Book Review

Samba's Tamasotsav

2010-05-02T11:33:00.003+05:45

Samba Dhakal, one of the promising poets of Nepal, recently brought out his collection of poems ‘Tamasotsav’. ‘Tamasotsav’ is his second book, as his ‘Mancheharu Ajangako Yatrama’ was published few years back. This collection includes 101 poems written in nepali in last five years. Most of his poems deal with the present realities and absurdities resulted from Nepalese politics. In additional, his frustrations and wish for betterment are some other areas presented in his poems.

In Aru Andyaro Nahaeru Ki (Don’t want to see more darkness), his wish for light has been reflected. Basically, after undergoing the age of darkness, people are afraid to walk in the same situation. The poet puts the question posed to him ‘how long can you walk in the darkness?’ which is still unanswered to most of us, but the poet says he will proceed only after the light appears.

In Apradhbodh (Regret), Samba regrets that the purpose of composing poetry for him was not fulfilled. He wished to have changed the life of poor people, but it failed to do so. Poems are not directly helpful to support the people, but they have been playing the role to transmit ideas to them, which Samba is aware of, though he confesses.

According to Critic Madhav Kafle, Samba is a humanitarian poet, as he is advocating human values in each facets of his writing. Rasa, the poet and critic writes that Samba stands a critical observer, though he looks like more radical while criticising the unfavourable realities. Reading Samba’s poems was a sort of mental exercise to understand the complexity of complex life.

Recollection of Readings on Kishore Pahadi’s Books

2008-11-04T01:31:00.004+05:45

I was thinking to write something about Kishore Pahadi for my blog on what I think about his writing but I didn’t find time when I was in Nepal. I was passing very busy schedules in Kathmandu. And, when I came to London, it was wonderful for few days to wander around and enjoy the new place. But later again, I was busy to search the job. Once I got the job, I engaged again.

But today when I saw Kishore Pahadi’s Face Book, I was again reminded of what I was thinking for long time. It was quite impressive to see all the books that he wrote as author, co-author, translator or editor. His first book was co-authored with Ashesh Malla, and it was a collection of short stories. It was ‘Katha Kon’. Some of the stories from this collection were dramatised and were performed by Sarwanaam.

‘Ghar-Khandahar’ was another collection of short stories and it was his first sole book. I remember reading few stories from ‘Bishudai’. Most of the stories in this collection are excellent and this book was also awarded with Sajha Purashkar, an award given to the best book of the year by the Sajha Publication. I freshly remember one scene of Bishu dai, where Bishu dai paints his canvass with blood as he didn’t have money to purchase the colour.

‘Saharma Batti Niveko Bela’ is the collection of poems by Kishore Pahadi. I couldn’t exactly remember any poem right now, but I remember once he was reciting few poems from this collection in Ratnanagar of Chitwan, and received huge clapping.

‘Tyo Talako Malik’ is a collection of translated stories from different international writers. Parashu Pradhan acknowledged this book as an inspiration to translate and edit the ‘Bishwa Prashiddha Yaun Kathaharu’. ‘Kimwadanti’ is a collection of short short stories. One time, Khem Aryal and I started translating those stories into English. Khem finished his part, but I couldn’t finish my one.

Another collection of his stories is ‘Sarbaghya Ra Sex’. It was his famous book. I remember the author presented a pen which was watching the secret romance of a woman in the absence of her husband.

He wrote couple of books for children. When I was Assistant Editor for Sunkeshra, the monthly magazine for children, I had an opportunity to be the first reader of those stories. ‘Lamlamti Dam’ was the collection of such short stories for children. It’s nice to see that he is writing continuously and I wish all the best for his writing.

A Thousand Splendid Suns

2008-09-27T22:42:00.000+05:45

A Thousand Splendid Suns is a breathtaking story set against the volatile events of Afghanistan’s last thirty years—from the Soviet invasion to the reign of the Taliban to the post-Taliban rebuilding—that puts the violence, fear, hope, and faith of this country in intimate, human terms. It is a tale of two generations of characters brought jarringly together by the tragic sweep of war, where personal lives—the struggle to survive, raise a family, find happiness—are inextricable from the history playing out around them.

Propelled by the same storytelling instinct that made The Kite Runner a beloved classic, A Thousand Splendid Suns is at once a remarkable chronicle of three decades of Afghan history and a deeply moving account of family and friendship. It is a striking, heart-wrenching novel of an unforgiving time, an unlikely friendship, and an indestructible love—a stunning accomplishment.

(From: http://khaledhosseini.com/)

The journey of a confirmed Yatri

2008-03-09T15:13:00.001+05:45

Krishna Shah Yatri had a fix on reading Balakrishna Sama's plays in his schooldays in Udayapur. And having grown up seeing lavish productions of mythological plays by the Newar community of Udayapur, Krishna started his own theater troupe, the JyotiPunja theater, and performed to crowds of thousands.

When in Kathmandu, he joined the Sanskritik Sansthan and learned the art of theater in depth. After graduating from there, Krishna again established the JyotiPunja troupe and performed a play each month where he directed plays written by Sarubhakta, Govinda Gothale and Sama, among others.

“The biggest challenge of my life came to me when I had to produce a play where all the actors were deaf,” remembers Krishna.This challenge turned out to be fruitful for Krishna because his play bagged both the best drama and best direction in the National Theater Festival of 2000.

Along with doing theater Krishna is also a prolific writer who has six books in his credit. All this in his bag, Krishna has recently hopped into a new boat, that of film direction. Although shy to announce which project he is working on, he is joyous to be exploring this new territory. Not that he is not prepared for it already, for he is a graduate of the now defunct National Studio of Film College but his entry into this new visual world is recent. Having already directed two music videos, one for Anand Karki and another for Uditnarayan Jha's upcoming album, Upahar part two, Krishna seems geared to his new role as a film director.

A person with a warm heart, Krishna says he feels most happy working with kids. Currently also a teacher of theater at Little Angels School, Krishna is awed by the tremendous interest and talent his students have for theater.

As a writer, Krishna likes to keep his themes in the realistic realm. “There is so much around us. All we need to do is just pick elements from there and put them together with integrity,” says Krishna about his writing style.

Whatever he does he does it with a heart that sees the varied aspects of being human. We only wish Krishna a fulfilling journey as he has come to a new bend and film directing has opened up to him. At a time when the film industry is starving for new talent, the entry of Krishna, with all his experience and depth will be welcoming. Bon voyage, Krishna!

(From: The Kathmandu Post)

Critical Discources on Gopal Parajuli

2008-02-11T11:24:00.000+05:45

Gopal Parajuli is a postmodern poet in Nepali Literature. He has published hundreds of poems, plays, short stories,essays, interviews & articles in most of the leading magazines and papers from Nepal & E-magazines-Poettext (U.K.), Cubed (Canada), Paradesh (USA), Panorama (Canada), Peace Media (peacejournalism.com) (America), Freenepal (Mosco), News Blaze (US), Pressbox (London), Scoop (Newzealand) and News From Bangladesh (Bangladesh). Parajuli is currently the editor of ‘Garima’, Nepal’s foremost literary magazine.

Gopal Parajuli's other literary works include Samanantar Sadak (Parallel Roads), a play, Nayan Ishwarko Ghoshana (Declaration of a New God), an epic poem, Samayako Prasthan (The Departure of Time), an epic poem, Shabda Shatabdi (The Lost Century), an epic poem, Deshmathi Alekh (A Salute to the Nation), an epic poem, Arko Disha (New Direction), a collection of short stories, Himalmathi Alekh (Mark on the Summit), an epic poem, Dishahin Akash (The Broken Sky), a collection of short stories, Prithbimathi Alekh (The Mother-Figure), an epic poem, Sadakpachhi Sadak (Road After Road), a play, and Golardhaka Dui Chheu (The Two Extremes), a collection of one act plays.

“When he wields a pen, however, he becomes a changed man. He speaks with the voice of a prophet, and the words he sets upon the page breath fire.” writes Dr. Sanjeev Uprety. According to Michael Levy, Gopal Parajuli is a poet extra-ordinary, who composes ambrosial messages as though they were transmitted via God. Levy writes “His soul evokes true purpose of vitality”.

Recently, a collection of critical commentaries on Gopal Parajuli’s work has been published as “Critical Discources on Gopal Parajuli”. The book is edited by Susan M. Griffith-Jones. Susan Griffith-Jones has assembled a collection of commentaries by variety of authors familiar with Gopal's literary work. Some of them are Sandy Chilcote, Dr. Govinda Raj Bhattarai, Dr. Jaya Raj Acharya, Dr. Sanjeev Uprety, Dr. Shreedhar Gautam, Tek B. Karki, HB Bhandari Prabhat, Suresh Hachekali, Tulasi Prasad Acharya, Mukti Ghimire 'Pathik' and Kamala Sarup.

About Books: with Ashesh Malla

2008-02-04T16:02:00.000+05:45

By Avash Karmacharya

Born in Dhankuta, writer and veteran theater artiste Ashesh Malla, 52, is the director of the Sarwanam theater troupe. An MA in Nepali Literature from Tribhuvan University, Ashesh wrote poems and stories from an early age. He started his career as an officer in Family Planning Commission and worked there for three years. Later, he joined Patan Campus as a lecturer of Nepali Literature. Today, he is an Associate Professor at Padma Kanya Multiple Campus. Malla, who has acted in over one hundred street plays and dabalis, started the theater group Sarwanam in 1982. An author of over twenty-two plays and books such as Sadaksamma (drama), Anadhikram (anthology of plays), Ardhabiram (collection of stories), Ashesh, once an avid columnist, has recently brought Eklo Ekanta (anthology of poems) from Sajha Prakashan.

Tell us about the books you're currently reading…
I've just finished reading John Nobbs' Frankly Acting and have started Abhinash Shrestha's Indrakamal Ra Andhakamal.

What genre/s do you prefer to read?
If I've access, why would not I go for all? I also can't deny that we've so many choices today to pick from and read. But I enjoy reading books that are related to my profession. So I mostly pick theatrical philosophies.

Who inspired you to pick up the reading habit?
My father is an avid reader. I still remember the time when I was very young. My father always had a book in his hand; and even in his ascending eighties now, he reads like anything. During that time, having books at home in a place like Dhankuta was a great deal. We had a sort of home library. I was never forced to read. But I loved to see my father's attachment with books. Therefore, I was influenced by him and started reading. After coming to Kathmandu, I got a chance to dive into varieties of books.

One interesting reading habit that you have…
I strongly believe that books are also living beings. They can feel sorrows and happiness. So I simply hate those who fold books and mishandle them. I don't even like people writing here and there on books. When I read, I make a point to underline important things by pencil and erase the lines once I'm over that thing.

Who is your favorite writer and why?
I'd say BP Koirala and Gopal Prasad Rimal. I find it stupid when people say we don't have good writers in Nepal. I must say they haven't read Nepali Literature to this day. BP's Modiain alone is sufficient to tell what a good literature is all about. Similarly, Gopal Prasad Rimal's poems are full of life and realities. The way he presents feelings in his lines are simply awesome. He has been a great source of inspiration to me.

What are the books that have touched you deeply? Can you name a few of them?
I finished reading Indian writer Mohan Rakesh's Aadhe Adhure in one hour and re-read it immediately. Now one can understand how beautiful that book is. Likewise, I read BP's Modiain twice. And no matter how many times I read this book, I always find something new and interesting to learn. I was deeply touched by Karna Shakya's Soch, Dhruba Chandra Gautam's Alikhit and Peter Brook's Empty Space too. Honestly, so many books are touching. But today, people have become so commercial that books with actual essence remain behind the curtain.

Which comes first in reading — knowledge or entertainment?
Undoubtedly, knowledge. I know that people also read for entertainment. But that seriously never happened to me. I always try to relate my reading with my profession. Perhaps, that is why I read books to attain more knowledge.

With the growth of cinema, television and so many other forms of entertainment, do you think books have been overshadowed?
I agree that the ratio of reading books has certainly come down. But there's no substitute for books. When films were introduced, people thought theaters would shut down. Did that happen? In the same manner, nothing can replace book reading. An Israeli friend told me it's not how many books people read; what matters more is one genuine person reading your book.

When you write a book, you mainly write about…
I write about people's sufferings and the nation. In a country where people don't even have access to water and salt, they dehydrate and die. What's the point in writing about how big are the mountains and how beautiful are the flowers here? That's why I make point to write about human sufferings.

How much time and money do you spend on books?
Books have always been one of my basic needs. When I go abroad, I see my friends busy in buying fancy dresses, and I, “a boring person” in their words, get myself into bookstores.

A word of advice to readers…
Books are the only true source of knowledge. So you don't have an escape.

Your favorite saying on reading...
“See yourself as the audience sees you.” - John Nobbs.

(From: The Kathmandu Post: http://www.kantipuronline.com/kolnews.php?&nid=136403)

Encounter with Padam Gautam

2008-02-01T10:20:00.000+05:45

Padam Gautam, one of the promising young poets of Nepal, is nowadays more interested towards writing essays. He started writing poems, and later turned to composing Gazal. Gazal has been very popular among the young writers. Padam says, “It takes less time to compose Gazal than other genre. Similarly, young generation is more inclined to this type of writing, as it is blended with love themes”.

Though Gazal was old genre in Nepal, the young people like Padam Gautam revived Gazals through writing it in lyrical meter. Writing in meter seems more classical, but for Gazal, it has been appeared as modern. Padam said, “Gazal is not only for reading, but is mainly for listening. Writing in meter helps to those who want to sing.”

Padam looks quite optimistic towards the young writers. He said, “They are crazy to do something new, and doing well. Naturally, the younger are smarter always.” Padam plans to do some serious writing in the days to come.

Simple Convictions

2008-01-25T13:53:00.000+05:45

Reviewed by KRISHNA SHARMA

The greatest lesson Nepal’s incumbent Prime Minister Girija Prasad Koirala learned in his entire political career spanning 60 years must be a one-liner from the movie 'The Godfather' by director Francis Ford Coppola. In that epic movie, the main protagonist Don Vito Corleone, played by Marlon Brando, has this advice to his son: Keep your friends close but your enemies closer.

It is the fruit of that ‘Corleone diplomacy’ which helped Koirala not just to recapture his ‘lost political image’ but also to liberate the nation from the bloody hands of its autocratic king Gyanendra who had come to power after the infamous royal massacre of June 1, 2001.

The 84-year-old Koirala, the leader of Nepali Congress, one of the nation’s largest political parties, reveals in the book that Corleone’s diplomatic advice was the hard earned mantra that facilitated him to re-shape the democratic future of Nepal. The Himalayan nation has been marred by 12 years of bloody Maoist violence and political conspiracies that were continuously hatched by a regressive monarchy. If he had not learned and practiced this diplomacy and had continued to underestimate the communist forces, which he had been doing almost all his political life, the popular uprising of April 2006 may not have been a success story. Koirala’s self-damaging remark in 1990 at a mass meeting had demonstrated his uncompromising stance on ideologies and perhaps an utter lack of diplomatic skills and political maturity at that time. He had uttered then: “All denominations of communist parties and a criminal gang of the royal family are the same.”

But in recent years Koirala leapt far ahead of his contemporaries in his political and diplomatic bearing to become a national hero. In fact, he began to emerge as an introspective and an compromising leader during the past decade or so.

In his ‘last political struggle of life,’ to cite his phrase, he displayed political prudence and diplomacy by establishing and nurturing ties with previously sworn enemies, such as the ultra-violent Maoists and the oft-conspiring royal family members, as well as his skeptical friends in the international community.

However complicated his political and diplomatic relations with others as mentioned above, Koirala asserts in the book that they were merely his ‘simple convictions.’ And if we judge them from what he said during his last struggle for democracy in 2006, we would be fairly convinced that he, in fact, has simple convictions – the conviction that the 21st century is not going to be a playground for autocratic rulers like king Gyanendra, that the king will have no business being anything other than a constitutional monarch, that democracy is the answer to the country’s problems, that the Maoists are misguided rebels who need to be brought into open politics by means of a revived parliament, and that peace is the priority of the moment for the people and the nation.

Koirala says in the book that he realized that guns and violence would never solve the problem. So he resolved that the Maoist problem could only be addressed through dialogue. He became convinced of the need to defend democracy from the guns of both the Maoists and the king so there would be no need for future generations to fight for democracy like he had to. This was the decisive struggle of his life.

It was Koirala’s own critical decision to develop ties with the then underground Communist Party of Nepal -Maoist (CPN-M) at a time when the latter was senselessly killing and kidnapping people, including party workers of Koirala’s own Nepali Congress as well as his associates. The aging Koirala single-handedly took all the responsibility of negotiating with the Maoists and he did it on the basis of what he calls his rock-solid but ‘simple convictions.’

It may not have been easy for the country’s longest serving Prime Minister (i.e., Korala), to convince the rest of the other political parties and their leaders that the dissolved parliament should be revived. His simple conviction— his ability to persist on his resolutions— might not have been that simple to others. But eventually his wisdom paid off because his detractors finally saw the validity of his conviction under the circumstances and the king also had to yield to the popular will.

And that is the essence of “Simple Convictions: My Struggle for Peace and Democracy,” published recently.

The book is in fact a compilation of his 24 speeches and statements delivered during the period between October 2002 and March 2006. It also includes the 6-point and the 12-point understandings reached between the Seven Party Alliance (SPA) and the CPN-M. The book subtly emphasizes Koirala’s departure from conventional diplomacy and the practice of Corleone diplomacy.

And that was the diplomacy that was felt but not foretold by many Nepalis. The introduction to the 117-page book is written by Kanak Mani Dixit, a noted journalist . Dixit writes that during the period covered by the pronouncements of Girija Prasad Koirala contained in this volume, Koirala evolved as a national figure, beyond being leader of the Nepali Congress party.

The extempore speeches from Nepali are translated into English by Devendra Dhungana. Although the readers may find many redundancies in terms of content, oral speeches by nature are like that. Also the theme of the speeches also reflect the discourse of a particular time, which again can be repetitive.

In his conviction, Koirala, the youngest brother of Nepal’s noted political thinker of the century, BP Koirala, demonstrates his capacity to pull together with others despite differences and to serve as glue holding diverse views together on the road map from the struggle for democracy to the interim constitution to the constituent assembly (CA).

One of his recent assertions-- nowhere in the world have kings returned after their exit-- may become a reality or not after CA elections or the possible establishment of a republican Nepal, but as long as Koirala continues to feel the pulse of the nation rightly and adheres to his democratic stance, he may also emerge as a noted Statesman of Nepal.

Yet another daunting challenge before Koirala is to read what is inside the mind of Prachanda, the ambitious president of the CPN-M. It is time now to be cautious as to whether Prachanda's ‘aim of becoming the president of Nepal in five years’ is guided by rightful political choices or by vested interest in total political powers or his desire to return to violence.

Ultimately, a compilation of speeches does not necessary cover the entire gamut of a person’s political attitudes and values. One can only hope that Koirala will some day write his memoirs to help readers to more authentically and thoroughly understand not only his newfound convictions but also the motivations behind them. And given that the peace process still hangs in balance and there is much more work to be done and more rebels to be wooed or befriended (particularly in the Terai), it is also important to note that perhaps it is too early to assess the long-term impact of Koirala’s convictions.

(From: http://www.nepalmonitor.com/)

Khem Aryal's Kathmandu Saga and Other Poems

2008-01-24T13:22:00.000+05:45

Reviewed By DR SHREEDHAR GAUTAM

Poetry is primarily concerned with feelings and attitudes. All great poems try to recreate human experiences that involve the readers emotionally and intellectually. However, in today’s world, most people have become so obsessive with their personal affairs that they have neither the interest nor the time to imagine something beyond the materialistic values. The majority of people do not feel pained by the growing immorality and inhuman tactics pursued in society for gaining narrow goals. If politicians are lost in the lust of power, ordinary people are hankering after money and prestige, forgetting the basic purpose of life and social responsibility. In this context Khem Aryal, a young poet, has done a praiseworthy work by producing a collection of poems under the title "Kathmandu Saga and Other Poems."

The book under discussion contains 35 poems written on different occasions on a variety of topics, and is illustrative of the poet and his mission. Through innovative logic and humanistic appeal, he has made a point and drawn everyone’s attention. Starting with a philosophical poem "The Wonder Man," the book takes the reader through the intricacies of human life and the problem resulting from political corruption and immorality. The poet is particularly concerned about the two-pronged violence resorted to by insurgents and security personnel, and that has plagued the country for long.

However, the focus of the book is on showing the mysterious and illusionary world and the people’s miserable life. The book reveals the poet’s deep and mature experience of life, and appeals to sense of moral values. The poet raises various common issues, including the deceptive nature of love and friendship, loneliness of human life, greatness of mother’s love, and the shock from the betrayal of dear and near ones. These are experiences commonly felt, but very few can give a philosophical touch as exemplified by Aryal.

Though some poems reveal the poet’s sense of humor, other poems are written with the seriousness of their meaning. The book has blended the poet’s spiritual outlook as well as his sense of responsibility to the country. He makes appeal to the readers to realize the omnipresence of God in all lives and places, and conveys a meaning that God can be realized not by merely following rituals and outdated tradition, but also by rendering services to the needy and showing social protest to all political evils and social discriminations prevailing in society.

The book gives stress repeatedly on understanding the value of life and developing spiritual awareness with social responsibility by referring to the life and deeds of great seers like Buddha and Socrates. For the poet, being spiritual does not mean being contented with the graveyard-like silence in society, but arousing and awakening people to realize their potentiality that can transform the lives of individuals as well as the entire country. He goes to the extent of explaining the benefit of meditative life, not for personal pleasure alone, but to change oneself and then pursue the goal of changing the life of others living in a hell-like situation, not realizing their own strengths and energies. Giving a message of universal brotherhood and oneness of humanity, the poet abhors the insulting behavior shown to the downtrodden by some people under the egoistic influence of their materialistic prosperity. He holds the present socio-political system as responsible for the growing number of alienated and fragmented people. The poet exhorts that it is the responsibility of right thinking people to change the quality of human life with collective as well as individual efforts. The book is written with a purpose, as the poet does not seem to believe in the theory of art for art’s sake.

The poem "Kathmandu Saga" beautifully shows the poet’s vision. The city presents a pathetic scene for all as it still does not look like a city ruled by the people’s representatives, worrying for the people. The city does not symbolize a place of democratic and human rights even after the passage of over fourteen years after the limited restoration of parliamentary democracy. Like in the totalitarian Panchayat system, still lovers of democracy and human rights are fighting for the cause of people. The title of the book "Kathmandu Saga" is appropriately chosen as it exhibits the poet’s deep understanding of life as well as the political situation of the country. The rhetoric used by the freedom fighter as reflected in the poem is inspiring and thought provoking. The fighter prefers death to slavery and suppressed life, and wants the streets cleared off security personnel creating a sense of horror around.

For the fighter, the city has been turned into a military barrack where people cannot have free movement of life and free flow of speech. The fighter laments that this is the same city that saw the assassination of a king and a queen in the early hours of the night, despite the deployment of a large number of security personnel around the palace.

Now he feels that the city has lost its earlier solemnity and purity. It has become a paradise for a few and a restricted place for many. Freedom fighter is unhappy because he no more hears the beautiful songs over the sky of Kathmandu, but hears regularly either speeches of protest or political slogans in the corners of city, now a metaphor of Nepali plight.

However, the poem ends with the optimistic assertion of the fighter that very soon the city will regain its earlier glory and then people will have freedom to express freely and fearlessly. The Society of Nepali writers in English has done a good job in the production of this book, which could have priced much low considering the people’s capacity to purchase. The main essence of the book lies in the poem entitled "Kathmandu Saga" as it covers various aspects of Nepal’s socio-political life. The poet has captured the plight of the whole people within the single poem artistically. Some of the poems are not focused on the given topics. However, the book is quite readable, informative and relevant in the present context of the country. On the one hand, it raises philosophical issues related to human life. On the other hand, it sheds light on the current socio-political situation of the country.

The Kite Runner

2008-01-22T11:16:00.000+05:45

Taking us from Afghanistan in the final days of the monarchy to the present, The Kite Runner is the unforgettable, beautifully told story of the friendship between two boys growing up in Kabul. Raised in the same household and sharing the same wet nurse, Amir and Hassan nonetheless grow up in different worlds: Amir is the son of a prominent and wealthy man, while Hassan, the son of Amir's father's servant, is a Hazara, member of a shunned ethnic minority. Their intertwined lives, and their fates, reflect the eventual tragedy of the world around them. When the Soviets invade and Amir and his father flee the country for a new life in California, Amir thinks that he has escaped his past. And yet he cannot leave the memory of Hassan behind him.

The Kite Runner is a novel about friendship, betrayal, and the price of loyalty. It is about the bonds between fathers and sons, and the power of their lies. Written against a history that has not been told in fiction before, The Kite Runner describes the rich culture and beauty of a land in the process of being destroyed. But with the devastation, Khaled Hosseini also gives us hope: through the novel's faith in the power of reading and storytelling, and in the possibilities he shows for redemption.

(From: http://khaledhosseini.com/)

Chanky Shrestha's Kayakalpa

2008-01-18T10:46:00.000+05:45

Chanky Shrestha, one of the renowned modern poet and writer brought out this anthology of poems last year. Chanky loves philosophy as well as weaves it in his poems. Mostly, his frustrations to current social and political situations are reflected in his poetry.

Being also a journalist, Chanky has opportunity to learn about the inner aspects of political life in Nepal, and this knowledge plays added value to his writing. Chanky also brings his intectual insight in his poetry.

Sashi's Pahad Budo

2008-01-17T16:16:00.000+05:45

Although I got this book from Sashi few years back, I didn't find time to go through this. Recently I read Sashi's poems and felt that he expressed truly from his heart. Fantastic poetry!!!

Release of Kalo Aakriti: New mark in Nepalese theatre

2007-07-16T10:05:00.000+05:45

Kathmandu: ‘Kalo Aakriti’ (Black Figure), a collection of contemporary plays by poet and playwright Gopi Sapkota, was released amidst a function held at Nepal Academy in Kathmandu recently. Poet and Critic Dr. Mohan Himansu Thapa made public Sapkota’s sixth work and third dramatic one. Besides plays, Sapkota has two anthologies of poetry and a collection of children’s stories to his credit.

Unveiling the work at the function organized by Sarwanam Theater Group, Dr. Thapa said Sapkota’s work was a blend of eastern and western philosophical and literary values. ‘Sapkota’s latest work is influenced by existential writers Jean Paul Satre, Albert Camus and Franz Kafka. He is equally influenced by the street play movement and the contemporary life style.’ He further said with the publication of Kalo Aakriti, Sapkota had established himself as a representative playwright from among the emerging writers.

Speaking at the program Dr. Govinda Raj Bhattarai, veteran litterateur and critic noted that Sapkota has emerged as a promising new generation play writer with his latest book. He further remarked that Sapkota’s work was most likely to give new direction to Nepalese theatre. ‘Among other things, Sapkota has successfully dealt with the theme of virtual reality in his plays’. Dr. Bhattarai also shared the work that he had been doing the field of criticism of plays.

Also at the program, renowned dramatist Ashesh Malla remarked ‘Sapkota has added new dimension to Nepali plays. We certainly can pin our hope on him.’ He noted that theatrical quality constituted the essence of plays and lauded Sapkota’s works for their height in this regard. He also urged the critics to study plays simply as plays and not on the basis of conventional classification between a complete and one-act play.

In the program chaired by the Coordinator of Sarwanam, Om Mani Sharma, poet Bishnu Bhivu Ghimire said the plays in Kalo Aakriti dealt with different aspects of life, love and death. He agreed with Dr. Thapa that they were markedly poetic although written in simple language.

The work published by Ratna Pustak Bhandar contains 10 plays in it.

Interaction on Sapkota's poems organised

2007-03-01T13:37:00.000+05:45

By A Staff Reporter

KATHMANDU, Feb. 20: An interaction programme on the newly published anthology of poems?'Gulafko Ashtrayma Mrityu' (Death in a Rose Ashtray) by poet and playwright Gopi Sapkota was held recently under the aegis of Nirjhar Bangmaya Pratisthan.

Prof. Dr. Durga Prasad Bhandari, the chief guest of the programme, said that Sapkota's poems were infused with the poetic energy and they expressed the absurdities of life. He further noted that Sapkota had artistically weaved the theme of love and beauty with that of death.

Prominent poet and dramatist Ashesh Malla said that Sapkota's poems reflected nature and life. He said that poetry was a matter to be felt and not explained.

The author shed light on the theme and the process of his writing. He said that the 'Death in a Rose Ashtray,' the title poem, centred on the absurdities of life and unavoidable presence of death.

Poets Rameshor Raut Matridas and Amar Neupane, essayist Yuwaraj Nayaghare and writers Khem Aryal and Indra Kumar Shrestha commented on various aspects of the book. The Death in a Rose Ashtray is the fifth work by Gopi Sapkota.

From The Rising Nepal [ 2007-2-21 ]

Death in a Rose Ashtray

2006-12-16T18:54:00.000+05:45

· This is my fifth book. I have chosen two genres to express myself that are drama and poetry. As poetry, this is my second book, and it has come after more than one decade. Some 11 years back, my poetry book was published. The Death in a Rose Ashtray is an anthology of the selected poems written in last one decade.

Throwing the warm blanket
that had covered our beautiful winter dreams
we got up hurriedly
and stepped out of our room to check what we heard about
We looked up and saw only the black clouds
no moon and no stars,
no lights and nothing visible
Virtually, we lost our sky in midnight.
(Sleep Walking, 79)

· Death in a Rose Ashtray, the title poem speaks about the absurdities of life and realizes the unavoidable presence of death. It’s an artistic composition of diverse concepts. I have tried to create a unique image blending various images. Rose symbolizes beauty; ashtray represents ashes, and death is an end to the life.

· 35 poems of this collection can be mainly categorized into three themes – life, love and death. Most of the poems that belong to life talk about the absurdities. The poems under this category also incorporate the social issues.

· Poem under the theme of love are pure and perfect. Mostly, I am trying to expose the aesthetic as well as external beauty of women. At the same time, I am also trying to show how love has ruined the life. (Sparsh, 74)

· Death is mostly matured and universal theme. I believe that the death is an evergreen theme for poetry. Death was in the past, exists in the present and will remain in the same form in future. Poems written on death theme will never be old. Death is eternal.

Those scared from the death,
Are scared from the truth
Truth means only the death
Truth means only the void.
(Death, 34)

· Few of the poems from this anthology bear the qualities of post-modernity. Leaving space to create multiple meaning for the same poem, I have experimented postmodernism in my poems.

Sparsh begins in Gallery Nine

2006-09-14T09:13:00.000+05:45

Kathmandu/ An art exhibition 'Sparsh' by Bhim Prasad Sharma was inaugurated by Ragini Upadhyay Grela on Wednesday at Gallery Nine, Lazimpat. The exhibition was organized by the Gallery Nine and Sahamati, an institution for equitable development. In the opening session, Ragini Upadhayay as Chief Guest said that Bhim Prasad Sharma's paintings expressed the color of the life of his village, Gaindakot, where he lives.

Speaking in the function, litterateur Govinda Raj Binodi said that Mr. Sharma's paintings expressed the social issues that range from caste discrimination to conflict.

Mr. Sharma recalled his memoirs when he started painting, and describes briefly on what his paintings intend to express. Sparsh is the third solo painting exhibition by Mr. Sharma. Prior to this, his painting exhibition was held in Canada.

Poet Biplav Prateek, on behalf of Gallery Nine coordinated the exhibition. The exhibition will be held during 13 - 20 September at Gallery Nine.

Sabda Satabdi: the poetry of absurdity

2006-07-06T11:34:00.000+05:45

Gopal Parajuli, a prominent writer of Nepal, always seeks for new dimension in writing to create his identity as an experimentalist. He loves to play with words, thoughts and feelings to experiment. He is fond of shaping new form in his latest writing. Sabda Satabdi (The Century of Word) is also an experimental work of art by Mr. Parajuli. Sabda Satabdi has been divided into two parts – Satabdi Purush and Sabda Purush.

The Satabdi Purush, a man of century submits the proposal where as the Sabda Purush, the man of word inaugurates the proposal. These proposals are in the forms of poetry. There are 36 poems under the section Prastav Jaher (Submission of Proposal) in Satabdi Purush and 38 poems in Prastav Udghatan (Inauguration of proposal) that falls under the category of Sabda Purush. The Satabdi Purush, the man of century has been talking about the current problems through the poems. The war lovers are attracting all towards their own thought in the country of Buddha. The truth is in emergency. The power holders are in love of war. The war has been waged for power. Though all the views advocated through the poems are of the poet Parajuli, he states his own view about his poetry in the foreword. He explicates – 'the world can’t be empty by murdering few people – those who stand against of peace should know clearly’. Poet Parujuli is a peace lover. He knows that the peace is in crisis at present. This situation haunts him. He composes-

The savers have started to tell lie
The enemies have started to conspire
Against the country. (Proposal 4)

'Time has already exited from the boundary of definition.' Poet Parajuli further talks in relation to time, space and poems. 'Poetry can’t go out from words, neither it can go out from life. It can’t go out from the emotions. It can’t go out from the expression of feelings. There is no space for poetry out of human being.' Gopal Parajuli believes that for poetry the existence of human beings is important. The whole country has deepened in despair. People are eagerly waiting for the ray of hope. A continuous waiting for the fortune! We can clearly see the chauvinistic feelings of the poet overwhelming in his heart. He loves the people, the country. He writes: People are waiting to listen, who brings the new news for country? (Proposal 4). Science has been networking violence and murder through internet through email (Proposal 32)

The second part of the book is of Sabda Purush, the man of word. So, there is no need to worry with the submission of frustrating proposals, the man of word has powerfully come out with forceful inaugurations. The man of the word spells out -

To save the life,
I declared myself
as a first police of the life.
(Inauguration 1)

These voices show the hopes for resolving the problems. But these expressions seem funny. The stanza like declaring himself a first police to save his own life shows the people's attitudes of individuality. It may also reflect that if one is saving oneself means everybody is saving him/herself. So, there requires not the security forces. It's a perfect stage of life that Mr. Parajuli has dreamt of. Gopal Parajuli always hopes for better. He expects the God, waits for Him. Though he himself does not know, whether the God exists or not, he wishes a friend who brings him the God in the world of love. Meanwhile he also suspects whether the enemies will come. But his desire of God's arrival seems strong. He states:

In my love
if the enemies do not come
a friend will come with the God.
(Inauguration 6)

Sometimes, the heart bursts out vigorously. The inner power becomes so strong that anything won't be impossible.

The poet's expression:
I will seize the gun from present
and will change the scene
at least for a moment
(Inauguration 19)

Changing the scene for a moment is not enough as well as is not what the people have expected. If it is to be changed, it should be changed completely, that's what the poet has not expressed. So, these expressions seem absurd, in complete. May be he urges others to fill up what he has left as gaps? The form of absurdity has been seen in the dramas in most of the cases, where as Gopal Parajuli utilizes the absurd form of writing not only in his dramas rather chooses to experiment in his poems and short stories. When the life and society are entangled confusingly in the abyss of absurdity, how a write can escape himself from the abyss, that compels him to express his opinions in absurd way. This is what poet Parajuli has been experiencing and expressing. The divergence in subject matter and stylistic novelty reflect his originality in writing. His experimental nature always encourages him to exercise with the philosophies of existentialism and absurdity.

Gopal Parajuli emphasizes more in the form rather than the content of his works of art. Searching, identifying and presenting ideas through new forms of expression has helped poet Parajuli glitter among the other nepali writers.

Durga Bhandari and his Poem 'Aryaghat'

2006-07-06T11:29:00.000+05:45

Durga Prasad Bhandari, in his poem Aryaghat, talks about death. A highly matured sense of the external and internal fire has been demonstrated in the poem. Desire is more terrible fire than the actual fire that burns dead body. Poet Bhandari mediates upon the fire and desire. The death of human body is the death of desire. Those dying (still alive) have been suffering from the desire. The dead bodies have to die no more, as they have already dead, and they are burnt with fire. Along with the burning of human body, their desires too turn into ashes. They transform into the death-free and desire-free creatures. However, the living human beings have to suffer, as their desire has not been burnt. Hence, Bhandari stressed that dying – the process to die – is more tortuous than to be dead at all.

Upon the theatre of Aryaghat
Dead bodies have gone beyond death and desire
Dying bodies are here to suffer the fire of desire
And desire is a more terrible fire
Than the fire of the burning ghat.
(Aryaghat)