[Archana Thapa, PhD, is an independent scholar, author, editor and founder of Akshar Creations, a publishing house. Thapa writes both in English and Nepali. Her latest book is a story collection titled Kathaputala that received an overwhelming response soon after its publication. She has worked as the senior member of a team to draft Five Years Strategy Plan (2014-19) for National Women Commission Nepal. Her areas of interests are literature, gender, culture, Nepali theatre and art. Thapa is deeply interested in non-mainstream literary works, discussions and women’s writing. In the past, she was one of the founding members of Aahwaan Group, a self-funded informal democratic discussion group based in Kathmandu. The group is still functional, and promotes meaningful discussions on literature, gender, media, popular culture and contemporary socio-cultural beliefs and practices that affect women’s life. Some of the seminal works she has complied and published include Telling a Tale, Saha-astitwako Khoj and Smritikathama Sattwa—works that compile personal stories of women, girls and other marginal categories who are virtually othered or silenced in the conventional Nepali society. Presented herewith is the edited excerpt of a talk Uday Adhikari had with Dr. Thapa.]
How did your interest in literature develop?
My interest in literature wasn’t a sudden occurrence. I was exposed into a rich tapestry of myths, oral tales and stories shared by my grandmother and mother from an earliest age. The fable of Panchatantra also played a significant role, serving as a sources that planted the seeds of my fascination with listening and reading stories.
I was fortunate to witness theatrical performances of the Ramayana and the various Pauranic tales of beyond the cloud to the adventurous stories of the underground world that captivated my childhood imagination. Seemingly believable myths of wars between gods and demons, ending with the moral messages of good and bad with righteous victory left a lasting impressions on me. Additionally, turning the pages of picture books, particularly the engaging conversations between characters like Damanak and Karkat from the Panchatantra, as well as colorful comics like Chacha Chaudhary, Mandrake the Magician and Betal, further fueled my growing interests in the world of children’s literature. My schooling years in India was enriched by a tiny children’s section in my school library. Growing up in an urban environment, during the pre-internet era, I had ample time to immerse myself in the world of books; they became my escape from the realities of everyday life, transporting me to exciting imaginative worlds filled with interesting characters and to the endless possibilities.
I didn’t know when finding solace in literature became my refuse- a place where I could find solace and envision a better and beautiful world. The stories offered moments of wonder, respite and instilled a sense of a future with wonderful moments.
Those were the times when basic literacy was considered suffice for girls to navigate her life. The norms dictated that girls should learn the domestic skills than reading fictions; girls should read textbooks to achieve satisfactory grades to complete the school level. Meanwhile, boys could read or play outdoor, girls were discouraged. There existed an unspoken but deeply ingrained misconception that reading fiction could have adverse effects on girls, potentially leading them to be ‘stubborn,’ or even sparking unappropriated desires, premature love affairs or thoughts of elopement against parental approval. 
Despite the societal norms, higher education held significance to my parents, yet my grandmother (my father’s mother) harbored concerns about my love for reading, particularly fiction books, fearing it could weaken my eyesight and jeopardize my prospect of marriage in the future because notion of bespectacled bride was unthinkable- a perceived flaw in a girl. Despite grandmother’s nagging, I enjoyed reading, often staying up late into the night immersed in fictional world concealed within the pages of my textbook. My grandmother firmly attributed my perceived stubbornness to my reading habit, as I resisted her calls to attend to her innumerable chores, preferring instead to converse with the characters of the captivating stories. She staunchly believed that all the extracurricular activities, including reading non textbooks, were pursuits better suited for my brothers, who, she argued, required broader worldly knowledge to navigate life’s harsher challenges, as they were the ones destined to shape the world. However, she also loved listening the stories when I read out loud to her. In the year 2019, I read an interview with Damian Barr, the founder of the London Literary Salon, where he remarked that women become rebellious and formidable once they attain education. It is then I began to comprehend the generational misconception my grandmother had internalized and subsequently projected in her many views. The fear of women gaining higher education, acquiring worldly knowledge and shaping strong views of her own, through reading and writing ran deep in many cultures.
My passion for literature blossomed thanks to several factors: fortunate to having the access to books and time to read, supporting parents who cherished a culture of literacy and afford to give us education, and my personal determination to defy misconceptions that often stifle a girl’s thirst for knowledge. Now I realize that literature, far from being mere entertainment, is a potent tool for awakening consciousness and awakening. It unveils the historical roots of oppression and dissects power dynamics and gears one for a better world. Literature, in all forms, not only transcends its role as a form of entertainment, it becomes an essential instrument for change.
How did the idea of becoming a writer come to you?
In my childhood, never did I envision becoming a writer. While Growing up I don’t remember ever wanting to pursue creative writing. I was an enthusiastic reader but the notion of becoming a writer / poet never occurred to me. Literary writing, to me, seemed intertwined with popularity and masculinity. I had seen the framed portraits of literary giants such as Rabindranath Tagore, Munshi Premchand, Sadat Hasan Manto, RK Narayan, Mulk Raj Anand, C Rajagopalachari and few others adorned the walls of my school. They were revered and honored on school’s special occasions. All were males. Similarly, the colorful graffiti’s and advertisements of the mass marketed sensational pulp fictions of that era, such as Ranu, Gulshan Nanda, Bed Prakash Sharma and similar genre’s book information filled public walls. The ubiquitous names and bright color covers engraved in my mind. Though I had read Amrita Pritam, Ismat Chughtai, Mahasweta Devi, Enid Blyton and enjoyed their works, their faces or visual pictures remained absent from my mental landscape. Also, in the public events, festivals or in some special occasion, the realm of singing events, poetry recitations, writing, art exhibitions, medicine practice or engineering all were predominantly occupied by men. It was a routine to see male celebrities in the media and male performers at poetry events, mushairas, qawwali nights and theatrical plays. Women writers and poets were invisible or almost non-existent in public event. Also, I don’t remember ever receiving encouragement from the school teachers on creative endeavors beyond the confines of homework. My creative writing experiences, in school, were limited to scribbling in friends’ autograph books and writing letters to pen pals. The thought of becoming a writer was non-existent.
Even after graduating, despite having research and regular articles published on the topic of Nepal’s art, literature, theatre and contemporary issues, I was hesitant about my creative writing abilities. By then, I had written some poems and was working on some plots for stories but I kept those to myself. While my critical pieces were well received, I always doubted my creative skills.
As I ventured into writing Kathaputala (story collection), I grappled with uncertainty and was hesitant to published it. The first reader of my manuscript was Sanjeev Uprety who then convinced me that the book is ready for the readers. Even now, as I work on my current fiction, the process feels endless, with constant revision. Despite reaching a point where I can give the book a final form, I am still hesitant to wrap it. My anxiety about writing tells me that maybe it is early to call myself a writer; I am in the process of ‘becoming’ one.
You seem to have a particular interest in fiction writing. What let you to choose fiction as your preferred writing genre?
While fiction may appear to be my primary interest, my passion extends to non-fiction. Reading and writing can be inherently diverse, tailored to individual interests and needs. During my PhD research and dissertation writing, I completely immersed in non-fiction world for five years, delving into areas of literary theories, gender theories and philosophies. While, for many, literary theories can be a non-interesting read, for me, non-fiction genre doesn’t only allow enriching perspectives to issues, they also are beneficial for creative writing as well. Nonfiction enhance one’s understanding and appreciation for art and provide valuable insights to understand things. Furthermore, writers can analyze and evaluate their ideas and the process can enable them to discern what works in their writing and what needs improvement, leading to polished work. By critically examining their own assumptions and biases, writers can create more nuanced and impressive narratives that resonates with readers. I think reading non-fiction is essential for creative writers because it enables them to refine their ideas, develop compelling narratives and engage with the creative world in a thoughtful and meaningful way. While as a publisher, I have worked on more fiction, than non-fiction, as a reader and writer in the process, I enjoy reading both fiction and nonfiction.
I also have a profound appreciation for poetry genre and enjoy listening to good poetry recitation. To me, the act of composing and reciting poetry represents a pinnacle of artistic expression because poetry has the unique ability to convey profound messages and evoke deep emotions within just a few words. Till the date, while three of my poems are published in English in international magazine, several other remain unpublished, held back from readership. Unfortunately, many contemporary poems, I have encountered, seemed to miss the mark, burdened by verbose language and lacking essence, resulting in a failure to leave a lasting impact on readers and listeners. Poetry encompasses a wide range of styles, themes and structures but whatever I see around these days, resembles political slogans. The versatile genre of poetry seems diminishing, and good poems have become increasing rare. While I admire art of poetry greatly, I understand that the desire to be a poet and the writing poetry are two distinct endeavors.
What does literature mean to you?
In the realm of human expression, the term ‘literature’ sprawls like a vast, untamed landscape, embracing both the written as well unwritten words and the intangible essence of thought. Literature comes in many forms– fiction, plays, poems, essays– and each resonates with artistic prowess and intellectual depth. Yet, to define it with precision is akin to capture a fleeting dream- a pursuit fraught with complexity and ambiguity by many great writers. For instance, literature, for Leo Tolstoy, served as a conduit for delving into intricate layers of human nature and societal structures, while for Virginia Woolf it was a brush to paint the intricate hues of individual subjectivity and the subtle contours of consciousness. For Franz Kafka, literature was a canvas upon which he etched the stark realities of alienation, absurdity and existential anguish-echoing as well as his own profound sense of displacement and solitude; for Gabriel Marcia Marquez, literature became a space of magic realism, seamlessly blending the boundaries of reality and fantasy to reflect the Latin American society’s life and complexities.
For me, literature transcends mere reflection; it is a potent art for unmasking the hypocrisies that lurk within the folds of society’s fabric. It is a beacon that can guide us towards a more enlightened and better tomorrow – a vessel for artistic expression that exalts imagination, kindles creativity and catalyzes innovation. In its essence, literature, for me, is a catalyst for introspection, provoking contemplation and igniting the flames of the betterment of humanity. It is a testament to the boundless ingenuity of the human spirit, enriching the tapestry of existence with its myriad hues and hues of diversity.
What challenges do women writers face in their creative endeavors? Are male writers immune to those same obstacles?
If we compare the extensive history of Western literature, Nepali literature has a relatively very brief history. Over the course of the 104 year Rana regime, the pervasive fog of illiteracy hindered the populace from accessing formal education. Consequently, the development of literature and reading culture in Nepal lagged behind that of its other neighboring countries. However, times are changing; the literacy rate in Nepal is in risen, and with it, so have literary activities. Beyond Kathmandu, provinces are now actively organizing literary events and prompting reading culture accessible to people. Despite all the efforts to promote literature and foster a reading culture, Nepali literature faces numerous challenges. The current book market reports indicate a waning interests in reading books and the reason for that could be not one, but many—growing interest in multimedia, a burgeoning book market with proliferation of mundane books inundating the shelves and escalating book prices that outpace the buying capacity of readers and busy lifestyle. Furthermore, excessive marketing efforts overshadow good books, rendering them invisible amidst the noise of commercial promotion strategies. Not only women writers, but the entire reading culture grapples with multifaceted challenges.
I cannot assert that the challenges faced by Nepali women writers are uniform as each one contends with a unique set of personal, familial, social, economic, geographical, and linguistic and other hurdles like a male writer for that matter. Moreover, considering ongoing advocacy for women’s rights, efforts toward gender equity and equality, and the imperative for women’s empowerment programs, it is obvious that women in our society aren’t regarded as an equal citizen. Indeed, the struggle for gender rights, equality, and empowerment has been on the agenda for a couple of decades. However, entrenched discrimination along with normalization of violence against women, LGBTQA+ and gender diverse individuals persist deeply within our culture. Women find themselves navigating the burden of double and triple responsibilities, competing against societal expectations. Consequently, engaging in literary pursuits become even more challenging for women, as with more burden they grapple with the constraints of the same twenty four hours in a day.
I would also like to draw the attention to the term ‘women writer,’ which is opposed by many writers. Many argue that the word ‘writer’ is a nondiscriminatory, therefore, appending ‘woman’ to ‘writer’ unnecessarily emphasizes gender and thus, becomes discriminatory. Amid the ongoing debate, however, it is crucial to acknowledge the existing gender norms and social dynamics still exist in our life. As long as domestic chores, nurturing responsibilities and caring for senior family members are predominantly seen as women’s duty, and as long as gender roles, gender expectations, and stereotypes persist in our society, women will inevitably shoulder a disproportionate burden of work, having less time for their literary and other career pursuits. Within the confines of a twenty-four-hours a day, women navigate through multiple responsibilities while striving to pursue their literary ambitions. Therefore, the term ‘woman writer’ attempts to encapsulate the myriad challenges and hurdles woman writers face.
It is a known truth that women writers have historically faced significant barriers and discriminations in the field of literature around the globe. Women writers were marginalized and overlooked in favor of their male counterpart. However, such perceptions are continuously challenged and many women writers have risen to prominence, earning recognition for their contribution to literature, such as Paarijat, Dr. Banira Giri, Prema Shah, Sharada Sharma, Neelam Karki Niharika, Jhamak Ghimire and more.
In a society where women are considered lesser human beings and reduced to mere bodies, it becomes challenging to envision them as intellectuals, creators, successful entrepreneurs or leaders. The pervasive misconception that “women can’t do” plays a significant role in perpetuating falsehood such as ‘women can’t write,’ ‘women’s writings are of inferior quality,’ ‘women’s writings are emotional than rational,’ ‘women write sad and tearful stories portraying men as perpetrators,’ and ‘women’s writing predominantly focuses on mundane domestic themes.’ In literary programs and events, books by women are rarely mentioned. While some male writers hog media attention and grace the stage of literary events, women writers, more than often, are either completely ignored or unacknowledged. In the age of multimedia, where readers rely heavily on information, women’s work seldom receive media attention.
While these practices may seem normal, they are not unique to Nepal. Women writers, around the globe, face similar challenges. On the feeling of being overlooked as a writer, Marjane Satrapi wrote, ‘sometimes it feels like we are writing in invisible ink.’ Consequently, women’s works get reviewed less, mentioned less, appreciated or noticed less and discussed less.
Emphasizing the importance of independence and creative space, Virginia Woolf wrote, ‘A woman must have money and room of her own if she is to write fiction.’ Addressing the challenge of challenging the status quo Tony Morrison wrote, ‘there is no safe place inside the literary establishment for female anger.’ Addressing the ongoing systemic gender imbalance the noted writer Zadie Smith expressed, ‘there is still a vast difference, a disparity of opportunity, not just in publishing, but everywhere. ’American writer Roxane Gay noted, ‘male writers get treated as intellectuals, women writers get treated as friends.’ These are only a few examples to show that women writers, throughout the history, have faced and still facing struggle for recognition and equality in the literary world. I would conclude this answer with a point to ponder: how many Nepali women writers can freely embark on research or can leave their home to stay in writers’ retreat? Are women writers truly at liberty to write whatever they want to write? How many women writers can openly and authentically delve into topics such as same sax relationships, intimate desires, lust and sex- all of which are often considered taboo topic for women!
Regarding the second part of your question: are male writers immune to challenges? I think, male writers can provide a better answer. However, within a society deeply entrenched in patriarchy, the expectation that ‘a man must be the breadwinner’ can exert significant pressure. In a country like Nepal where the reading culture remains relatively poor, the pursuit of a successful career as a full-time writer, while also supporting a family, can present considerable challenges. While some authors may have been successful in receiving substantial royalty from the publishers, the escalating cost of living makes it increasingly difficult to maintain a decent lifestyle solely though writers’ royalties. Furthermore, male authors do encounter additional obstacles and one of them is navigating the process of translating their works into other languages and accessing international book markets.
What are your views on feminist movements? What are the differences between feminism in Nepal and other countries?
Views on feminism and Feminist’s movement can be subjective, influenced by various factors such as personal experiences, cultural background and societal context. For me, feminism(s) encompasses a diverse range of ideologies, movements and agendas all centered on the fundamental principle of achieving gender equality. At its core, feminism(s) is a movement for the social, political and economic rights of women, aiming to dismantle systems of oppression and discrimination based on gender. The feminist movement(s) has evolved over time, in different countries, with different waves marked by distinct goals and strategies. In the Western world, the first wave feminism, emerging in the early 19th and early 20th centuries, focused mainly on securing women’s suffrage and legal rights. Second wave feminism, gaining momentum in the 1960s and 1970s, included broader issues such as reproductive rights, workplace discrimination and rigid gender roles that existed in society. Third wave feminism, which emerged in 1990s and continues till toady, emphasized intersectionality, realizing that women experiences are shaped by factors such as race, class, sexuality, ability, geographical location, religion, language and caste.
Generation Z feminists, on the other hand, claim that we have moved into the forth wave of feminism which represents a continuation and evolution of feminist movement into the contemporary digital age. While there is ongoing debate about the exact characteristics and boundaries of the forth wave, several key features are already in the discussion such as digital activism, intersectionality, global perspective, attention on gender diversity and resistance to backlash. Digital activism harnesses the power of social media and online platforms to maximize activism. Platforms like Twitter, Instagram, Facebook, TikTok provide spaces for marginal voices to be amplified and for feminist ideologies to flourish. The fourth wave emphases on understanding and addressing the intersecting forms of oppression that affects individuals on multiple levels. Furthermore, the global perspective recognizes the importance of global solidarity and interconnectedness within broader system of oppression and attention on gender diversity expends the gender conversation to include gender diversity, transgender rights and the rights for visibility of transgender, non-binary, and gender non-confirming individuals. Overall, the recent wave of feminism represents a dynamic and multifaceted movement that continues to push for social change in the pursuit of gender equality.
Feminist movements are shaped by the unique socio-cultural contexts of each country therefore, Nepal’s feminism is distinct in several ways compared to Western context. Additionally, Nepal has a rich history of feminist movement, including the role of women in political representation and social justice. Yogmaya Neupane is believed to be the first women who challenged traditional gender roles and fought for women’s rights and social justice. She remains an admired figure in Nepal’s history, symbolizing courage, resilience and the struggle for equality. Since, feminism is a multifaceted movement for gender equality and challenges patriarchal norms and structures, Nepal’s feminism(s) is also characterized by its intersectional approach. They address various forms of oppressions and discriminations faced by women, LGBTQA+ groups and gender diverse individuals. Their agendas also encompass a wide array of issues, including combating violence against women, advocating LGBTQA+ rights, promoting reproductive right, same sex marriage law, challenging gender norms and striving for equal representation in politics, media and other sphere of professional life. Like the Feminist movements around the world, Nepal’s feminist movement also seeks to create a world where all individuals, regardless of gender, have the opportunity to achieve and live feely.
Feminist movements in Nepal are influenced by its diverse indigenous cultures and traditions, which may result in different priorities and strategies. For instance, Nepal’s indigenous feminist movement prioritizes issues such as land rights, cultural preservation and indigenous knowledge system alongside gender equality. Similarly, the Dalit feminist movement has emerged as a response to the intersecting form of discrimination and oppression faced by Dalit women due to their caste, gender and socio-economic status. There is a Madhesi feminist movement who challenges discriminatory practices within their own Madhesi communities while demanding inclusive policies and representation in the broader feminist agendas. These Nepali feminist movements draw inspiration from other movements around the world, fostering solidarity with marginal groups and other feminist groups while critiquing the limitations of mainstream Nepali feminist movement who ignored or overlooked their voices. Over all, these movements have been shaped by the country’s political history, including the transition from monarchy to democratic republic system and ongoing struggles for democracy and social justice. Issues such as meaningful political representation, legal reforms and transitional justice are some of the major issues that have become central to the feminist activism in Nepal.
Mention titles of some books that you enjoyed, along with explanations of why do they resonate with you?
Firstly, such questions are overly generic and I believe they confine one’s interest in books to a specific number which is impractical. Reading preference are subjective and preferences for genre, likeness for some specific kind of book keep changing and evolving over time alongside one’s views, ideas, interests, and critical and political understanding as well as moods of the reader. Therefore, the titles of the books I enjoyed reading vary from year to year or even within a week. The book I consider reading again sometime in future is a “good book” for me and there are numerous titles that are contender for my “enjoyed reading” and it is extensive. First of all, every title that Akshar Creations has published till the date are my favorite books. I am picking some fictions from different theme and style that I can remember now. My list is long and I can’t mention all and some titles are: Ghamka Pailaharu by Dha. Ca. Gothame, Dulari by Muna Chaudhari Toda by Uma Subedi, Ama Januhos by Maya Thakuri, Kathmanduma Ekdin by Shivani Singh Tharu, Agnisparsh by Sharada Sharma, Sabdateet Shantanu by Dr. Banira Giri, Sharanarthy by Krishna Dharabasi, Karnali Blues by Buddhisagar, Maidaro by Bhupin, Tuin by Suresh Pranjali, Rolpa Suina by Nabin Bibhas, Urgenko Ghoda by Yug Pathak.
Following are some of the titles from my long list of books I enjoyed immensely and intend to reads again and again…
Madhavi is a fiction written by Madan Mani Dixit and it holds a special place in my heart. Set in Pauranic time, it is a novel work revisiting multiple times. The monumental plot with its lifelike characters, captivating subplots featuring over two hundred sub characters and enthralling incidents with Madhavi, Sage Galava and king Yayati renders this fiction timeless. The exquisitely crafted sentences and the ethereal descriptions of characters as well as events of the novel delivered such profound gratification that I wished the story could continue indefinitely. While some readers may disagree with Madhavi’s complete surrender and critique the constraining framework of love and duty, reading this fiction always invites new perspectives for discussion among readers. Madhavi is my all-time favorite read.
Yojangandha is authored by Binod Prasad Dhial, He has intricately woven together elements from Mahabharata and Devi Bhagwat Puran in the novel. Dhital’s choice of Yojangandha, also known as Mastyakanya, the mythological mother figure of the Mahabharata, is significant and captivating. Amidst the multitude of characters within the vastness of the Mahabharata, Dhital not only chose Yojangandha, a woman as the main protagonist, but also presented the entire story through her perspective, employing a first-person narrative. Unlike many other Puranic fictions, that often incorporate complex Sanskrit vocabulary, Yojangandha offers a more accessible reading. It has a compelling narration, vivid descriptions, profound thematic explorations and storytelling technique enriches the reading experience.
Aaja Ramita Chha is a novel penned by Indra Bahadur Rai and the theme of the novel delves into the intricate realm of Darjeeling’s Gorkhaland movement. The narrative orbits around the pervasive injustice, scarcities, tyrannies, labor exploitation, insecurities and the ensuing discontent, anger and resistance among tea plantation workers who predominantly identify themselves as Gorkhali. The plot intricately weaves a tapestry of diverse characters and the complex realities of their social, cultural and political existence. Poignant events unfurl one after another amidst the tea plantation workers’ arduous lives, including ever persisting hardship, exploitation and deaths. The climatic ending of the novel where a public procession takes on the street, offers a glimmer of hope amid the prevailing turmoil. Rai’s masterful narrative portrays the discord, importance of one’s cultural identity and layers of contradictions inherent in social life.
Ghanchakchar, authored by Sanjeev Uprety, serves as a powerful portrayal of the tumult spawned by political instability, leadership paralysis, resounding protests of marginalized communities, the distortion of history, and the chaotic socio-cultural milieu, wherein the protagonist “I” grapples with a descent into madness. As the narrative unfolds, it lays bare the failures of political stewardship, the rise of unrepresentative voices clamoring for their rights and the unsettling fictionalization of the nation’s history. Against the backdrop of political anarchy and disarray, the central protagonist named “I” spirals into mental instability, embodying the profound societal rupture at the play. Another special feature of the novel is the past paced narrative, use of first person unreliable narrator to explore the interconnected themes of personal and societal madness.
The gripping narration propels the story forward with unforeseen twists, leaving readers with more questions than answers, such as, does the protagonist’s psychological unraveling signify the looming collapse of intellectual center at the University, and patriarchal Centre within the domestic sphere? Does the steadfast care provided by his wife paint her as a postmodern autonomous figure, unyielding in her resolve to confront the national and personal challenges? The first person narrative and the use of meta-fiction gives the book a refreshing style inviting myriad interpretations, ranging from a social realist critique to a deeply psychoanalytical exploration, laden with political dissent and tinged with elements of postmodernism, existentialism and magic realism. Encompassing a multi-layered interpretation, the novel resonant as a poignant reflection on the complexities of human existence and the turbulent landscape at the time of political instability in the contemporary society. Ghanchakchar is a captivating and thought-provoking novel.
Ulaar, a novella penned by the esteemed writer Nayan Raj Pandey, delves into the quotidian existence of the subaltern populace of Madhesh, eking out a precarious livelihood on the fringe of society, virtually invisible to the privilege elite class. Crafted in vernacular colloquy, the narrative brims with biting satire, dissecting the social, political and economic maladies afflicting the life of the characters. Through its powerful and unforgettable characters such as Draupadi, Kunti, Sabitri, Sita, Premlalava, Nankau, Kaluwa and others, this novella unveils lives fraught with perpetual struggles and exploitation, yet teeming with indomitable spirits. In this evocative portrayal, democracy emerges as a beacon of hope for these marginalized individuals, despite the corrupt democratic system palpably failed to address their plights. The pervasive grip of political corruption, the manipulations by local leaders for their own interests and the labyrinth of conspiracies enveloping their lives paint a stark reality. Ulaar resonates anew with every reading.
Kampa is a captivating novel penned by the talented Sharada Sharma, an author I deeply admire. At its heart the story of Chitrangada Kapali, a remarkable woman protagonist, whose intellect and rationality defy the conventional portrayal of women as mere embodiments of beauty rather substance. Within the pages of Sharma’s narrative, the reader is swept into a world where seismic events like earthquake unveil profound truths; souls embark on their journey to Yumlok after death and witness an intricate and fascinating system of justice. The writer’s piercingly satirical examination of the Garun Puran reading, supposedly an essential text entwined with Hindu death rituals, makes a mark. Sharma’s storytelling is a breath of fresh air. Seamlessly blending elements of reality with vivid imagination. Through references to Puranic lore, myths and evocative use of magic realism, the novel transcends the boundaries of time and space, and fact and fiction. Boldly challenging orthodox beliefs with incisive sarcasm, she employs new metaphors in enchanting language, crafting a narrative adorned with the elegant flow of sentences that leaves the reader longing for more.
Karagar written by Dr. Banira Giri, unfolds its narrative through the intimate lens of first person narration, immersing readers in the intimate world of a main protagonist. This protagonist’s tale is one of confinement where familial decisions concerning property shackles the possibilities of her life. Despite her education, employment and financial independence, the protagonist, “I” finds herself in a constant struggle against the suffocating gasp of familial control. As her rebellion clashes with the dictates of her family, her life becomes ensnared in the web of influences and societal norms. Amidst this turmoil, the theme revolves around the conflicting ideas that plagues her existence. Her forbidden love affair defies societal norms. Her unquenchable desires deemed taboo and her unwavering pursuit of individual freedom against the backdrop of regressive expectations shows her defiance. Through it pages, the novel hold up a mirror to the hypocrisy ingrained within society, inviting readers to confront the uncomfortable truths. While I have some reservations and disagreements with certain viewpoints presented within the theme, Karagar remains a thought-provoking read.
How satisfied are you with contemporary literary works? Do these works truly reflect the spirit of our time? Or, do you perceive literature through a different lens?
Contemporary era acknowledges the significance of diversity, multiplicity and inclusiveness, and this influence resonates within contemporary Nepali literature. The surge in the number of published books brings with it a diverse array of genres and an exploration of myriad issues. Daring to challenge the dominance of the established language, writers from diverse regional backgrounds contribute to an expending literary milieu. Traditional literary school and presumed essential elements of various genres face scrutiny, prompting a reevaluation of literary aesthetics. Contemporary literary works are dismantling the entrenched canons of literature. They are introducing the stories that were unwritten, issues that were unraised and offering alternative perspectives to see the world.
However, amidst the proliferation of books and emerging writers, it is essential to note that quantity does not always equate to quality. The paradox of our times lies in the prevalence of ‘literature in haste,’ ‘ghostwriting,’ and the aspiration to become a writer without due diligence. Driven by the allure of instant fame and the desire for literary accolades as well as media attention, many rush to their literary output. Therefore, many aspiring writers lack the patience for extensive revisions. I must admit that mediocrity has discouraged serious reader of literature from investing more time and money in the book. Also, marketing strategies have prioritized the superficial aspects, such as, fretting over cover of the book more than the content of the book. Creating rumors about high book sales they mislead readers and create illusive bubble which is bound to burst sooner or later. While such short term strategies may bolster book sales momentarily, the transient nature of consumer trends mean that every new release, favored by multimedia, quickly overshadows the earlier releases. Therefore, only the new release creates the buzz the earlier works are forgotten. And lastly, being content implies settling for less than the best, therefore, I am not happy with our contemporary literary landscape at all. I yearn for a literary epoch marked by excellence and innovative styles. I remain hopeful that the finest works are yet to emerge, poised to elevate Nepali literature onto the global stage of literary acclaims.
In the age of multimedia immersion, we find ourselves seamlessly integrated into the global community. Do you explore literature from around the world? Could you share a few non-Nepali authors who are among your favorite?
I am a student of literature, therefore, I always read literature from around the world. When I was a student in the University, unfortunately, the central library of Kirtipur was in a dilapidated condition, with not much books. As a student, buying books was an expensive dream. I took a membership in the British Library to get books. Now we have more book stores in the city and internationally acclaimed books are easy to get; one only need more time to read.
I enjoy Salman Rushdie’s writing for his narrative techniques. In his works, he incorporates elements of magic realism and mythologies, blurring the lines between reality and fiction. His works grapple with questions of identity, explore the intersections of East and West, his themes of exile and cultural hybridity & also for reflections on his own experience as an immigrant make his writing appealing.
I like Arundhati Roy’s works because of her lyrical prose, evocative imagery and passionate storytelling. She has a knack for crafting vivid and immersive narrative, intricate description and her politically charged language as well as her fearless stand on social justice, human rights, caste system, religion, and environment degradation makes her special. Not many writers can engage with literature with activism as craftily as Roy does.
James Baldwin is also my favorite writer. He unflinchingly explored the issue of race, sexuality and identity. His writings challenge the readers to confront the uncomfortable truths about the world around us. His sentences are crafted with deep sense of empathy and compassion allowing readers to connect with his precision. Similarly, there are many other writers that I enjoy reading; for instance, Jhumpa Lahiri, Margret Atwood, Haruki Murakami, Chimamanda Ngozi Adichie, and recently I read the book The Vegetarian by Han Kang, which I loved.
What principles or strategies do you employ to balance your responsibilities at home while also dedicating your time to literature?
It was challenging to pursue writing while balancing the demand of caring for my two girls and the aged in-laws in the family. Now that my girls have grown and ventured into their academic careers, I find myself with more times to dedicate to literature- whether it’s writing, publication, or participating in literary events. Additionally, I am actively involved in the Brihat Naagrik Andolan (The Citizen’s Movement), and addressing the concerns of common citizen’s often overlooked by government authorities. Despite these commitments, there are days when I realize that managing time for creative pursuits become difficult due to my public obligations and publication works. Nonetheless, I plan to give more time to literature in the days to come.
