today we are featuring the book
SHADOW ON THE WALL
PAVARTI K. TYLER
available now at
about the book:
Recai Osman: Muslim, philosopher, billionaire and Superhero?
Controversial and daring, Shadow on the Wall details the transformation of Recai Osman from complicated man to Superhero. Forced to witness the cruelty of the Morality Police in his home city of Elih, Turkey, Recai is called upon by the power of the desert to be the vehicle of change. Does he have the strength to answer Allah's call or will his dark past and self doubt stand in his way?
Pulling on his faith in Allah, the friendship of a Jewish father-figure and a deeply held belief that his people deserve better, Recai Osman must become The SandStorm.
In the tradition of books by Margaret Atwood and Salman Rushdie, Shadow on the Wall tackles issues of religion, gender, corruption and the basic human condition. Beautiful and challenging, this is not a book to miss.
Pavarti has kindly given us an excerpt of the book
A man. A voice. Darkness tangled her thoughts with fear and childhood warnings.
Sabiha, you shouldn’t be walking alone, she’d heard it say.
Stupidity had made her rash; selfish concerns about her brother caused her to make the worst possible mistake—the kind of mistake that would make her wish she had died, if by any chance she managed to survive.
The low voice knew her name, knew her family name—it had come specifically for her.
She ignored its call, quickening her pace. A laugh broke out in the night, mocking her fear. Suddenly the owner of the voice grabbed her, turning her around to face him.
Refusing to meet the voice’s gaze, Sabiha fixed her eyes forward. Her gaze came to rest on his arm where she saw the outline of a tattoo, dark and menacing. A snake’s tail circled his bicep and disappeared behind his back, only to reveal itself on the other side of his neck with two onyx eyes staring at her, unblinking.
Pavarti K Tyler
Pavarti K Tyler is an artist, wife, mother and number cruncher. She graduated Smith College in 1999 with a degree in Theatre. After graduation, she moved to New York, where she worked as a Dramaturge, Assistant Director and Production Manager on productions both on and off Broadway.
Later, Pavarti went to work in the finance industry as a freelance accountant for several international law firms. She now operates her own accounting firm in the Washington DC area, where she lives with her husband, two daughters and two terrible dogs. When not preparing taxes, she is hard at work as the Director of Publicity at Novel Publicity and penning her next novel.
follow the link
for an exclusive mp3 version
of Moonless Planet, an exclusive song Mosno Al-Moseeki wrote for the character, Darya Yilmaz.
also, follow the link
for the book's video trailer
Pavarti has also offered a guest blog and offered her insight into her experience with the Hijab.
Take it away Pavarti,
Behind the Veil: My Experience with Hijab
Hijab is the headscarf some Muslim women wear. There is great debate over the need, use and appropriateness of the hijab, which has fueled cultural debate and conflict. In Islam there is a cultural practice of covering a woman’s hair and neck, this is considered modest dress and the roots of the practice are based in the Qu’ran. There are multiple surahs (verses) and hadiths (oral histories) which are used to explain the need for men and women to dress modestly.
The specifics of what needs to be covered is controversial. Some say only the hair must be covered, others say everything but the eyes and hands should be. From Burquas in Afghanistan to hijabs in France, it seems everyone has an opinion.
In 2001, right after 9/11, I participated in an event called “Sisters for Solidarity.” The sponsoring group was an interfaith movement for social awareness. Over 200,000 women in the US donned hijab for Eid Al-Fitr, a celebration that marks the end of the fasting month of Ramadan.
Somewhere in the depths of my basement there is a picture of me with a beautiful red-and-gold scarf covering my hair and neck. For three days in November, 2011, I went to work, the grocery store, church and everywhere else with my hair covered.
I could discuss the political reasons for doing this, or my own religion beliefs, but what I learned during those three days has nothing to do with either. I donned a headscarf for very personal reasons, which I believed deeply and still hold dear. And every moment I wore it, I felt stronger in my convictions. Something about a physical declaration of my beliefs was empowering and liberating.
I also felt a part of something. Other women in hijab would stop, smile and speak with me no matter where we were. It was a kind of sisterhood I haven’t experienced in other parts of my life. Even when they found out I wasn’t Muslim, the kind response I received for what I was doing was deeply touching.
Simultaneously, I found the covering very oppressive. It was hot under there, and kept slipping. This was probably mostly due to my inexperience, but I found it physically cumbersome and something that needed constant monitoring. I was also very surprised to find that a number of co-workers with whom I had been close to did not speak with me during the days I was wearing hijab. I received sideways glances on the bus and subway, not the usual smiles and commuter camaraderie I was accustomed to.
There are three female characters in my novel, Shadow on the Wall. Each has an opinion of and relationship with wearing the hijab. I pulled on my short experience to inform how I wrote these characters. Rebekah, Darya and Maryam - each of them represents a different archetype of Middle Eastern women. While it's certainly not an exhaustive representation, the issues of gender and the veil are explored in depth through the course of the story.
What I learned during the Sisters for Solidarity movement - and what I hope Shadow on the Wall conveys - is that covering is a deeply personal experience. Ideally each woman would be able to decide for herself without the pressures of politics, family or cultural assumptions. Unfortunately, we don’t live in that world, which is what makes the discussion so volatile.
I’m curious as I move into publishing Shadow on the Wall how readers will feel about these women. Which will they respond to? With which will they identify?
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