YOUNG WRITERS OF NEPAL: WHERE DO THEY STAND?

Soon after the completion of French Revolution with all of its odds and evens, William Wordsworth, an English romantic poet wrote:

These timeless lines are perhaps one of the best expressions in our language that showcase the spirit of being young at a time, when the most historical changes were taking place in the country. The tremors and ramifications of the French Revolution were not limited to the frontiers of France; they rippled across seven oceans, and inspired many revolutions against feudal set-up and dictatorial establishment. Though American war of Independence had been accomplished decades earlier, it was a war of choices by whites against the whites, by one types of rulers against another types, and inspired by an ambition of self-rule. French Revolution, on the other hand, was people’s war against the establishment, and a determined struggle for right to life, liberty and pursuit of happiness. For this, this revolution has always been a landmark in the history of modernity.

When we look at revolutions in Nepal, the one we faced in 2062-63 was perhaps the most historic. Revolutions before this were either partial, or were for replacing one ruler by another, and not entirely to change the mode of ruling. For the first time in the history of Nepal, people dared to uproot monarchy—a legacy since the formation of this nation—and this change was colossal. A decade has passed since the death of monarchy, but the revolution still rings in, for, it has not been fully institutionalized, and the nation is still in its nascent state, yet to secure for itself a firmness, a stability, and yes, a constitution. In other words, a reign of uncertainty still persists.

For us, being young in such a time in Nepal meant a lot for us. First, we saw with our own eyes the most important historical turning point in the history of this nation, and this means, we have recorded in our minds a story of extraordinarily high amplitude. This story, which we shall hand over to our progenies for posterity, will keep inspiring us and our children for ever. Second, we were a part of the revolution—with all of its excitements and risks—and it was a venture of success. This, we were in fact partaking, influencing and pushing forward. No result is sweeter than the one you have your hand in!

One of the gauging devices to see how the young generation of writers celebrated the danger, risk, anxiety, excitement and romance of the revolution is to see how they decked their creativity. This write-up attempts to make some sweeping generalization about young writers of Nepal, who represent the post-revolution era, the revolution being the one that we witnessed in 2062–63, a decade ago.

A large chunk of contemporary creative writing in Nepal, especially the one handled by young progenies of Apollo, is inspired by the Maoists’ decade-long war that preceded the revolution. Obviously enough, writings have come for and against the war, but they guarantee one thing: a deep-seated concern for the liberation of the society from all types of feudal and dictatorial manacle and a growing concern for humanity.

Immediately after the war that culminated in the anti-king revolution, writers organized themselves into a virtual pressure group, that basically aired three concerns: need to deliver a new constitution as soon as possible, a guarantee in favor of a federal democratic republic with warranted provisions for respect and identity to all marginalized groups, and a concern for the whereabouts of those lost during the war, from both the rebelling and ruling sides. These voices are, even to our own days, the most dominant voices of contemporary Nepali writing by the young writers. Though a faint voice of the cavaliers continued in favor the the king, it was carried away by the whirlwind and silenced forever, when even the so-called royalist parties revised their agendas and abandoned all hopes of reinstating the king back on the throne. Monarchy, then, seemed to be a chapter closed forever. With that died the coterie of the cavaliers.

The bourgeoning of a fierce young generation of creative writers in Nepal, with extraordinary sense of perfection, heralds the coming a new era, wherein, unlike the bygone days, the mainstream of our literature is slowly moving into the hands of the young ones. One thing decidedly noticed by writers everywhere in the nation and abroad especially during literary festivals and recitals, is that, the younger generation—armed with new and fresh metaphors and an informal, colloquial language from the archive of local episteme—is far more influential then their seniors. This conclusion was drawn even in the recently-held poetic meet in Pokhara, or during a poetic tour to Darjeeling and Sikkim of India by a group of poets. This is a very important paradigm shift, and now, the control of poetic knowledge and influence is shifting its ownership towards the youngsters.

My first-hand experiences say, the upcoming generation with its direct exposure to international literature will be our glory in a decade’s time. From the far west to the far east, there is a battalion of hopeful writers, capable of making a breakthrough. This ‘young’ category has two virtual layers. First, there are writers with some publications that have made national impact already, and the writers are now in the helm of their success. Such young people, if traced from the far west to the far east, make a looming list.

A group, apparently younger than these writers probably makes the largest age-group of aspirants. They have published a book or two, or are preparing one, but are yet to finely establish themselves in the national arena, but it can be guaranteed that they will soon make up their presence to the helm of writing. This group, traced from West to East, comprises of these writers, the list, once again, plagued by unintentional omissions: Tirtha Raja Bhatta, Tirtha Bhatta, Janak Rasik, Krishna Bohora Yatree, Yugeen Bibek, Khem Batas, Komal Pushpa, Kalpana Bhatta, Ganesh Dhungana, Bibek Adhikari, Anup Joshi, Sweta Gyanu Baniya, Nitya Pandey, Suman Raj Shrestha, Sagar Karki, Masan Upasak, Purushottam Acharya, Prateema Pathak, Jenan Nepal, Tej Bikram Karki, Ram Acharya, Rajesh Natamsha, Birat Anupam, Season Nayan, Dutendra Chamling, Anil Rai, Tika Dhungana, Milan Acharya and others. Still younger than this group is a layer of enthusiasts, who are writing and have shown their talents, but are yet to make influential start. Another disclaimer: I did not enlist the ghazal writers, because the list will perhaps never end. I did not mention many novelists due to the limitation of my own research and information.

There are a few comments that are often directed towards the young generation, and it is advisable that the youngsters take these comments into serious account. First, the young generation is alleged to be too much of anti-traditional and anti-legacy. This attitude is sometimes reflected in their treatment of their immediate predecessors too. This is a fanaticism and needs rethinking. Second, the young generation does not have a sound rooting in its own culture, myth and tradition, and therefore a serious study of one’s own epistemological tradition is a must. Third, due to a direct influence of the global literature, the young generation seemingly is after the universals, and much to the detriment of the nation, the local knowledge is either neglected, or back-grounded. Fourth, a large chunk of the young generation does not read the classics, and therefore, its writing, though rich in argument, is defective in its comprehensiveness and its artistry. Fifth, most of the writers who comprise this young generation are politically indoctrinated by a particular school of thought, and they are very unsympathetic towards other thoughts, which is unworthy of a responsible writer. Lastly, since contemporary literature is more a literature of argument and less of form, there always is a danger that the writers, like judges in a court, pass judgments and opinions barely, and tell out their themes denotatively, instead of developing an artistic landscape that forces the reader to derive the intended motif.

If the young generation takes care of these suggestions, no force on earth can bar them from making their way up to the climax of success.