AUTHOR AMER ANWAR DISCUSSES HIS WRITING CHALLENGES AND LATEST CRIME NOVEL
by MITA MISTRY
MANY books published by South Asian authors often centre on some sort of cultural conflict and clichéd subjects associated with the grassroots community, but then there are other authors like Amer Anwar with unique voices, writing about universal subjects. He, along with a select group of writers, is smashing Asian stereotypes with novels that offer a new way of thinking.
His two crime novels Brothers In Blood and Stone Cold Trouble are set within the Asian community of Southall, West London, with deeply rooted characters, but offer a new kind of storytelling.
Driven by a strong desire to write about characters he could relate to and real stories, the talented author wrote his crime thrillers and battled through various challenges to get them published.
Eastern Eye caught up with Amer Anwar to talk about his unique writing, storytelling and new crime novel.
What first connected you to writing?
Reading, really. I’ve always been a big reader, since when I was young. Reading stories made me want to write my own, which I did and enjoyed back in middle school. I’d like to think they weren’t too bad for my age. But at high school, creative writing kind of fell by the wayside. It wasn’t seen as important and writing fiction wasn’t promoted. In my teens, I read a fantasy novel called Magician by Raymond E Feist. That was the book that made me want to one day try and write a book myself, though, in reality, I figured that was just a daydream.
Why is that?
Back then, I never thought anyone like me could be an author. I didn’t see anyone from my sort of background doing it and certainly not writing books I liked to read, so it wasn’t something I thought I could do. I found my creative outlet in graphical pursuits, instead, and worked on comic books. Then I got into design and art-working for print. But, all the time, I was still a huge reader and wanted to write a book someday.
What reconnected you to writing?
An evening course got me back into writing fiction. I’d been doing some courses to learn the basics of web design and found I enjoyed learning new things in the evening. When those courses finished, I looked for something else and found an introduction to writing fiction class. That led onto a two-year certificate course, then an MA in Creative Writing, both at Birkbeck, University of London, while at the same time starting work on my first novel.
What led you towards your newly released book Stone Cold Trouble?
Well, my publisher liked the first books so much, she asked me to write another one with the same setting and characters. When the first book had received so many rejections, initially, I didn’t pursue the idea of a follow-up and began writing a different thriller, with a new cast of characters. But my publisher wanted another Southall book, featuring my heroes, Zaq and Jags, so I shelved the book I had started and began working on Stone Cold Trouble.
Tell us about the new book?
Stone Cold Trouble is a crime thriller set in West London’s Asian community. It picks up a few months after the end of the first book, Brothers In Blood, and sees our two heroes get mixed up in more trouble. Zaq agrees to help Jags try to retrieve a valuable family heirloom, which is currently in the possession of a rather shady businessman. Then, Zaq’s brother is viciously assaulted and left in a coma, and he vows to find out who was behind the attack. Unfortunately for Zaq and Jags, both of the things they’re seeking land them in more trouble than they expect. The book was picked as a Thriller of the Month by The Observer, The Times and The Sunday Times Crime Club, and has so far received great early reviews.
What was the biggest challenge of writing the book?
There were a number of challenges. First, I had to come up with a good idea, a plot that would be fast-paced and entertaining, and would also live up to the first book. There was an added weight of expectation this time that simply wasn’t there when I was writing the first one. Then there was time. The first book took eight years. This time I didn’t have as long, so that was an added pressure. And then, simply finding the time to write.
Tell us more about that?
Unfortunately, for most authors, writing doesn’t pay enough to be able to write full-time, so most have other employment. Combine that with family and other commitments, and there’s not much time left to spend writing. I'm also a bit of a stickler for getting the writing just how I want it, which often means going over and over passages to get them just right. It can be hard to translate a scene from your imagination into the best words on a page. That’s one of the biggest challenges of all.
How does it feel when a book is released?
It’s always a great feeling when you have a book released. It’s a childhood dream coming true and what’s more wonderful than that? It never gets old and I don’t think it ever will, at least, not for me. After all the time spent with the book just in your head, to finally see the finished product on bookshelves and have people enjoy it too is an amazing feeling.
Which thriller writers do you admire and do you have a favourite book?
That’s a pretty unfair question. I’ve read so many great thrillers and authors that it’s very hard to pick any favourites. I could go on and on for ages about all the books and authors I love. But I will name the authors I really admire, who I feel have been the greatest influences on my own writing. They are Elmore Leonard, Richard Stark, Joe R. Lansdale and Walter Mosley. They’re all American and superb. I re-read their works regularly and can recommend any of their books.
What according to you makes for a good story?
I’d say character is probably the most important thing that makes a good story. You also need a good plot that keeps the reader turning the pages, but if your characters aren’t strong or convincing enough, then people won’t want to stick with them, and spend time following them through the story.
Why should we pick your new book?
You should all rush out and buy Stone Cold Trouble (and Brothers in Blood too) because it’s an action-packed crime thriller set in the Asian community, which is something we don’t see enough. It features an all-Asian cast of characters, lots of Asian references, a sprinkling of Punjabi and lots of mention of food too. It’s also a Times and Observer Thriller of the Month and, if you need any more convincing, you can check out the positive reviews.
Why do you love being a writer?
I love it because it’s something I dreamt of doing for a long, long time. I’ve been a book lover all my life and was always amazed at the magic an author can create just by putting words on a page, making a reader feel so many different emotions; laughter, horror, fear, excitement, sadness, loss and everything else. It really is a kind of magic. To be able to put words on a page and know that they can make someone feel those same kinds of things, that’s just magical.
Nancy Tyagi is back at Cannes. But this time, the 24 year old influencer and designer from Uttar Pradesh is not just a surprise guest, she is a name many were waiting to see again.
Last year, she made her debut at the prestigious festival in a self stitched 44 lb (20 kg) ruffled pink gown, crafted from scratch in her Delhi home. It was not just the weight of the dress that turned heads but the story behind it. A year later, Nancy returned with another outfit of her own making.
This time, she wore a silver aqua gown with a plunging neckline, a shimmering corset, and layers of tulle. It had roses stitched into the skirt and headpiece, and bold shoulders that looked like unfolding petals. Her makeup was clean and glam with silver smoky eyes, a neatly tied bun, and just the right sparkle.
What is special is not just the gown, but the fabric. She sourced it from Seelampur, a market in northeast Delhi better known for its chaos than couture. But that is what makes Nancy different. She turns everyday materials into red carpet magic. She does not come from fashion schools or big labels. She learnt it all by herself.
The self-taught designer walks the red carpet in a look stitched from Seelampur fabricInstagram/nancytyagi
Nancy said she felt emotional returning to Cannes, where everything changed for her. “Last year, I was overwhelmed. This year, I feel proud,” she said. “This is my outfit. I made it. It is all mine.”
Her Instagram post summed it up in Hindi: “Phir se Cannes… phir se red carpet. Kabhi socha nahi tha yeh safar itna khoobsurat hoga” (Back to Cannes, back to the red carpet. I never imagined this journey would be so beautiful).
Nancy Tyagi brings local craftsmanship to the global stage in her second Cannes appearanceInstagram/nancytyagi
And the internet agreed. From fashion fans to fellow creators, the applause was loud. Comments flooded in praising her evolution, confidence, and creativity. One user wrote, “You have inspired millions. This is real talent: self made, rooted, and unstoppable.”
Nancy’s journey from a small town girl stitching clothes in her room to walking the world’s most watched red carpet continues to be proof that success does not need privilege. Just skill, grit, and imagination.
Imagine your dream designer bag now costs more than a month’s rent. Welcome to 2025, now luxury isn’t just a splurge but a high-stakes financial tango, right? Inflation, tariffs, and a dash of geopolitical drama have collided, sending price tags into orbit. This time, brands aren’t just nudging numbers, but they’re launching full-blown price tsunamis. Can you still play the luxury game without drowning in debt? Let’s break down who’s hiking, why, and whether that iconic piece is worth the squeeze.
Chanel
In 2025, Chanel has been on a price-raising spree, almost as relentless as their signature tweed. The iconic Classic Flap Bag Large, for instance, now retails at 9,400 GBP (9,52,000 INR), a steep jump from 7,870 GBP (7,97,000 INR) back in January. That’s not just a rise; it’s a whole statement. With demand booming and the brand’s push for exclusivity, Chanel clearly shows no signs of slowing down.
Louis Vuitton’s strategy? Keep things steady but consistently pricier. In 2025, the Alma PM handbag crept up to 1,590 GBP (1,61,000 INR), marking a 6.4% increase. Meanwhile, the Clooney BB inched to 1,925 GBP (1,95,000 INR), a 4.9% hike, while the Capucines MM surged by 7.2%, now priced at 6,310 GBP (6,39,000 INR). Inflation’s impact? Definitely. The only thing rising faster than these prices? Their legendary prestige.
The iconic Hermès is giving luxury lovers something to chew on, especially if their taste leans toward legendary bags like the Birkin or Kelly. In the U.S., prices for the Birkin 25 in Togo leather rose from 8,400 GBP (8,52,000 INR) to 8,900 GBP (9,03,000 INR): a 6.1% increase. The Kelly 25 in Togo Retourne jumped from 8,350 GBP (8,47,000 INR) to 8,900 GBP (9,03,000 INR), marking a 6.2% hike. Some exotic models, like the Kelly 25 in Matte Alligator, saw a staggering 23.8% increase, now priced at 38,800 GBP (39,37,000 INR). Because nothing says 'forever status' like a price tag that stings.
Rolex has increased prices on its gold models by up to 14%, reflecting a 27% rise in the cost of gold itself. For instance, the white gold Daytona with the OysterFlex bracelet now retails at 24,300 GBP (24,70,000 INR), up from 22,350 GBP (22,70,000 INR) last year. Stainless steel models have seen more modest increases of about 1-3%. Gold just got a little more golden right?
Known for its cashmere and quiet luxury, Loro Piana isn’t shying away from price hikes either. Some items, like the Loom handbag, rose by 8%, while select pieces saw a staggering 23% increase. Soft just got pricier.
Tag Heuer quietly nudged up the price of select U.S. models by around 10% this summer, a direct response to looming U.S. tariffs on Swiss imports. It’s a cautious buffer rather than a drastic shock, as the brand hedges against potential margin hits. Rather than surprising buyers later, Tag Heuer is choosing to gently pad prices now, just in case.
Even beauty brands aren’t safe from the pricing squeeze. Sisley bumped up the price of its Korean products by 5%, while L’Oréal increased prices of Yves Saint Laurent and Lancôme items at duty-free outlets by about 10%. It’s partly due to higher ingredient costs and partly because “flex splurging” in Korea shows buyers aren’t put off by a little extra cost.
In a more gradual move, Coach has been incrementally hiking prices over 19 of the last 20 quarters, while Ralph Lauren pushed its average retail price up by about 12%. Instead of shocking customers, they’re taking a slow and steady approach, which has surprisingly fuelled demand rather than dampened it.
Cartier’s parent company, Richemont, is taking a softer approach, avoiding major price hikes despite the pressure of U.S. tariffs. Instead of gambling on big increases, Richemont is holding prices steady, particularly for its luxury jewellery, which continues to perform well without any drastic changes.
With higher-end items becoming even more unreachable, brands are shifting focus to “affordable luxury.” Think sub-400 GBP (40,000 INR) accessories like designer scarves and wallets, small indulgences that keep aspirational customers engaged. It’s a strategic play to maintain interest without alienating the middle-class luxury lover.
Luxury prices in 2025 are skyrocketing as iconic brands make big movesiStock
The luxury gamble?
The overall picture is clear. Some players have quietly bet on patient, incremental hikes and are already reaping rewards, while others have pushed hard and risk alienating shoppers. Observers note that Coach and Ralph Lauren’s measured markups drove a surprising sales boom (+42% Coach growth in Europe in Q4), whereas ultra-luxe giants saw only minimal gains. In short, moving slowly seems to have paid off, at least so far while exorbitant jumps have mostly just made headlines.
The gamble now is on for every brand. Every new price tag is a wager: will wealthy buyers shrug and splurge, or push back and hunt for deals?
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The initiative will empower more women to speak openly about their health
A new community-led initiative has been launched in the UK to provide culturally sensitive support for South Asian women navigating midlife and menopause.
The Sattva Collective, founded by certified Midlife and Menopause Coach Kiran Singh, officially launched on 14 May 2025 as a registered Community Interest Company (CIC). It is the first initiative in the UK focused specifically on the experiences of South Asian women during what Singh describes as a “deeply personal and often stigmatised” phase of life.
“South Asian women are navigating physical, emotional, and identity shifts in silence – often without the language, space, or support to talk about it,” Singh said. “The Sattva Collective is here to change that. We are reclaiming midlife as a powerful, transformative time – and doing it together.”
The name 'Sattva' is drawn from Sanskrit, referring to clarity, balance, and inner peace – values reflected in the collective’s approach.
The organisation will offer a range of services throughout the year, including:
Monthly community meet-ups in local cafés
Educational workshops on hormone health, mental well-being, and cultural stigma
An annual flagship Midlife Summit launching in January 2026
Public awareness campaigns and digital resources
One-to-one and group coaching sessions
Singh, who is of Indian heritage, aims to address the gaps in both mainstream and cultural conversations around menopause. According to her, many South Asian women face barriers to accessing support due to stigma, lack of awareness, and limited representation in public discourse.
The Sattva Collective is now preparing to roll out its 2025 programme and is actively seeking funding, sponsorship, and community partners to expand its reach and resources.
Describing midlife as “not a crisis, but a calling,” Singh hopes the initiative will empower more women to speak openly about their health and experiences, while building a supportive community.
Further details about upcoming events and resources will be made available through the collective’s official channels in the coming weeks.
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Bella Hadid stuns at the Cannes Film Festival 2025 in a daring Saint Laurent black gown
Bella Hadid’s return to the Cannes Film Festival was anything but quiet. This year, the model showed up ready to challenge the red carpet rules without actually breaking them.
With new restrictions in place like no sheer fabrics, no visible nudity, no dramatic trains or bulky silhouettes, fashion-watchers wondered if Bella, known for her daring Cannes looks in the past, would tone it down. Instead, she found a clever way around the rules.
Her choice for the opening ceremony? A sleek black Saint Laurent dress with a high slit that climbed nearly to her hip. It was revealing but not banned. The asymmetrical cowl neckline and bare back added to the drama without crossing any lines. Paired with barely-there strappy heels, emerald statement earrings, and a ring, the outfit managed to be both understated and provocative.
Earlier in the day, she’d already turned heads arriving at Hotel Martinez in a white corset top and matching bootcut trousers, another Saint Laurent nod. Her honey-blonde updo, oversized sunglasses, and vintage accessories made it clear that Bella wasn’t here to just blend in.
And while the Met Gala missed her this year, Cannes got the full Hadid effect.
The model’s new hair colour, a shift from brunette to a summery honey blonde, felt like a fresh chapter. Soft waves framed her face, complementing the dark, moody tones of her red carpet outfit. Makeup stayed simple with smokey eyes, matte skin, and nude lips. No theatrics, pure elegance and confidence.
The most impressive part of it all? She managed to follow every rule while still standing out. While some stars played it safe under the stricter dress code, Bella turned the limits into a challenge. No sheer panels? Try bold cut-outs. No dramatic trains? Go for shape-hugging minimalism with impact.
Fashion at Cannes has always been about pushing boundaries. This time, Bella Hadid did it with precision, walking the tightrope between compliance and creativity.
No loud rebellion. Just quiet defiance in heels.
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These terms provide insight into how Gen Z views the world around them
Language is constantly evolving, and nowhere is this more apparent than in the lexicon of Gen Z. As the first generation to grow up fully immersed in social media, their language is influenced by memes, viral videos, and digital culture. With 2025 underway, several Gen Z slang terms have already become ubiquitous, appearing in everyday conversations, on social media platforms, and even in mainstream media. Here are 11 slang terms that have already peaked this year.
1. Delulu
"Delulu," short for "delusional," is one of the most prominent slang terms of 2025. It’s used to describe someone who holds unrealistic beliefs or makes outlandish claims. The term was catapulted into the spotlight after Australian Prime Minister Anthony Albanese used it in Parliament to describe his political opponents, referring to them as being "delulu with no solulu," which translates to "delusional with no solution." The term has since been widely adopted by young people, particularly in online communities. It’s now frequently used to poke fun at someone’s exaggerated or disconnected views on social media.
2. Rizz
"Rizz" is a shorthand for "charisma," and it refers to someone's ability to charm others, especially in romantic or flirtatious situations. The term has become an essential part of Gen Z's dating vocabulary, with phrases like "He's got mad rizz" or "She’s rizzing up everyone" becoming commonplace. This term is closely tied to the growing trend of online dating and relationship dynamics, where charm and social media persona play a significant role.
3. Sigma
The "sigma" personality is the opposite of the well-known "alpha" personality. A sigma is characterised as someone who is independent, self-sufficient, and doesn’t conform to societal expectations or norms. Unlike alpha males or females who thrive on social dominance, sigmas prefer solitude and operate outside of traditional social hierarchies. The term has gained traction in online spaces where young people are increasingly gravitating towards self-reliance and non-conformity.
4. Brain Rot
"Brain rot" is used to describe the state of being mentally overwhelmed or exhausted from consuming excessive amounts of digital content. It's particularly prevalent in discussions about binge-watching shows or scrolling endlessly through social media. Gen Z often jokes about being "brain rotted" after spending hours watching TikTok or scrolling through Instagram, highlighting how easy it is to become consumed by the constant flow of information and entertainment available online.
5. Yassified
A term that’s gained massive popularity in recent years, "yassified" refers to someone or something that has been enhanced or transformed, usually with excessive editing or glamorisation. It's often used in the context of social media influencers or celebrities who post photos heavily edited to enhance their appearance, or when someone gets an over-the-top makeover. The term ties into the beauty standards and image-consciousness that are amplified by social media platforms.
6. Mid
"Mid" is shorthand for "middle," but it’s used to describe something that’s considered average, underwhelming, or unimpressive. If something is labelled as "mid," it means it doesn’t stand out or live up to expectations. For instance, "That movie was so mid" or "The party was mid." It’s a dismissive term often used to critique various aspects of popular culture, from films to food.
7. Unhinged
"Unhinged" describes behaviour that is wild, unpredictable, or completely out of control. It is often used to describe actions that are erratic or exaggerated, whether in response to an emotional outburst or a spontaneous, irrational decision. For example, "She’s being unhinged right now" or "His unhinged rants are all over social media." The term conveys a sense of complete abandon, often in a humorous or dramatic context.
8. Flex
To "flex" is to show off, often by flaunting one's achievements, possessions, or status. While it originally referred to physical muscles, the term now is mostly used to describe the act of boasting about something materialistic, like a new car, an expensive handbag, or a lavish holiday. Gen Z regularly uses the term in a tongue-in-cheek manner, both to express pride in their accomplishments and to call out others for excessive boasting. For instance, "She’s just flexing her new sneakers."
9. Drip
"Drip" refers to someone's fashion style, particularly when it’s on point. It’s a term used to describe clothing, accessories, or overall aesthetics that are stylish, trendy, or eye-catching. The phrase "That outfit is straight drip" is common in Gen Z conversations, especially on platforms like Instagram, where style and image are paramount.
10. Ghosting
While not a new term, "ghosting" remains a central part of Gen Z's vocabulary. It refers to the act of suddenly cutting off all communication with someone without any explanation, particularly in romantic or social situations. The rise of online dating apps and social media interactions has made ghosting a widespread phenomenon, and it’s frequently discussed in the context of online relationships.
11. Caught in 4K
To be "caught in 4K" means to be caught in the act of doing something wrong or embarrassing, with undeniable evidence. It’s a digital-age version of "caught red-handed," with "4K" referring to the high-resolution quality that captures every detail. The term has been widely used on platforms like TikTok and Twitter, especially in viral videos where individuals are caught doing something questionable.
Bonus: Period
"Period" has taken on a new life in Gen Z slang, becoming a definitive way to end a statement. While the word traditionally marks the end of a sentence in grammar, in Gen Z slang, "period" is used to emphasise that a point has been made without room for debate or disagreement. It's akin to saying "end of story." Often, you'll see the term extended to "periodt" for extra emphasis, as in "That’s the best song ever, periodt!" It’s a confident, assertive way of making a statement and has found its place in conversations on social media and in real-life discussions.
As the year progresses, it’s likely that these expressions will continue to evolve, with new phrases quickly emerging to replace those that have already reached their peak. It’s a dynamic, ever-changing lexicon, and one that reflects the rapid pace of life in the digital age.