interview is free to copy, publish and circulate. You may reprint or publish it without permission in any format. Please credit: Jolene Owen as interviewer. The views expressed herein are those of the interviewees and do not necessarily reflect the interviewer or the official position of the publishing company, its various departments and/or the Institute of Interactive Journalism. If you’d like to be interviewed, or would like to send our team an interview, or just send us lots of gifts and candy, contact us at:  Please do not try to contact interviewees through the institute. We never release confidential information or fwd messages. No exceptions.

Mark W. Dooley– Writer

Mark W. Dooley is a husband, father, and grandfather. He describes himself as a student of life and a wanderer growing roots. He is a drummer, a writer, storyteller, and a friend to many. He likes to divide his time between the western mountains of North Carolina and the eastern mountains of West Virginia, where he is currently involved heavily in the study of nature spirits and at work on at least two books, The Second Coming of Mother Earth and Song of ‘O Henry.

What made you want to become a writer?

I have always loved words; they are my favorite toys. I often take them out in the forest or to the top of some mountain and let them dance on the end of my tongue. I have echoed them across valleys and caused them to bubble up from my favorite swimming hole; but I could never get them to hold still or get them where I could look at them for long.

Until I discovered writing. With writing, I could sneak up on them, capture them, and hold them until I could get them delivered to the eyes of a reader, where they could then be rescued and released into the mind and imagination of others.  Writing gave me the ability to share my toys and gave me a way to express my dreams and share my ideas,  hopes, and laughter.

Was the journey difficult?

Perhaps the most difficult part of all was allowing myself to write. It was tough getting permission to do so …….. from ME. I soon discovered that I couldn’t always get the words to come out on the paper nearly as pretty as I’d imagined them in my head nor could I always get them to look like they had sounded when I was speaking them alone in the forest.

My biggest help came when I realized that if I waited until I could write as perfectly as I thought I should to start writing I was never going to get any writing done. But as I allowed myself to write anyway the words came out, I could always fix them better later, in fact, the more I wrote the more they begin to sound like I thought they should.

What were some of your favorite stories growing up? What made those stories so special?

Faerie tales of all kinds, westerns, and animal and wilderness adventures. They always took me to the places in the stories and I became actively involved in the story. I could visit anywhere in the world that I wanted and always be back in time when mom called out that dinner was ready.

 What inspires you as a writer?

Nature, wind and rain, people on the street and in shops and cafes, and watching and listening to my own family.

 What inspired you to write ‘Song of the Forbidden Mountain?

Song of the Forbidden Mountain is the story that I made from my own personal journey of discovery of who I am and how the things around me work. Writing it allowed me to “see” and be reminded of all the wonderful discoveries I’d made along that journey.

What was the process like?

The process of writing Song of the Forbidden Mountain was very long for me. Much more so than most stories that I write. It took me through nearly twenty years of personal life changes, caused me to travel across the United States and into the Carribean area. It caused me to keep countless notes and journals and constantly changed my patterns and preferences for living my daily life. Writing Song of the Forbidden Mountain took me away from a life of dull and ordinary existence and carried me to a life that is full of constant wonder and amazement and has made me glad to be alive and able to share stories with others.

What lessons did you learn in writing ‘Song of the Forbidden Mountain’?

I learned to take time to live. I learned to take time to laugh and sing, and to notice all the magical wonders around me. It taught me to enjoy my family and friends and caused me to want to share life with everyone. I learned to be present in the moment and to enjoy each one of those even as I’d always enjoyed words. And it taught me to listen …. to myself and others, and to discover yet many more words that I did not know existed.

What advice would you give a writer with writer’s block?

First of all, allow yourself to have it … admit that it exists. Then write a five thousand word essay why you have writers block. By then, perhaps it will be gone. If not, realize that to everything there is a season, corn is not always eaten from the ear, there is a large amount of time that must grow and there is even a time that it lies dormant as a seed. Allow yourself the same courtesy. Be easy with yourself and in the proper season, you will find the words again bursting forth from the pen.

What are you working on presently?

Two books in particular, The Second Coming of Mother Earth and the Song of O Henry. In addition I’m doing extensive research and notetaking on nature spirits and the energies that make up our lives. I’ve written a series of essays on these subjects and await the season to see exactly what they will become.

What advice would you give kids who wish to pursue a career in writing?

Write something everyday. Allow yourself to write however you can at the moment and make the time to do so. Write for yourself first of all and allow yourself plenty time to see what type of writing you most love and are comfortable with. Reasearch and study and experiment with the many fields of writing, but most importantly, follow your dreams …. allow your imagination to run wild in the fields of your mind, and only listen to reason to the degree that it agrees to be unreasonable.

Where can we find out more about your work?

Song of the Forbidden Mountain

Dare We Dance the Faerie Dream

Copyright 2005-2011, Jolene Owen. All rights reserved. This interview is free to copy, publish and circulate. You may reprint or publish it without permission in any format. Please credit: Jolene Owen as interviewer. The views expressed herein are those of the interviewees and do not necessarily reflect the interviewer or the official position of the publishing company, its various departments and/or the Institute of Interactive Journalism. If you’d like to be interviewed, or would like to send our team an interview, or just send us lots of gifts and candy, contact us at:  Please do not try to contact interviewees through the institute. We never release confidential information or fwd messages. No exceptions.

Ajmer Singh Randhawa– Writer

What made you want to become a writer?

Injustice in India.

For those of us in the dark, can you tell us more about the Sikhs and what happened to them in 1984?

Sikhism is a sovereign religion (world’s fifth largest) which was founded by Guru Nanak – the first master in 15th century. He was born in 1469 at Nankana Sahib (Now in Pakistan). There have been 10 masters of the religion. The 10th Master gave a final stamp to this religion and introduced some mandatory signs to be worn by Sikhs. These are called Five Kakaars. In India we Sikhs sacrificed 93% to get India freedom but the power was transferred to majority Hindus in 1947 by British. To keep Sikhs in India the leaders of ruling congress made some promises with Sikhs which were never fulfilled. Thus the differences started ended in Operation Bue Star when Indian army attacked the highest temporal seat of Sikhs in Amritsar known as Akal Takhat in the complex of Golden temple. Indira Gandhi was the shrewed politician and Prime Minister of India who invaded Golden temple. In this attack Indian army suffered a heavy loss of casualities, in frustration at killed the innocent pilgrims in Gurdwara complex who were there to celebrate the martyrdom day of their fifth Guru on that day. The army didn’t allow them to walk out of Gurdwara but killed the thousands in indiscriminate firng. On 31st October, Indira was killed by two Sikhs. His son Rajiv Gandhi was announced as next Prime Minister. He was sworn in on the same day at 6.30 in the evening. He took revenge by misusing police force and the massacre of Sikhs was started next day on 1st November. This pogrom continued for 72 hrs and the army was not deployed by ruling party. Nearly 20000 Sikhs or more than that were killed aftermath the assassination of Indira Gandhi in India.

You’ve clearly taken a special interest in this actor called Amitabh Bacchan. I believe he’s the actual actor they used in ‘Slumdog Millionaire’ in that unforgettable scene when the boy drops into the sewage just to meet him. What was Amitabh Bacchan’s involvement in the 1984 Sikh genocide?

Amitabh bacchan was a famous cine actor of India and a close friend of Rajiv Gandhi. He too came to Delhi and then he was provided the TV Crew to incite Hindus by raising hatred slogans to demand blood of Sikhs. This was shot in Teen Moorti Bhawan, Delhi where the dead body of late PM Inidira was laid to pay last tributes. To encash the emotional sentiments on assassination of Indira, the emotions of majority Hindus were converted into hate with Sikhs.

Amitabh gave the hatred call as ‘ KHOON KA BADLA KHOON” – BLOOD FOR BLOOD. He was celebrity. His call was intermittently telecast for 72 hours on national TV Door Darshan-India’s only TV Channel.

Due to his provocative appeal on LIVE TV, the violence against Sikhs erupted almost in every part of India, The property of Sikhs was looted, their homes and business establishments were set on fire, their females molested and at some places raped too, Their mobile assets like cars, trucks, buses etc, were damaged or set on fire.Many innocent Sikhs (About 4000) unofficially reports 20.000, throughout India were killed due to his provocation. He is never booked on any charges neither of spreading hate, conspiracy, provocation and massacre of innocent citizens due to provocation.Thus he was able to achieve his goal successfully by his desired ill-will.

So Amitabh, being a close family friend of Rajiv Gandhi, took part in massacre of Sikhs by provocation, to incite the majority Hindus to spill blood of Sikhs and to spread violence throughout India which couldn’t be spread if he hadn’t not given a LIVE call on powerful media—The TV Channel. And sent his message in every home in every corner of India.

Any thoughts on why Amitabh Bacchan has not been arrested? If he incited hate and mass murder, why has he not been put in jail?

He certainly incited and the evidence is there but he was never booked because of his relations with powerful, highly influential political family of Gandhi’s in India. I tried my best but Public Interest Litigation appeal was turned down by a judge Man Mohan of Delhi High Court. Had I appealed on false evidences, the Court would have taken note of it and punished me for wasting its time but they were not interested in opening any legal case against him. So no action was taken against me which is proof in itself that he is guilty. Had the Court taken any action against me, I could easily open the case and link it with Amitabh’s involvement, if action I had been taken and arrest warrant on Amitabh had been issued, he could reveal some facts behind it like who provided him the opportunity to appear on TV and the script to incite Hindus. Means direct involvement of Gandhi family so no action as ever taken against him. He is provided the ‘Z’ security cover of trained Natinal Security Guards equal to PM of India.

When no action was taken by Delhi High Court, I came on net and published each and every word truthfully to aware general public and new generation of Sikhs about this monster. I have written several times on Amitabh’s blog also to keep him aware and to remind him the darkest black pages of his real life to him also.

Do you think Amitabh Bacchan will ever be made to account for his involvement in the 1984 Sikh genocide?

I do not think he will ever be booked by any Court in India because of his links with high ups in corridors of North Block in Delhi. So far as Gandhi family is ruling India—no possibility.

I read that renowned filmmaker Deepa Metha was making a film on the Kamagata Maru and that she was considering Amitabh Bacchan for the main role as a Sikh. How does it make you feel that she would use an actor who was instrumental in 1984 Sikh genocide to play as a Sikh?

When I came to know about plans of Deepa Mehta from Canada to make a film on Kamagata Maru ship and the lead role of Baba Gurditta Singh ji to be played by this monster, I immediately sent protest note to Deepa Mehta and iformed the Sikhs in Canada and thousands of mails flooded into Deepa mehta’s mail box condemning her decision. Since then I never herad about her plan if she still desires but I am sure she will not make any such historical film in which the lead Sikh character is ever played by this monster Amitabh. If you are sure, I shall make an appeal again and see the result yourself.

Is there justice for minorities in India?

There are two type of law in India, one for majority Hindus and the other for minorities though the Indian constitution guarantees equality but it’s not in practice. For example Sikhs were massacred in 1984 in India, no perpetrator is ever punished. The highest intelligence agency of India CBI couldn’t collect any evidence against these perpetrators. The innocent Sikhs who opposed this barbaric law were arrested and are behind bars without trials and being tortured. Recently Human rights activist from France Pal singh was arrested without any fault of him and not released. It’s a long list of Sikhs suffering in India on hands of this ruling party.

The Muslims were butchered in Guzrat in 2002 but no punishment to any influential whereas everyone knows the person Narendra Modi was the mastermind behind this holocaust. He is the Chief Minister of Guzrat and no action has ever been taken against him. The Christians were murdered in Orissa, same thing was repeated there. No action is ever taken against the killers because they were from majority Hindus.

What is one saying or proverb you live by?

Truthfully speaking I depend on my children. They take care of me. In India it’s a custom the elders are looked by their children and thank God-they do.

What advice would you give aspiring writers?

I would suggest them to write truthfully without any fear, but if they are story writer, the things can be different and imaginary but the writing skill must be there. Plan in mind before writing and then write, if needed make correction but the thread must not be broken. The reader should find himself in the world where you are taking him. That will be your success.

Where can we read more about your work?

I generally write on blogs because it needs to find a publisher and spend from pocket which I can’t afford so I do not try to get my books published. Though my book on revelation on death mystery of Subhash Chandra Bose was distributed free of cost but due to financial problems, I couldn’t edit a second edition. It’s also posted on blog in two parts in the Hindi language; both parts are interlinked on net. The title of the book is ’ANTIM SATYA’ .Please see:  &

There are nearly 50 blogs written and managed by me on net. So you can search on google or contact me directly.

Copyright 2005-2011, Jolene Owen. All rights reserved. This interview is free to copy, publish and circulate. You may reprint or publish it without permission in any format. Please credit: Jolene Owen as interviewer. The views expressed herein are those of the interviewees and do not necessarily reflect the interviewer or the official position of the publishing company, its various departments and/or the Institute of Interactive Journalism. If you’d like to be interviewed, or would like to send our team an interview, or just send us lots of gifts and candy, contact us at:  Please do not try to contact interviewees through the institute. We never release confidential information or fwd messages. No exceptions.

Lynn Flewelling– Writer

Lynn Flewelling was born in 1958 and grew up in Presque Isle, a small town in northern Maine, not far from the New Brunswick border, and often crossed over to visit relatives in southern Canada, and to vacation there. (She’s a quarter Canadian, on her dad’s side.) An “Anne of Green Gables” fan, she has very fond memories of Prince Edward Island. She also watched a lot of Canadian TV and knows Mr. Dressup, the Beachcombers, Junior Forest Rangers, and the Friendly Giant as well as she does US childhood icons.

She grew up playing in the woods, hunting, fishing, camping and daydreaming. Many scenes and people in her books are based on these early experiences. Later she went to university and earn a degree in English literature and teaching, studied veterinary medicine and did all sorts of different jobs, including house painter, teacher, and journalist, but what she really wanted was to be a writer.  But in her part of the world being a writer wasn’t considered a “realistic” goal and so she tried to be a teacher instead. But some dreams just don’t let go, so she wrote anyway and at last became a newspaper writer, and then a novelist.

Her first novel, Luck in the Shadows, was published in the US in 1995. Stalking Darkness and Traitor’s Moon soon followed in what has become the ongoing Nightrunner Series.  More recently she has completed the Tamir Triad: The Bone Doll’s Twin, Hidden Warrior, and The Oracle’s Queen.  In her books she likes to pose questions about identity, and what it means to be male and female, strong and weak, good and bad. The answers aren’t always easy, or happy.

Her books have found an audience worldwide and are currently in print in thirteen languages, including Russian and Japanese. She recently moved to southern California and is now working on two new Nightrunner books. She enjoys talking to young writers and all creative people.


What made you want to become a writer?

I was always a reader, but when I was in sixth grade a friend gave me Ray Bradbury’s book, The Illustrated Man, and I was blown away by his rich, evocative style. Something clicked in my mind and I suddenly thought “I want to do that!”  I was a kid who loved to play “let’s pretend” too. I guess writing is a way of doing that all the time.


Was the journey difficult? 

Writing wasn’t considered a realistic goal where I grew up. Writing was something other people in other places did. I should think in terms of a “real job”. And in the early ’70’s in northern man, a girl who was really good a writing was encouraged to be a teacher. I didn’t know any better so I tried that, but by the time I was done student teaching in college, I knew it wasn’t for me. I was already writing short stories by then.  I didn’t have much direction though, and still thought writing wasn’t a realistic way to make a living, so I tried other things, like ad copy-writing and veterinary school, but writing kept getting in the way and distracting me. After a while I just gave in and started doing it seriously, but still with no expectation of ever getting published. I had been working on the manuscript that would eventually become Luck in the Shadows and Stalking Darkness when by chance I took a writing workshop with a writer I really admired, Cathy Pelletier. She’s from northern Maine, too, and is simply amazing. I  was rather shy, since I write fantasy, which many literary writers look down their nose at, and she wrote more “serious” books. But she loved my work! It really changed my perspective and gave me the confidence to pursue publishing. I owe her a lot, and the only thing she ever asked of me in return was to pass on that kind of support to other young writers. I’ve always tried to do that.

When I finally finished what I thought was my first book (after about ten years of writing and rewriting) I had to learn how to sell a book, a whole separate skill in itself. That was a learning experience, and one I have since written articles about. Ultimately, I got good advice along the way, connected with a very good literary agent, and the rest, as they say, is history. I’ve been a full time writer since 1995.

Any lessons learned on your writer’s journey?

Many, many lessons! You have to be confident in yourself, but you also have to be open to learning from those who know more than you do. You have to be willing to do the hard work it takes to become good at your craft, and you have to be able to weather criticism without being destroyed by it.


Where does that inner drive to write come from?

I  honestly don’t know. It’s just always been there and I’m lucky that I learned how to harness it and work with it. I have a natural drive to create, but unfortunately cannot draw or paint very well, and I’m too self conscious to be an actress

. Instead, I have to do it with words on a page.


How do you keep readers turning pages?

The short answer is, I tell a good story. You have to first create characters that readers care about. They don’t necessarily have to be nice people, but they have to be interesting, and they have to change and grow as the story goes on. There have to be events that challenge them. There has to be some sort of journey, literally or figuratively, for them to lead the reader along. By the end of the book, both reader and characters must be changed in some way.  There are just so many different ways of doing this! I use mystery, dramatic tension, humor, horror–lots of different devices, but all of them must serve to move the story forward and aide in the tale to be told. You can’t just throw things in for shock value. That’s a cheat and the reader will catch on and not like it.


How often will you revise and re-write your work?

Many, many, many, many times. That first draft is just that: a first draft. A place to begin. I hate first drafts myself. It’s hard, getting the plot hammered out. But once I’ve gotten the main structure of the story in place, the bones, it’s fun to go back and add on details, changes, foreshadowings, all the fun, fiddley bits that really make it come alive.


What are some creative ways you’ve learned to generate ideas?

I daydream. And when I get the first inspiration for a new project, I buy a pretty new notebook, a really nice one that “feels” right for the project, and write down every new idea that comes to me. Inspiration comes from living life. Everything that’s every happened to me, everything I’ve ever read or seen on TV or in a movie or out a train window– it all goes into the great subconscious brain we writer’s draw from. When I show up at the page to work, very often scenes come shooting out my fingertips that I never anticipated or planned. It just happens as you work and trust.


What are some practical solutions for writer’s block?

That’s a tough question. Some writers never get writers block. I do, and sometimes it can get pretty bad. There are so many reasons, and so many degrees that it would be impossible to give a short answer to that. But here are a few suggestions. Sometimes you’re trying to push the story in the wrong direction. Step back in ask yourself if the reason the scene won’t come is because it’s just wrong.   Sometimes the brain is tired and needs a rest. Go do something else. Take a walk. Go shopping. Watch a movie. Make something. Use a different part of the brain, one that doesn’t have to generate words. I find photography very refreshing.  The worst case, is when you’re fearful of doing it wrong. That takes work and understanding.   If possible, set small, attainable work goals. Show up at the page. Write a little bit, anything, and give yourself permission for it to be complete and utter crap, just so long as you show up to work.


Do you have a favorite book?

Oh, I  have lots, but the Sherlock Holmes stories are high on the list. I have read them many times, so the mysteries are not an element anymore, but I love the characters. There’s quite a bit of Sherlock Holmes in my hero, Seregil.


Do you have a favorite time of day when you like to write?

My brain often works best between 2 and 6 p.m.. I have no idea why.


What is one saying or proverb you live by?

“Respect the dignity of every human being.”


What advice would you give kids who wish to pursue a career in writing?

1. Read, read, read, and read some more! Novels, short stories, plays, especially the sort of literature you want to write. And as you do, ask yourself things like  “How is this writer capturing my interest?” or “Why don’t I like this story?”  Reading does many things. It shows you how writing works. I learned a lot about creating characters from people like Conan Doyle, Tolkien, Anne Rice, Robertson Davies, John Steinbeck, and Dostoyevsky. I learned about dramatic tension from Stephen King, Henry James, Joyce Carol Oates and Shirley Jackson. I learned about atmosphere from writers like Bram Stoker, Ray Bradbury, and William Faulkner. Those are just a few examples, but it gives you an idea of  how diverse my reading tastes are. That’s important.  You shouldn’t read just one kind of literature, any more than you should eat only one kind of food. Fish may be very  healthy, but you won’t live long eating only fish! Variety is the spice of life, and creative people thrive on variety and diversity and change. Life is our scrapbook and the more we experience, the more we have to draw on for our work.

2. Know your tools.   Grammar, spelling, parts of speech, vocabulary? Boring! Yeah, I know. But those are the tools of a writer’s trade and you have to know them so well that you can use them without even thinking about them. It’s just like playing a musical instrument or driving a car. It takes a lot of practice but after a while it becomes instinctive.

3. Write. Write without expectation, too. Your early work will most likely be terrible. Everyone’s is! But you don’t get better by waiting to be good. You have to write and write and write, practice, practice, practice, to improve. Don’t worry about publishing. Just worry about become a good writer and the rest will come in time.

4. Write what you love. Writing is hard work, especially for those of us who do it for a living, on deadline. If you don’t like what you’re doing, it’s misery. Explore what you love and do that. It might be short fiction, or essays, or ad copy, or science fiction, comics, or gritty political satire. Doesn’t matter. If you love it, do it!  Follow your bliss. I can’t promise you riches, but you’re more likely to find personal satisfaction.

Where can parents and kids find out more about your work?



Copyright 2005-2011, Jolene Owen. All rights reserved. This interview is free to copy, publish and circulate. You may reprint or publish it without permission in any format. Please credit: Jolene Owen as interviewer. The views expressed herein are those of the interviewees and do not necessarily reflect the interviewer or the official position of the publishing company, its various departments and/or the Institute of Interactive Journalism. If you’d like to be interviewed, or would like to send our team an interview, or just send us lots of gifts and candy, contact us at:  Please do not try to contact interviewees through the institute. We never release confidential information or fwd messages. No exceptions.

Eli Mann– Writer

Note! This is a lengthy but interesting e-interview. I usually edit for brevity but I was specifically asked not to edit anything for the blog version of the interview. I’ve respected the author’s wishes:“…please I cannot shorten some of the answers, and I will ask you to publish as is or not at all as I would like to respond to interviews you published earlier by Nalini Singh and Swami Dharma. I’ve also attached the names of other authors like Grace Kaur or Cynthia Kepply who you should definitely interview if you are interested in a more balanced opinion of human rights abuses in India. Thanks. Eli.”

Eli Mann is an award winning writer and teacher whose work has appeared in a variety of venues internationally. He has been a teacher for over twenty years and is currently working with a team of human rights activists in India on an educational book & DVD series presently titled ‘Beyond the Veil’. The first three episodes in the series will focus on human rights abuses in India and what teenagers can do to get involved. His most recent novel, Night of the Widows, explores the 1984 Sikh genocide in Delhi, the 2002 Muslim genocide in Gujarat, the ongoing Caste genocide in Bihar and the current persecution of Christians in Orissa.

What made you want to become a writer?

I’ve always enjoyed writing. I think as I began to approach retirement I wanted to do things that were meaningful to me. I wanted to understand, like the characters in my books, why minorities rarely see justice in India, why fake encounters and disappearances continue with impunity to Christians in Orissa, and I wanted discuss this in a fictional way. I also wanted to explore vengeance as a theme as vengeance is a theme that fascinates me and a theme I feel is easy to connect with.

What inspired Night of the Widows?

‘Night of the Widows’ was always in the back of my mind. I’ve been working on it off and on for the last ten years but I didn’t really know where I was going with it. I knew it was going to explore vengeance and human rights abuses in South Asia but I wasn’t exactly sure where. It was when a teaching colleague of mine bought the– ‘All Indian Justice Committee’ by Grace Kaur–for her class and produced a short play that I saw just how grave the situation was in India. It was this play that inspired me to write about Hindu terrorism and their radical goals to redefine and repurpose ‘secularity’ and ‘culture’ in India to embrace their caste system or what should be descried as caste apartheid.

When I began to read about the thousands of Christians persecuted every day in India I began to think of Nazi-Germany, only, to be quite honest, I believe India’s a much scarier country than Nazi-Germany ever was because of the deceitful illusion of being a peaceful country. What’s more, the grasp the ruling castes hold on the population is much more complete and just as violent. Let me just tell you that ‘Slumdog Millionaire’ was no exaggeration.

Like the Nazi Gestapo, the Indian police have more power than judges to protect ruling caste and corporate interests and promotions are given to those police who disappear protestors. The police actually have the power and the legal right by the Indian ‘National Security Act’ and the Indian ‘Disturbed Area Act’ to torture and execute and disappear anyone who challenges their power structure.  What is their power structure? Caste.

Often these challenges come in the form of a religion that boldly denies caste or an indigenous population occupying land mining corporations’ desire.

Emergency acts are acceptable by U.N standards, but under no circumstances is a country that belongs to the U.N permitted to disappear its citizens or enforce these acts 24/7.

Had the Americans disappeared all the Japanese citizens they placed in camps during the Great War there would have been consequences and international trials.  Countries that belong to the U.N. are not permitted to disappear their citizens–period, end of story. Yet it happens every day and with impunity in to Christians and Muslims in India and the international community does nothing. Absolutely nothing.


The veil of peace.

Many in the international community cannot see beyond the veil. Not only that, India actively and strategically propagates this image of peace in the world through agents called ‘Research and Analysis’ agents to camouflage its gross human rights violations against minorities. This lie or ‘veil of peace’ is their very best defence against international criticisms and sanctions. It’s hard to see in your mind’s eye the most peaceful country in the world as the most violent–and yet it is!!!

To see ‘Beyond the Veil’ is the challenge when it comes to India.

The actual embodiment of this strategy of peace propagating could very well be prime minister Indira Gandhi. She has absolutely no relation to Mahatma Gandhi. Zero.

In fact she belongs to the ruling castes that Gandhi had begun to critisise for taking over government and industry before he was assassinated by a Brahmin radical. She was part of a minority ruling caste group that Gandhi believed had conflicting interests with lower castes. Yet she changed the spelling of her name to the lower caste, Hindu spelling. The big question is: Why?

Why? If it’s pronounced the same, why do you feel the need to change the spelling? Perhaps to create the illusion of being related to the Mahatma and of belonging to Hindus of a lower caste? Isn’t this somewhat disrespectful to her husband’s name? What’s the benefit? As far as I can see the benefit is ‘the veil’ and ‘the veil’ is powerful.

With Mahatma Gandhi’s name, even mass murder could seem like a last resort. With Mahatma Gandhi’s name you can seem to be looking out for the interests of lower castes when in fact your every move could be for the ruling castes. It’s a theory. A theory explored in the ‘All Indian Justice Committee’ and a book called ‘Nine Hours to Rama’, both books, I believe are BANNED in India.

You can see the movie ‘Nine Hours to Rama’ in India but you can’t read the book. Why?

Let me tell you why—‘Nine Hours to Rama’ suggests Gandhi was assassinated to protect those ruling caste members who completely took over government when the British left. Brahmin radicals killed Gandhi because he was a threat to upper caste interests and their caste system. Read ‘Nine Hours to Rama’ for yourself and see. It’s a great read and makes one instantly think of all the conspiracies behind JFK’s assassination.

‘Slumdog Millionaire’ was definitely an eye-opener that showed us the corruption of the Indian police and the evils of the caste system. However, I never thought it was related to Hindu terrorism. Has much changed and is it that bad?

It is that bad, and nothing’s changed. Just look at all the documentaries and reports. And let’s not overlook Deepa Metha’s films. Deepa Metha has an extremely powerful voice and message. Deepa Metha’s movies often show the abuses of the ruling castes toward low castes and women. You see, the ruling castes who dominate the government use this facade of peace in a Machiavellian way to hide what is a centuries old hidden agenda and struggle to dominate all religions and bring them under their power structure.

It would actually be too long to get into now, but any religion in the past that rebelled against caste oppression and inequality was infiltrated and repurposed to fit and accept Brahmin caste apartheid.

The most respected and renowned Indian historian who explains this technique of religious infiltration and evolution of ‘peaceful-tyranny’ in great detail is S.N Sadasivan.

S.N Sadasivan’s  veil-shattering and mind-boggling book ‘A Social History of India’ shows how the ruling castes turned once free and interdependent Sanatana Dharma societies into caste apartheid—into one of the most violent and abusive religions the world has ever known.

Say anything you want about other radicals in other religions but nothing compares to: caste, sati, and devadasi. Caste, Sati, Devadasi are the most terrorizing and dehumanizing rituals ever created by man and all three are upper caste additions to Hinduism to seize control of Sanatana Dharma through terror and fear of Brahmins.

Caste—the fear of insulting or hurting a Brahmin and being born in the next life as a Dalit.

Sati—the actual burning of a widow to clear her husband’s name if he happened to have insulted a Brahmin in his life.

Devadasi—ritualized pedophilia and temple prostitution for the priest class.

Widows continue to be burned alive upon their husband’s death to this very day though technically India wants to say Sati is illegal and the last burning of a widow to supposedly vindicate her husband’s soul of any wrong doing against Brahmins was in 1987. Roop Kanwar. Look it up. All 40 villagers who forced her in the fire didn’t see one day of jail. Why? What kind of justice is this for that poor woman?

All these oppressive and extremely violent rituals that deify and benefit one caste and subjugate and humiliate another never belonged to the original Hinduism. Never. And that is precisely why when discussing this huge problem in India of Hindu terrorists it’s important to understand that Hindu terrorists are not trying to defend Hinduism as they say they are. They are trying to defend a power structure known as Brahmin-Hinduism, and Brahmin-Hinduism has many extreme faces now, including a group called Hindutva.

Brahmanism and Hinduism are as related as ‘Ghandhy’ is related to ‘Gandhi’.

But there are many Hindu groups like the Valiki who are actually returning to the true, peaceful Hinduism and who are outright denying Brahmanic laws and rituals that made terrorized slaves out of once free and interdependent societies of Sanatana Dharma through spiritual oppression and physical torture.

Where does the caste begin?

I’m not a historian, but Sadasivan does a great research to show how Sanatana Dharma societies became graduated caste slavery to be protected tooth and nail by those on top. He discusses how centuries ago a man named Manu became anti-Sudra because of a questionable relationship his mother had with a Sudra neighbour who was too strong for him to intimidate. This is actually comparable to Hitler. I mean it’s a similar situation Hitler faced with as a child and one of the many reasons many say he wrote Mein Kamph. This anti-Sudra feeling led to Manu writing the Code of Manu.  Though, Sadasivan tells us, this Code was constantly amended and adapted to fit the times by Brahmin scholars to keep the ruling castes in power and to keep ‘non-Brahmins in constant terror’.

A hundred years ago caste was purely religious doctrine, now it’s supposedly cultural. This is why upper caste scholars are now desperately trying to push the idea that all caste problems are the fault of the British and that caste is cultural and not religious. Caste is all about religious belief. Period. Caste asks people to see Brahmins as living representations of god. Jati is pure fear of reincarnation to get low castes to treat the upper castes like gods in their present life. Jati gets people to invest in upper castes—money and deeds—in order to have a better next-life.

Who made these Brahmins god?


Look at history. Not history written or interpreted by someone who benefited by caste apartheid, but history written by a victim of caste apartheid.

The only way caste is so-called cultural is if other religions embrace this idea that acknowledges the Brahmin as a god who will somehow determine what caste they are born into in the next life. Christians don’t. Jews don’t. Sikhs don’t. Jains don’t. Buddhists don’t. Muslims don’t. Real Hindus don’t. Brahmin-Hinduism is the only sect of Hinduism that embraces this spiritual system of control through fear of the next-reincarnation.

True Hinduism gave Brahmins no special privilege. True Hinduism viewed Brahmins as part of the priest society equal to all other societies of Sanatana Dharma. Long ago anyone of any society could become a priest if they wanted to. It was purely a vocational divide. Now jati makes this a religious birthright.

Look into the origins of jati and tell me who put it there. The upper castes. Jati is an example of caste evolution to fit the religious times. Jati was the final religious blow that turned free, equal, interdependent and mutually beneficial societies into oppressive caste. That’s a fact. If anything is cultural it is the idea of free and interdependent ‘society’ and not this religious credo called ‘caste’ and ‘jati’.

Now this propagation of caste being cultural and not religious is caste once again evolving to fit the secular times. There is nothing cultural about caste, if anything, rebellion to caste is what is truly cultural if you take a good hard look at Indian history.

Every minority religion in India begins as a bold protest to caste. Today, every religion in India accepts caste. There are some pretty smart chaps at the top of this pyramid of control.

Anyhow, the anti-Sudra writings of Manu are very similar to the anti-Semitic writings of Hitler. I’m sure that in an alternate universe where the Nazis had won the War, Mein Kamph would have been adapted to some sort of dehumanizing code—Code of Hitler. And that code, like the Code of Manu, would have evolved to Nazi religious doctrine.

Brahmanism or Brahmin-Hinduism is sharply contrasted to true Hinduism, which is a peaceful religion based on respect and tolerance of other religions.

Brahmin Caste hides behind the veil of peace created by true Hinduism to pound, devastate and swallow all religions into their fold. Whenever someone attacks caste, or Brahministic rituals like sati and devadasi the ruling castes say all Hinduism is being attacked and they use fear to control the masses.  It’s a lie.  One society of the forty or fifty original Sanatana Dharma societies is being attacked for its oppression and that one society cleverly uses the masses to protect their system of control.

The intelligence of the ruling castes is that they made their system of slavery everyone’s (even the world’s). They gave everyone in the cast pyramid a slave. It’s a system of graduated slavery where everyone stands to lose a slave except those at the very bottom–the Sudra. It’s evil, but it’s also genius.

It surprises me that the Hindu caste system can still exist today.

Brahmin caste system, not Hindu. Hindutva, not Hinduism. There is a sharp difference. One is an ideology of violence and oppression hiding behind a cloak of peace, the other is truly a peaceful ideology that’s tolerant and respectful of other religions. Anyhow it’s hard to counter centuries of infiltration and propaganda. But I will say reading Sadasivan is a start and in his work you will soon discover that there have been many rebellions every century by those who want to return to the original Sanatana Dharma

When Hinduism was first beginning to be manipulated and changed by the ruling castes, there were like twenty or so major rebellions but they were all put down by the upper castes. Every time a rebel arose to challenge caste, that rebel was defeated and killed, then he was recorded and remembered in history by Brahmin scholars as a Brahmin or another member of a ruling castes.

Once they claimed the rebel as their own they would muddle the cause of the rebellion in an attempt to divert attention from their precious caste system. Years later they would take a member of the defeated minority, make him a leader, and have the leader openly embrace Brahministic rituals to influence and assimilate others of his religion or society. Often they would even use this leader of a ‘defeated rebellion’ to suppress another rebellion. In other words, they cleverly use assimilated enemies to defeat their current enemies. Sadasivan and other Sudra scholars call this process Brahminization.

Rebellion to caste is true Indian culture. Look at the Jains. Look at the Sikhs. Look at the Valiki. But you would never know this living in India. Nothing has changed. Technology and media are the new means, but the methods and intentions remain the same: total assimilation into the ruling caste system of control. An example of Brahminization today is truly a Buddhist or a Jain or a Sikh that subscribes to caste. I mean these religions began almost as protests against caste inequality and oppression. Now these religions seem to openly embrace caste. How did that happen? That’s not chance, that’s strategy.

Walk into the Indian National museum today and you will probably see a picture of the first Sikh guru accepting the sacred thread of the upper castes. Most Sikhs know that he denied the thread and denied caste slavery and caste oppression. But through this national visual representation he is being remembered in India as a Brahmin embracing Brahmin-Hinduism. Why?

After reading Sadasivan it doesn’t surprise me at all. It’s just history repeating itself. Here’s the ruling caste logic: If he accepted the thread he’s an upper caste. If he’s an upper caste he’s a Hindu. And if he’s a Hindu, then Article 25 of the Indian constitution is correct when it defines Sikhs as derogated-Hindus. And if Sikhs as defined by the Indian constitution are derogated-Hindus, then they are also part of the caste fold. Our system of control is no longer threatened by the Sikhs.

So what actually happened to the Sikhs in 1984 was not an isolated incident. It’s just the way upper castes have historically dealt with protests that threaten upper caste interests. Brute force and total assimilation. They did it to the original societies—not castes!—of Hinduism. They did it to the first protestors of caste—the Buddhists. They did it to the Jains. They did it to the twenty or so Hindu societies that rebelled against caste. They did it to the Sikhs in 1984. Now it’s the turn of the Christians and the Tribals. I would say it’s also the turn of the low castes in Bihar, but they’ve been victims of this upper caste tyranny since the Brahmins first took over and exiled the Sudra from their own religion.

For fun observe the Sikh Prime Minister and draw your own conclusions. How did he get to be Prime Minister? An upper caste ‘Ghandhy’ and not a lower caste ‘Gandhi’ resigned and made it happen. What kind of rituals will you witness him partaking in the media? He was raised with Arya Samaj traditions which are contradictory and incompatible with Sikhism yet (like the Samajist agents who had to be removed from the Gurdwaras in the 1920s by the British) he wears the Sikh uniform. What has he done, not for the mining corporations, but for minorities in general who face persecution from their police? How is Operation Blue Star any different from Operation Green Hunt? Both operations protect ruling caste and corporate interests. Operation Blue Star was about land and rivers. Operation Green Hunt is about freeing land for the mining corporations. Only now they are not using a ‘Gandhi’, they are using a ‘Singh’ to do their dirty work. A Gandhi to put down ‘separatists’. A Singh to put down ‘communists’. Seems to me, though I could be wrong, that we have a modern day example of the upper castes using an assimilated enemy to defeat a current enemy.

What about Operation Justice for 1984? What about Operation Amend Article 25 of the Indian Constitution? What about Operation return rivers to Punjab? Operation get rid of these disgusting, medieval laws that make disappearing people legal? Operation real police and not ruling caste minions? Operation defeat Hindu terrorism? Operation Abolish the caste system? Operation investigate mass disappearances in Punjab. Singh’s great for the economy, and he’s done wonders for corporations and the ruling castes but what real things has he done for minorities? There are hundreds of MOUs for the mining corporations stealing land from Tribals, but what about farmers in Punjab?

You want a prediction based on history. In twenty five years there will be an Indigenous Prime Minister in India and she—since most of the indigenous the Indian government is slaughtering right now are women—will be used to further ruling caste and corporate interests. And she—completely assimilated and controlled—will partake in Hindutva or Samajist rituals and she will do absolutely nothing for the victims of Operation Green Hunt. And she will not get rid of the laws that make disappearing people possible because the ruling castes need those laws to maintain their rule.

You want to know how I came up with this prediction read ‘Nine Hours to Rama’ or ‘The All Indian Justice Committee’ or Sadasivan’s ‘A Social History of India’.  Or watch documentaries on Hindu extremists that have infiltrated the U.S and exist solely to propagate the veil of peace and to counter the efforts of Christian activists trying to get justice for the atrocities currently taking place in Orissa. They want to say the Christians are ‘Conversionists’ but that’s just an alarm tactic like ‘communist’.

You know Sikhs and Muslims and Christians and Sudra, all victims of this corrupt government, can achieve justice of another kind by banding together and trying to stop Green Hunt. It can happen. Just look at what recently happened in Egypt!

United the people showed their strength and power to the government and secured change. That would be poetic justice for everything that has happened to minorities in the past fifty years. Truly.

Real justice as a country is not letting these atrocities repeat. Make no mistake, Green Hunt is a repeat of Blue Star. Minorities united and not fighting the ruling castes on their own can truly affect positive change in India and stop Green Hunt.

Stopping Green Hunt would be an epic step toward justice and real change in India. Maybe then the U.N may even force India to get rid of those laws and acts that give the police the right to do whatever they want for the ruling castes and the corporations.

In the end, even if these women they are slaughtering are communists or separatists or conversionists or whatever, they still deserve a voice, they still deserve to be treated in a democratic way, instead of being slaughtered like game in the green forests of India.

Green Hunt–Indian soldiers hunting indigenous women like game—it’s really repulsive.   I recently read that the real prize for the Indian army is best-selling author Arundhati Roy who has joined the struggle to record the indigenous plight and what is really taking place beyond the veil.

I never realized how accurate ‘Slumdog Millionaire’ was. How long has police corruption and Hindu terrorism been a problem in India?

Really hard to say. The Hindu terrorists and Arya Samajists first attacked the Sikhs in Amritsar in 1978. So I would pretty much say since the seventies they’ve been actively doing the dirty work of the ruling castes. Hindu extremism and terrorism is India’s most clear and present danger, not the Christian ‘conversionists’ or the Tribal communists, but nothing is done about Hindu terrorism because a lot of the terrorists are associated in some way with the government. Actually, government jobs are earned in the blood of minorities. You have to remember that in the seventies and eighties more than eighty percent of government and industry was upper caste and mostly Brahmins at that. Many even believe that Gandhi was assassinated by a Brahmin because he began to critisise this major problem of total Brahmin rule.  Now it’s more like seventy and eighty percent upper caste with Jaggish Tytler in Bihar sending out lists to his upper caste buddies to remind them who is upper caste and who is lower caste. Change will come slow, but the Hindu terrorists exist to ensure upper caste interests. And the police exist to torture and disappear anyone who protests against the Hindu terrorists or ruling caste. That’s why a lot of the time these Hindu terrorists not only avoid the book, but are actually given government positions after they lead a massacre. Sajjan Kumar is case in point.

I actually just contacted a group currently working on a documentary—Bovine Divine—showing how Hindu terrorists fund their campaigns by exploiting the masses by selling them cow urine as a branded elixir gifted to them by the gods. Another documentary–Little Hitler–shows how Hindu terrorists teach children Nazi ideology and promote Mein Kamph to persecute Muslims and Christians and other minorities in India. Clips from the documentary you can readily see online.

One clip—Hindu Girl Speaks Out–is really, really disturbing. This 10 year old Hindu girl literally makes Hitler look like a neophyte with her anger and hate rhetoric. She just yells her little angry Hitler head off for ten minutes straight. All that hate put there by her parents and her country to protect the Aryans and Aryan-Brahmins and their caste apartheid. It’s a shame. It’s the same kind of vitriol that you saw in Nazi Germany. In fact this girl, or Little Hitler, as many now call her, reminds me of Charlie Chaplain’s parody on Hitler, only this was no parody. This was real.

This is what Hindu terrorists do to their children. They sell them cow urine and fill their brains up with nationalistic ideas like Christians and other minorities are evil because they are converting and freeing low castes. Proudly, there’s a small Jewish community in India working hard to counter this Indian-Nazi propaganda. They’ve been marginally effective at preventing Hitler chain restaurants like Hitler Cross from springing up around the country to push and promote Nazism. They even stopped a line of Hitler cutlery and bed sheets from launching. So this small Jewish minority are very vocal because they know where all this so-called nationalism and patriotism is leading to and they know that the veil of peace that India propagates in the world prevents the international community from seeing India’s truth.

Now Bollywood just released a film exploring Hitler’s so-called humanity. It’s called ‘My Friend Hitler’ and seems to explore the friendship Gandhi supposedly maintained with Hitler. It’s kind of a disturbing film and my book ‘Night of the Widows’ explores the nature of these Hindu terrorists and why they use Hitler and Nazism to inspire the Indian masses to lynch minorities.

Actually, at the time I finished ‘Night of the Widows’, the film still had not been released and I was worried by the power and intention behind the film. I mean by all standards it’s a propaganda film used to inspire the masses towards a sort of Nazi Nationalism that results in caste genocide or Christian persecution. But now after seeing it, I think these filmmakers, trying to show the human side of Hitler, unintentionally made the funniest and most ridiculous movie I have ever seen in my life.

It’s all the more absurd when you realize these guys were actually trying to make a serious movie. Only in India! But I’m still a bit worried. Though the movie wouldn’t influence an American audience…the Indian audience scares me…I mean they have actually made a commodity out of cow urine. From a business standpoint I want to give these Hindu terrorists an award, but from a health and human rights standpoint I want to throw them all in jail and throw away the key.

You often compare the Indian Government to George Orwell’s Big Brother. Why?

I do. They are. It’s like I said the Indian government purposefully keeps an image of peace, which is their best defence against making people aware of what really goes on in India. They actually have RAW agents that have infiltrated the U.S to make sure Christian activists have a difficult if not impossible time exposing the injustices in India by creating alarmist words like ‘conversionists’.  What, by the way, is a ‘conversionists’ and why do they deserve to be persecuted for converting people to Christianity?

It’s really, really spooky Orwellian stuff. If you ever read ‘The Brahmin Code’ or ‘Soft Target’ you’ll see what I’m talking about. The Brahmin Code trumps the Davinci Code a hundred times over in spookiness and conspiracy.

Actually the Canadian government were the first to spill the beans on these RAW agents in the eighties and nineties when these agents were out to maintain and reinforce India’s image of peace while they undermined every effort Canadian activists made to get people to look at what was really going on in Punjab beyond the veil.

Along with Hindu extremist groups like Hindutva, these RAW agents are presently doing the same thing in the U.S with Christian activists and those protesting against Operation Green Hunt or caste genocide in Bihar.

I know it’s pretty hard for us to understand because we’re a pretty secular society. The idea that actual agents are sent in to Europe and North America to maintain an image of peace and harm and slander activists fighting for human rights just doesn’t make sense. But the ruling castes have been doing it for centuries now to protect their control over Indian society. Actually, just look at the birth of a group called the Arya Samaj.

The Aryan Society or the Arya Samaj created in the 1800s exists originally to infiltrate and completely undermine Christianity and other religions in Northern India. That’s a verifiable fact. They actually pretended to be Christians in order to convince other Indian Christians to convert back to Brahmin-Hinduism, or of the importance of caste inequality and caste hierarchy and other Brahmin rituals such as sati and devadasi.

Christians need to look back to history to see what they’re up against. The Arya Samaj did the same with the Muslims and the Sikhs. Just look at history. Christians need to study and understand the origins of the Arya Samaj to know what they are up against. It’s all there recorded by British scholars. Believe it. Secret religious agents who infiltrated and pretended to be part of another religion to protect, not Hinduism, but Brahmin-Hinduism.

Look at the British Gurdwara Act. The problem got so out of hand for Sikhs that the British had to step in and physically remove these Samajist agents who wore the Sikh uniform but who were returning Devadasi—temple prostitution—and caste inequality to the Sikh Gurdwaras. Go to any British library and you can verify this.

Not only did these agents return Brahmin rituals to religions that reject caste but they also divide and conquer by pushing animosity between communities that are considered their enemies. This is all there to be read by British scholars. That’s how important it is for every religion to be a part of the Brahmin caste fold in India.

It’s happening all over again but now Sikhs hardly remember what happened at the turn of the century with the Aryans. But if they visit—before the radicals read this interview and change it—Samajist or Hindutva websites, you’ll see they dedicate entire pages to their ‘friends’ the Sikhs who suffered at the hands of Islamic fundamentalists.

The question Sikhs should be asking themselves is why does Hindutva or the Arya Samaj want to be friends with the Sikhs? Why don’t they put pictures of the attack of the Golden Temple or the genocide that followed? Why don’t they publish stories of how Indian soldiers raped Sikh women at the temple during the whole month of June then killed and dumped them in the water surrounding the temple? Why don’t they publish stories of Muslims helping Sikhs during the genocide? Why propagate and incite hate between Sikhs and Muslims? Why would these RAW agents and Hindu radicals who completely bulldozed and assimilated the Sikh community in the eighties want to maintain and reinforce the animosity between the Sikhs and the Christians or the Sikhs and the Muslims?

To what end?

Today, who are threats to upper caste control? Not Sikhs. Sikhs have for the most part been assimilated. The threat comes from the Muslims in Kashmir. Christians in Orissa. Dalits in Bihar. These Hindu terrorists show how the Sikhs were persecuted by the Islamic fundamentalist but what they don’t show is that the persecution was pretty much split between the Mughals and Hill Rajas whose caste system was rejected and threatened by the Sikhs.

Historically, even when Islamic fundamentalists persecuted and exterminated the Sikhs it was usually instigated by a fear-inducing lie whispered in the ear of the emperor against the Sikhs—against those people who had dropped their last names as a form of peaceful protest against the Brahmin-Hindu caste system.

Even in the eighties it was the same. RAW agents whispered lies in the ears of governments. RAW agents used influence and propaganda and fear-inducing lies to turn the international community against the Sikhs so that they could slaughter them like pigs without much investigation or criticism from the international community–just like they are doing now to the Christians who they are calling ‘conversionists’ or the indigenous who they are calling ‘communists’.  It’s the same formula as 1984 reapplied to their new enemy.

Christians absolutely need to read a book called ‘Soft Target’ to see how Hindutva and these RAW agents infiltrated and continue to infiltrate the West to maintain the veil.

Look at the conspiracies behind Gandhi’s assassination. All of them have been forgotten except one: the theory that Gandhi was assassinated because he approved of Pakistan or that he respected Muslims. That suits the upper caste dominated Indian government just fine doesn’t it. Yet it’s only one theory of the five. The main theory put forward in the fifties by British writers is that he was assassinated by a Brahmin because he was criticising the total Brahmin takeover of government and industry. Another theory says he was assassinated by the Brahmin government to stop him from trying to permanently abolish the caste system. These theories are equally valid and yet any book that puts these theories forward are banned in India. Why?

‘Nine Hours to Rama’ is case in point.

Nine Hours to Rama, the book not the movie, suggests the Brahmin dominated government worked with the assassin and the Indian police to get rid of Gandhi. Why aren’t Indians allowed to read about that theory? They can watch the movie but not read the book. Why? That’s a valid question. Why can the Indian population read India’s bestselling ‘Mein Kamph’ but not ‘Soft Target’ or ‘Nine Hours to Rama’? Who is the government trying to protect? Themselves!

Two plus two equals five, right; just like massacres in Gujarat plus massacres in Punjab plus massacres in Orissa plus massacres in Bihar plus massacres in Kashmir equals peace and democracy. Just like five or so major ‘Tiananmen Square’ massacres in the last twenty years equals the right to protest in India. Just like banning ‘Nine Hours to Rama’ and promoting ‘Mein Kamph’ equals the right to free speech in India. Just like caste and devadasi and sati equals spirituality and not ideological terror. That’s why George Orwell’s 1984.

Caste, devadasi, and sati are the most cruel and terrorizing systems and rituals ever devised by upper caste men to instil fear and maintain control over a religion. No other religion compares in terror, cruelty and subjugation. Yet the world views Brahmanism as peaceful. Truly Orwellian stuff.

Look at how Christian Jaggish Tytler openly embraces caste with his caste lists. How can a Christian embrace Brahmin-Hindu religious credo whose every principle conflicts with Christianity? Actual agents who pretend to belong to their opponent’s religions to change and manipulate the core issues and get people fighting with themselves so that they can silently swing their enemies back to the caste fold.

It sounds like wild and crazy stuff, I know, but If you accept that spying and espionage existed between communists and capitalists in the Cold War to protect their systems of control, why, really, is it so hard to believe that the ruling castes of India have religious divisions devoted to doing the exact same thing to religions and activists around the world who threaten their powerful and extremely lucrative system of control?

Caste slaves represent thirty percent of India’s population. Thirty percent of any population is a lot of free labour—in India’s case free labour invested in the upper castes for a better position on the caste ladder in the next-life. Three hundred million slaves. Wouldn’t you protect that? It’s just basic economics.

Caste apartheid still exists in India because those who hijacked Sanatana Dharma a long time ago had centuries of evolved tyranny behind them. They know exactly what they’re doing. And they know that the veil is the best defence.

Hitler tried to exterminate and enslave the Jews with brute force. Had Hitler been a Brahmin radical, he would have been more subtle and harder to detect. He would have possibly even changed his name to Buddha to throw people off his scent kind of like changing Ghandhy to Gandhi. He would have exterminated most of the Jews, then exiled the remaining Jews from their own religion with severe, unforgiving laws that exiled them from their own synagogues or from reading the Torah. His propaganda ministers would have re-written their religious texts and parables so that they themselves believed that being a slave by birth to the Nazis was the natural and divine order of existence. He would have created all kinds of sects that completely went against the essence of Judaism to purposefully cause divisions between Jews. He would let them fight amongst themselves without interference so long as all these Nazi-created Jewish sects believed in one thing: the divinity of the Aryan race. All this happened to the Sudra.

My Jewish friends often say that what happened to the Sudra could never happen to Jews because Jews are united. Sure they are. I won’t argue against that. But they’re human, too, and things like power and money and fear sometimes undermine sensibility and comradeship. Not always, but sometimes, and sometimes is enough to divide and rule.

Hitler gives a man twenty-five million dollars to open a Synagogue and he gives this pseudo-Rabbi all the state laws and support he needs to start a new sect of Judaism that incorporates Aryan-Nazi ideas and the idea that the Jew is the natural slave to the Aryan-Nazi, greed and self-preservation might just get the better of him. It really might. If he doesn’t play ball, Hitler executes him and finds another one who will, or they find a Nazi who will pose as a Jew to get the ball rolling to divide Jews like bowling pins.

My Jewish friends often say this could never happen to Jews because Jews are united, but if that were always true then I’m sorry to say this but there would have never existed in this world such a thing as a Capo or Sonderkommando.

There did because sometimes people can be broken.

The Jewish community was lucky the world acted and Hitler hadn’t changed his name to Buddha or that he wasn’t experienced enough to create an almost impenetrable veil of peace to hide behind.  We recognized evil and we acted. Proudly!

This evil in India is camouflaged and hard to see because it poses as divine order. Many say that the greatest trick the devil ever pulled was to prove to the world that he didn’t exist. I don’t think so. Not after studying what the upper castes did to the original Hinduism and the Sudra. The greatest trick the devil ever pulled was to prove to the world he was God.

That’s the greatest trick the devil ever pulled, and proof is in the three hundred million slaves that still exist in India today without the world seeing beyond the veil of peace and prosperity.

Westerners should ask themselves what drives India’s economy, and Westerners should care. They should care deeply. They should affect change in India or embrace slavery in the West just to compete. And while returning to slavery to compete with India we should also give police more power than judges to maintain it all.

If Westerners want to stop losing their jobs to India, they need to boycott, embargo and sanction India until they actually adhere to the same child labour and human rights standards as the West and Europe. Once that happens there will be no benefit for corporations to outsource. None whatsoever.

What benefit is there to taking all our telemarketing jobs to India? How can it be cost-effective to take away minimum wage jobs from the U.S to India? Because there is no minimum wage in India. An upper-middle class Indian can do well on five dollars a week because below him he’s got three hundred million Sudra slaves working for less than fifty cents a month.

Outsourcing is a massive problem destroying our economy and it begins with lawless countries like India where three or four hundred million people live under conditions worse than Jim Crow or Apartheid.

Slumdog Millionaire was no exaggeration. Caste is evil. There should be no tolerance in this world for caste and the world should act as we did in the case of Nazi Germany and Apartheid.

No tolerance for ‘disappearances’. No tolerance for weekly Tiananmen Squares every single time a minority wants to protest against the government. No tolerance for human trafficking for temple prostitution.

Look beyond the veil and you will see India traffics the most human beings in the world for slaves and temple prostitution. Look beyond the veil and you will see India is stealing our jobs and our entire middle class because we very proudly no longer have systems like Jim Crow.

Take a good hard look.  If you don’t, I assure you, in twenty years, we will have no choice but to return to systems like Jim Crow, not just to compete, but to bloody survive. I promise you it’s in your children’s best interest that you begin to see beyond the veil.

How has ‘Night of the Widows’ been received so far?

Overall, positive. There have been some negative comments from the ruling castes of India but that’s to be expected. Let’s put it this way, if they would have liked it I would have failed. I have no interests in pleasing Hindutva or other Hindu terrorist organizations. They want a formal apology for saying the truth. Screw them. I’ll apologize to them when they go to every Sudra home and apologize for centuries of slavery and persecution and temple prostitution. They’re upset and it’s understandable. I’m asking people to look beyond the veil and they don’t want that.  The ruling castes also want to tell Indians that all Hinduism is under attack and I’m reminding them that only one society of the many Sanatana Dharma societies is under attack for its centuries of continued oppression and tyranny.

The main character of my book discusses how the ruling castes infiltrated Sanatana Dharma to force the caste system on Hinduism and ultimately humiliate and dehumanize the original Hindus of India—the Sudra. I’m reminding people of what we’ve been propagated in the West to forget. Reminding people that caste is not only a crime against humanity but an upper caste lie. Caste is not cultural. It’s cultural now because it has to be to survive and create an attitude of indifference and hopelessness. It’s got a massive propaganda machine behind it to reinforce and maintain upper caste rule. A few get to the top, a few do their best to stay at the top. That’s the history of every society.

This society has held on to and hidden its tyranny for centuries now and is far more evolved than any other system of slavery we’ve ever been up against. The ruling castes want to propagate the idea that caste is just a part of Indian culture because that’s how the system needs to adapt or die.

Well, if you say the lie and repeat the lie over and over again it slowly penetrates the consciousness and becomes truth. I mean isn’t that how the protagonist of Orwell’s 1984 comes to believe two plus two equals five. Well, to set the record straight, two plus two does not equal five and Indian culture is not Brahmin-Hinduism or Hindutva. Period.

Indian culture is made up of Hinduism, Islam, Christianity, Judaism, Jainism, Buddhism, Sikhism and many, many other amazing religions that simply do not accept the validity or divinity of the ruling castes. Two plus two equals five. Caste is cultural. How can it be? A Sikh cannot embrace caste by the very dictates of his religion. The same is true of Jews, Christians, Muslims, Buddhists. Caste inequality and oppression based on birth and reincarnation directly contradicts their religious beliefs.

Can a Muslim believe in the divinity of a Brahmin? Can there exist in Islam a Hindu-Priest-Muslim-Mullah? Or a God-Muslim-Mullah? Absolutely not. Yet there exists in India Brahmin-Muslims who tell themselves caste is just cultural. Amazing, Orwellian stuff. Two hundred years or so ago in the Mughal court this would have been pure blasphemy because caste was clearly viewed as pagan and religious. Yet today…it’s cultural. Incredible work and propaganda to get all to embrace the system that places a few at the top. A few get to the top, a few do their best to stay at the top.  The Sikh guru in giving the uniform abolished caste. Yet go to Sikh dating websites and see these Sikhs proudly advertising their caste along with the contradiction that they are baptized. It’s a joke against their uniform and the one who gave it to them. Yet they can’t see it because they’ve been propagated to believe it’s cultural. It’s needs to be, or else it won’t survive!

Show me the Brahmin-Hindu concept of Jati and Caste in the Koran. Show me the Brahmin-Hindu concept of Jati and Caste in the Torah. Show me the Brahmin-Hindu concept of Jati and Caste in the Bible. Show me the Brahmin-Hindu concept of Jati and Caste in the Adi Granth. Yet, strangely enough, caste is cultural.

Harder to reject something that is presented as cultural. Harder to reject something that belongs to all and not just a few. That has always been an upper caste tactic. Hide and share. Ghandhy hiding as Gandhi. Caste hiding as culture. Brahmin-Hinduism hiding as Hindutva and Hindutva hiding as Hinduism. Everyone in the caste pyramid stands to lose a slave except for those at the very bottom. It’s genius. Pure genius.

Even more genius is now that the upper castes have confirmed their control over government and industry for the last fifty years (something Gandhi was passionately trying to warn the Indian population about before he was assassinated) they created a system called reservation which is an upper caste attack against those trying to abolish their system hiding as reciprocity.

Reservation exists for one reason and one reason only.  To divide and rule, to bring more religions into the caste fold, and to divert attention from a real solution that would resemble Mandela’s solution in South Africa. Every upper caste member of government and industry–to authentically return the balance–would have to train and teach at least one underprivileged member of Indian society to do his job to make up for the last fifty years of slavery and upper caste domination.

Instead, they create reservation. A slap in the face hiding as an olive branch. A system that reserves places in school and government not for the Sudra in general but the very lowest of the low in the sub-divisions of the Sudra. Now, instead of Sudra protesting and asking for what Mandela gave blacks in South Africa they are actually fighting one another to be classified as the lowest of the low in the Sudra caste hierarchy. It’s absolutely brilliant.

Instead of minorities protesting for equal opportunities, Sikhs, Muslims, Jews and Christians are lining up at government offices to register themselves as the lowest of the low in the Sudra caste so that they too can take advantage of reservation. Brilliant! That’s the kind of tyranny that deserves an award.

Reservation is not a solution for minorities and low castes, it’s an actual Machiavellian attack against them devised to divide, divert, assimilate, rule and officially initiate minorities to the caste fold.

Before you write an examination in India you must first write down your caste. No Muslim, or Christian, or Sikh or Jew should ever have to write down their caste in secular India. In fact, caste does not even apply to them unless they convert to Brahmin-Hinduism or foolishly register at a government office.

The reason caste adapts to be defined as cultural is so that everyone falls under the Brahmin system of control without having to be converted to Hindutva. They know it’s easier this way than to actually force religious conversion which just gets very complicated and genocidal. Now in India you only get help from the government if you embrace caste and register as a slave. Wonderful. An economics major or corporate genius must have thought of that one.

Can the Brahmin-Hindu concept of Jati be found in the Koran? Can a Christian believe Brahmins are spiritual representations of God to be given gifts and favours and be obeyed unquestionably? Can a Buddhist? Of course they can’t. Caste, Devadasi, Sati and other terrorizing and dehumanizing rituals are all premised on the supremacy or divinity of a Brahmin and the religious doctrine of caste hierarchy. On one society of Hinduism subscribes to these fear-inducing rituals.

Again, many Hindus themselves don’t accept these violent Brahmin rituals, and Hindutva is not to be mixed up with Hinduism. A lot of these Brahmin-Hindu rituals where forced upon the real Hindus to maintain their rule and status as gods. Before the ruling castes seized control of Hinduism, women and Sudra were free and dignified.

You could not even imagine two opposite religions than Hinduism and Brahmin-Hinduism—or Hinduism and Hindutva. Hindutva and the profoundly propagated idea that ‘caste is cultural’ is Brahmin-Hinduism evolved and repurposed to fit the times so that the Sudra never sees true freedom like the Blacks of South Africa.

Tell us about ‘Beyond the Veil’.

Well, the series in pre-production now. We’re just putting a lot of the footage of bollywoood actors and politicians inciting hate and we’re gathering information from known Hindu terrorist groups. We have Western politicians blowing the whistle on fellow colleagues who actually took money from these RAW agents for India’s best interests and not the interests of Americans and Canadians who would boycott India if they knew what was really happening over there. We have one journalist who actually infiltrated a Hindu extremist organization now for some time in the U.S. and I think what she’s managed to gather for our series is going to shock many people in the West. We even have someone in India who has interviewed many extremists working in the government that have them explaining why Christianity and other minorities are such a threat to India  and the ‘denationalization’ of Indians without them realizing that the documentary is about them and not the actual ‘conversionists’. We also look at Indian euphemisms and propaganda and we use films like the recent Bollywood film ‘My Friend Hitler’ and footage captured by our undercover journalists as our case examples to show how Hindu terrorists use Nazi techniques and Nazism to propagate nationalism in the masses.

We are also trying to secure the rights to Grace Kaur’s play to include in the actual curriculum to show how comedy and art can be used as a form of protest. So far we have not heard from her or her agent but we continue to try. In Canada we can copy her play for free for educational purposes, but in the U.S. it’s another matter and it actually depends on the state. But all in all I would say the response from European and North American school boards has been more than promising. It’s a good feeling. We may just succeed at penetrating the veil that allows India to get away with Mass Murder on a yearly basis.

Our first episode in the series deals with these laws the Indian government have in place that literally makes disappearing people simple, easy and legal for the police.

Now it’s important to remember that civilized, democratic countries by U.N standards and resolutions aren’t allowed to have such Orwellian laws in place. You can’t just give the police the power to disappear anyone they want without reason or trial.

Unfortunately for the Indian people—the low castes and minorities—the Indian government doesn’t believe U.N standards or resolutions apply to them.  So because of the ‘National Security Act’ and ‘Disturbed Area Act’ tens of thousands of protestors have disappeared in the last twenty years. Christians. Sikhs. Muslims.  And now the Indigenous under the pretext of National Security.

It’s like making the War Measures Act legal every day. War Measures Act undermines democracy and is supposed to. That’s why it only lasts for a day or two in Canada. How can a country with a permanent War Measures Act that gives the police the right to do whatever they want still be considered a democracy?

Sounds more like a tyranny hiding as democracy.  How can a country that does not adhere to U.N standards and resolutions still belong to the U.N.? That’s a valid question.

The first episode will ask high school students to write to the U.N to basically challenge or at least question India’s status as a democratic country. Who knows maybe they can get an international investigation on all the disappearances in the last twenty or so years.

Though disappearing people is legal in India, it is not internationally. All police officers and politicians involved in disappearing protestors can be tried and imprisoned in international courts. That’s a fact. And that’s why the ruling castes are protecting the police and politicians who did all their dirty work for them by creating laws that actually makes the investigation of disappearances illegal after one year in India. Strange law, don’t you think? Who does it protect? Ruling castes and their police goons.

It’s really an interesting country. Spooky, Orwellian, but interesting nevertheless. Our hope is that each series will deal with a different Indian state. Bihar. Orissa. Gujarat.

We will eventually study China, but China, in terms of human rights abuses is nothing compared to India. China’s Winnie-the-Pooh next to India.

A reviewer recently said your book is twenty years too late for the Sikhs. How do you respond to that?

I don’t. How do you give credence to a comment like that? It’s a silly comment. I mean was ‘Schindler’s List’ too late? Of course not. I hope a hundred films like ‘Schindler’s List’ comes out in the next ten years so that monsters like Hitler never spring up again. It’s important that we forgive but never forget. Thing is with the Sikh genocide there hasn’t been any justice and I’m pretty sure there never will be. Not in India, anyway. I mean why does a Delhi playwright craft a play like the ‘All Indian Justice Committee’. It’s the only way to get justice in India if you’re a minority or a low caste. Through art! That’s what Kaur’s entire play is about. The joke of justice in India.

Why are H.S. Phoolka and Manoj Mitta planting trees all over Delhi?

So that future generations always remember what happened in 1984 while sitting under the shade and protection of a tree. Why did Jarnail Singh partake in shoe protest? The only way to make sure history doesn’t repeat itself is to remember.

Sikhs remember, but it’s the masses that need to remember. It’s the Indian masses that can bring change to their country like the masses in Egypt did.

They need to remember so that they can draw parallels of what happened to the Sikhs in Punjab to what is happening to the Christians in Orissa and Muslims in Kashmir. But they don’t. They want to sweep 1984 under a rug because they’re ashamed. Yeah, so ashamed that the Indian masses let their government do it all over again. And again. And again.

So ashamed that they let the government do to the indigenous now what they did to the Sikhs in 1984. Today they’re robbing the indigenous of their land and water and dignity. Same Orwellian nightmare, new year. Call it what you want, I call it state terrorism and state terrorism is never justified and if India needs an example on how democratic countries deal with ideological differences they need just look at how Canada deals with Quebec separatists or communists or how the Canadians handled the Oka crisis in the Nineties.

How many people are tortured and ‘disappeared’ when Quebec suddenly holds a referendum? How many disappear when the communists start their own party in Manitoba? Did the Canadian government bulldoze the Mohawks and disappear twenty thousand men after the Oka crisis to make sure they never protested again like they did to the Sikhs? No, of course not. Not so much because the will to power wasn’t there.  But because Canadians—the actual Canadian people—would have never in a million years stood for it. Democracy—real democracy–will only exist in India when the government is scared of the people and not the other way around. The upper caste government knows this and that is why the ‘National Security Act’ and the ‘Disturbed Area Act’ exists 24-7 wherever there is an issue with minorities.

The police have the power to erase protestors from existence with impunity and the people are scared. The people are as scared of the police in India as the people are scared of the Thought Police in Orwell’s 1984 and yet we call India a democracy. The fact that we even consider India so peaceful and democratic without even inspecting beyond the veil is why India is the Orwellian nightmare that it is.

My question is what has the government done about the Aryans? The Hindu terrorists? Compare and contrast the Hindu terrorists to the so-called separatists of 1984 and the so-called communists of today? Put everything the separatists of Punjab allegedly did against everything we know the Hindu terrorists proudly took credit for. The massacre of Christians in Orissa. The massacre of low castes in Bihar. The genocide of Muslims in Gujarat.  And the Indian government has done nothing.


Why let the Hindu terrorists displace and disappear thousands of Christians in Orissa, but then use the Indian army to attack a group of women protecting their land and families from the mining corporations. Why? Simple answer. The Hindu terrorists protect corporate and ruling caste interests which they camouflage as ‘National Security’ in the Indian media.

The greatest attack against Indian secularism and National Security has always been and continues to be Hindu terrorism.

Does all this have anything to do with India’s fascination with Hitler? I just wondered if they were somehow related.

Yes, they are certainly related. You know Hindu terrorism is back in full force when Nazism is being promoted by the upper castes. It was up in the eighties, then died down, and now Nazism is back in full force. Nazi bedspread collections. Cafes inspired by Hitler. Hitler movies. Hitler wrist watches. Hitler lunch boxes. Nazi t-shirts and bandanas and other paraphernalia. India’s youth is propagated with Hitler by the Hindu terrorists. Even Hitler’s book, Mein Kamph, is a bestseller in Indian bookstores. Many argue fair speech, and, honestly, it’s a fair argument, only there’s one problem with this argument.  India bans books all the time!!

India bans books all the time and every day.  ‘Nine Hours to Rama’, ‘Soft Target’, ‘Smash and Grab: Annexation of Sikkim’ and most recently the works of Arundhati Roy, who, as I mentioned before is—I believe—some sort of enemy of the state trying to help the indigenous against the mining corporations through the power of her voice and pen.

So basically you cannot read ‘Nine Hours to Rama’ which suggests the Brahmins assassinated Gandhi to protect their positions at the top of the caste pyramid but you may certainly read Mein Kamph a book that set the entire world on fire.

Why Hitler?

Why a man who almost exterminated an entire people? Many Hindu extremists argue, and you can see them on the Indian news or blogs, that he is a good example of patriotism and discipline. Upon first inspection this seems like a fair argument. On second inspection, it stinks. There are much better examples, Indian examples of patriotism and discipline. Bir Singh Talwar. General Sinha. Gandhi. Arundhati Roy. H.S Phoolka.

If you actually look at the producers and politicians who advocate Hitler as an example of patriotism and discipline you’ll find the majority of them belong to a Hindu terrorist group worried about other religions ‘denationalizing’ Indians. The real question is what does it mean to ‘denationalize’ an Indian? And why make a hero out of Hitler? Discipline? Patriotism? I can think of countless other examples, Indian examples, who weren’t responsible for the Jewish Holocaust.

Why Hitler?

Why waste, time, money, and resources on Hitler in India? Bandanas. Watches. Tattoos. I don’t get it. Seriously. When pushed, these same Hindu terrorists who propagate Hitler say that because India wasn’t involved in the Wars, Indians generally don’t know much about Hitler or the concentration camps or what he did to the Jews.


Are you bloody kidding me? Are you bloody kidding me!!! That’s another reason India is truly the Orwellian nightmare I take it to be. Most Indians actually believe they weren’t involved in the Wars and that they were actually achieving freedom through peace. First of all, India fought on both sides. Ally and Axis. That’s a verifiable fact. Second of all, most Indians don’t realize that–fighting for the Allies–India suffered more casualties than any other British colony in both Great Wars. World War One and World War Two.

Sure, a minority of Indians known as the Arya Samaj and other resistance groups like Gadar fought for the Germans. But the majority of Indians fought nobly and fiercely for the British. India as a colony of the Empire was more involved in the Wars than any other country in the world.

Some historians say that this was because India had a much greater population than any other country. That’s not the point. The point is Indians were present in droves at each and every theatre of war. True and verifiable. Yet you wouldn’t know that in India and the world because of these RAW agents who exist to maintain the veil of peace.

Hindu extremists still maintain Indians don’t know much about Hitler’s barbarity or what he did to the Jews and that this is why they feel they should devote time and resources to educate the Indian youth or make ridiculous movies like ‘My Friend Hitler’.

Examine what they are pushing for a second. Do the Hindu extremists talk about what happened to the Jews? No. Do they show how Hitler exterminated millions because of their religion? No. What do they show? That he was a patriot. That he was disciplined and that Indians should be more patriotic and disciplined.

How about educating and enlightening Indians on what Hitler did to fellow Indians who fought for the British! He lined them up and used them as living target practice.

If you want to forget and erase the fact that the Indian Aryans helped and supported the Nazi Aryans who share this common idea of a pure and noble race I completely understand that. But why deny India’s courage on the battlefield? Why not show how India earned its freedom in blood fighting for the emancipation of the Jews and Chinese and other minorities in Europe and Asia?

With all my heart I wish it were true that one man gave India her freedom through peace. That is an amazing belief as grossly exaggerated as it is. To this day the most amazing thing I’ve ever read about was Gandhi’s salt march. But I simply cannot turn my back on the nameless Indian soldier who died fighting Hitler. The nameless Indian soldier who made it impossible for the British to deny India the rights and freedoms the Indian soldier died protecting for King and Empire. Like every other British colony India earned its freedom fighting.

So why not teach Indians about their involvement in the War and how they were a big part of liberating those camps and protecting the rights and freedoms of others? Instead of making a movie to educate Indians on Hitler discipline and patriotism, why not make a movie on India’s bloody impressive and extremely violent record in both Wars.

But they won’t do that because the politicians, at least those with direct links to the Aryans, Hindutva, and Hindu terrorists know that it takes Hitler patriotism and discipline to slaughter all those Christians in Orissa. It takes Hitler patriotism and discipline to slaughter all those Muslims in Gujarat and Kashmir. It takes Hitler patriotism and discipline to slaughter the indigenous for their land. And it takes Hitler patriotism and discipline to slaughter 3000 Sikhs in less than 3 days in the nation’s capital.

Why promote ‘Mein Kamph’ and ban ‘Nine Hours to Rama’? Why Hitler patriotism and not Hitler barbarity? Why push Hitler at all? Why ‘Gandhi’ and not ‘Ghandhy’? Systemic murder, that’s why.

It took the world ten or so years to see past the veil of prosperity and economic growth into the truth of Nazi Germany and Hitler patriotism. How long will it take the world to see past the veil of peace and prosperity into the truth of RSS India and Hindutva and Green Hunt?

How many Christians and Muslims and tribals must die before the world or the U.N. decides to act?  Has history taught us anything?

What avenues of publicity have you found useful in spreading the word?

I’m not exactly sure. I think that’s a question for my sister-in-law who is head of marketing and all public relations for ‘Night of the Widows’. I know she sold a whole bunch to a charity in Toronto and New York. But I’m not sure how she approached them. I know when I return from the Orwellian nightmare with my research and videos I’m going on a special tour that she’s working out right now.

Any advice for developing authors?

Write about what you’re passionate about. Write about what causes you to go off on incredibly passionate rants like I have in this interview. That way writer’s block will never be an issue.

Where can readers find out more about your work?

At the moment I’m not as computer savvy as I should be, though I’m working on a webpage with a coalition of authors around the world who are writing stories for change in India with a special focus on Orissa. A lot of them are working with me on the series. I believe that in the very near future we will have a website or a portal or whatever you want to call it. I’m also looking into the whole social network thing, but I don’t want to waste too much time getting pokes or being poked or twittered and twattered. It’s all very new to me.  But I am savvy enough to research and grab links on the net, and I would undoubtedly like to leave readers with links to books and videos that could help them see beyond the veil and learn more about all the massacres and genocides that constantly take place in India:

Arun Gandhi, Gandhi’s grandson, spills the beans on Indira Ghandhy (not Gandhi) who changed the spelling of her name:

The brutal police who raped Sikh women indiscriminately during the 80s:

Indian human rights abuse:

Indian politician gives rioters government positions and openly admires Hitler:

Hindu terrorists use cow urine drinks to dupe masses and fund anti-Christian & Muslim campaigns:

Hindu terrorists use Mein Kamph and Nazism to inspire Indians to commit atrocities against low castes in Bihar, Christians in Orissa, and Muslims in Kashmir just as they did to the Buddhists and the Sikhs in the seventies:

Hindu terrorists make sex slaves out of young low caste girls for their priests:

CISIS spills the beans on Indian RAW agents here to reinforce and support the veil:

Books on Hindu terrorism and upper caste tyranny:

My book:

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