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“गद्यकारका रूपमा देवकोटा”: देवकोटा अध्ययनमा एक नयाँ कृति

पुस्तक समीक्षा

— प्रकाश सुवेदी

49s२०६५ सालको लक्ष्मीपुजादेखि २०६६ सालको लक्ष्मीपुजासम्म महाकवि लक्ष्मीप्रसाद देवकोटाको शतवार्षिकी देशव्यापी रूपमा विभिन्न कार्यक्रमहरू आयोजना गरि मनाइयो । राष्ट्रिय र स्थानीय तहमा देवकोटाको स्मृती र सम्मानमा साहित्यिक गोष्ठीहरू, साङ्गीतिक कार्यक्रमहरू, चित्रकला प्रदर्शनी, कविता र निबन्ध प्रतियोगिताहरू वर्षभरि नै आयोजना गरिए । शतवार्षिकी कार्यक्रमको सबैभन्दा महत्वपूर्ण पक्ष भने वर्षभरि र त्यसपछि पनि निरन्तर रूपमा प्रकाशित देवकोटा विशेष प्रकाशनहरू रहे । नेपाली साहित्यको विकाशमा निरन्तर लागिरहेका सबै जसो संस्थाहरूले आफ्ना नियमित प्रकाशनहरूका देवकोटा विशेषाङ्क निकाले । त्यसका अतिरिक्त देवकोटाको व्यक्तित्व र कृतिहरू माथि अनेकन महत्वपूर्ण समालोचनाहरू पनि यसै अवसरमा प्रकाशित भए । प्रा. डा. रविलाल अधिकारी लिखित गद्यकारका रूपमा देवकोटा यहि सन्दर्भको एक उल्लेखनीय कृति हो । पोखरामा रहेर नेपाली लोकबाङ्मयको क्षेत्रमा सक्रिय संस्था अलिमियाँ  लोकबाङ्मय प्रतिष्ठानले प्रकाशन गरेको यो कृतिले देवकोटा अध्ययनका क्रममा अलि छायाँमा परेको विषयलाई समालोचनाको मुलधारमा ल्याउने प्रयास गरेको छ ।

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मेरो देश, मेरो नेता र म

"Nothing to worry about, councillor - politicians are usually short sighted."

मेरो देश

मेरो देश
खोलामा
ट्याङ्करका ट्याङ्कर बिजुली बगाउँछ
अनी
ग्यालेनमा भरेर तेल किन्छ ।

मेरो नेता 

मेरो नेता
साँघुरो गल्लीमा बस्छ
अनी
ठुलो गाडी चढ्छ ।

बसको मालिक हुँँ
जब जब मेरो बस दुर्घटनामा पर्छ
म घोक्रेठ्याक लगाएर पुरानो ड्राइभरलाई हटाउँछु
नयाँ ड्राइभर राख्छु
अनी
बसको पछिल्लो सिटमा गएर मस्तसँग निदाउँछु ।
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About

DSC_4240.jpgMy name is Prakash Subedi.

I am a Nepali poet/writer.

My first book of poems, Stars and Fireflies, was published in 2009, and my  second book, Six Stringsa joint anthology of poems with five other friends of mine, came out in 2011.

My other publications include Ibsen: Beyond Time and Space and Ibsen: Samaya ra sandarbha, both casebooks on Henrik Ibsen. My poems, essays and other writings have been published in journals and magazines in Nepal and abroad, including Of Nepalese Clay, Devkota Studies, Literary Studies, Bodhi, IMAP ReaderNepathyaPuspanjali, Mirmire, BaijayantiECS, Nepali Kala SaahityaThe Kathmandu Post, Republica, The Independent (Bangladesh), and Daily News (Srilanka), among others.

I have been involved with a number of literary organizations in Nepal for more than a decade. I have worked as the General Secretary of Society of Nepali Writers in English (NWEN), Director of Asian Center for Humanities (ACH), Executive Member of PANAsia Creativity, and a Member of Literary Association of Nepal (LAN) and Devkota Study and Research Center (DSRC). I have served as an editor-in-chief for the journals Devkota Studies (published by DSRC) and Literary Studies (published by LAN), and as an editor for Of Nepalese Clay, a half-yearly English literary magazine (published by NWEN), twenty-three issues of which have been published so far.

Starting with the establishment of Gurukul theatre in 2002, I have also closely worked with Nepali theatre as a writer, translator, editor, and promoter.

 

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I completed my MA in English from Tribhuvan University and MPhil in English from Pokhara University, and I have worked as a Lecturer in English at the Central Department of English (Tribhuvan University), Institute of Advanced Communication, Education and Research (Pokhara University), and School of Arts (Kathmandu University), teaching courses in literature, language, philosophy, and religion. Currently, I am affiliated with Dillibazar Kanya Multiple Campus (Tribhuvan University), Kathmandu, as an Assistant Professor in English.

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Hans-Georg Bulla: My impressions on “Stars and Fireflies”

– Dr. Hans-Georg

2014-10-07_Hans_Georg_Bulla_liest_in_der_Marktkirche_von_Hannover,_(1)Es ist schwierig für mich, Anmerkungen zu den Gedichten von Prakash Subedi zu machen, ohne den kulturell−literarischen Hintergund näher zu kennen. Z.B. kann ich nicht einschätzen, was es bedeutet, dass der Autor sich zu den „Nepali Writers in English“ rechnet − es müsste also noch  eine Literatur in der/den eigenen Sprache/n geben. Wie dem auch sei − ich notiere dennoch einiges, was ich vielleicht auch sonst als Lektor einem Autor schreiben würde.

Als erstes seine kleine Einleitung zu Beginn: ich selbst meine, dass Gedichte „gemacht“ werden und nicht aus „heiterem Himmel“ kommen; man erlebt zwar als Schreibender im Prozess hin und wieder „flashes“ , die man m.E. jedoch in einem dritten oder vierten Überarbeitungsgang möglichst (selbst−)kritisch überprüfen sollte − d.h., auch einige Gedichte des Autors könnten von einer Überarbeitung noch profitieren − wobei ich festhalten möchte, dass er aus meiner Sicht über mehr als nur eine Begabung  verfügt.

final_cover-designFür mich hat der Band auch viele Merkmale eines Debüt−Buches (ich kenne sie aus vielen Skripten, die mir zugeschickt  worden sind): Da gibt es z.B.  typographische Signalisierungen, um das Geschriebene nochmals optisch deutlich zu machen. Manchmal sind diese durchaus nicht ohne Reiz (vgl. S. 3, 36), aber ich selbst rate in der Regel zu Vorsicht beim Einsatz solcher Mittel − die Zeilen müssen überzeugen, nicht die Typographie. Ähnlich die schwarze bzw. weiße Seite (5 bzw. 57)  − dass  dieser Einfall wirklich weit trägt, möchte ich in Frage stellen. Charakteristisch ist auch die häufige Thematisierung des eigenen Gedichts; des eigenen Schreibens; des Ichs; dann die auf eine Pointe abzielende rethorische Struktur mancher Texte; einige Wortspiele usw. Ich bin allerdings sicher, dass sich einige dieser Texte gut und wirkungsvoll vortragen lassen. Es wäre aber auch zu berücksichtigen, wie und wohin sich die lyrischen Schreibweisen ansonsten in diesem Kontext entwickelt haben, welche Traditionen bzw. Avantgarden es gibt.

Es gibt jedoch auch eine ganze Reihe von Gedichten, die sofort und ohne Einschränkung meine Zustimmung finden. Z.B. die drei kleinen, haikuhaften Zeilen auf S. 29 − eine zugespitzte Beobachtung, ohne Aufwand hingesetzt, aber der Assoziationen freisetzenden Mitteilung wert, wie ich finde. Für den Ortsunkundigen ist zwar die Fußnote erforderlich, aber was soll’s. Oder auch S. 10 − die schön gespiegelte Warnung, die nicht so einfach aufgeht, wie es zunächst scheint; ähnlich S. 15 − durchaus ein kleines Denkbild; und S. 37 − das gefällt mir, die Redensarten gegen den Strich zu bürsten, kurz und knapp die Gegenbeobachtung festzuhalten, mit dieser Frage zu enden.

Oder S. 52 und S. 53 − in diesen Zeilen, Strophen kann man den Lyriker wirklich erkennen: sinnliche, anschauliche Beobachtungen (die aber nicht bei der Beschreibung bleiben), präzis verknappt. Bei „The moment“ vielleicht etwas zu deutlich in der Schlußfrage resümiert, aber durch die Bilder vorher aufgehoben.

Ich glaube, „Firefly“ ist mir das liebste aus dem Band, weit mehr als nur ein Gelegenheitsgedicht, das anhand einer kleinen Begegnung etwas auszusagen vermag − auch über den Autor, seine Sensibilität, seine sprachlichen Gestaltungsmöglichkeiten. Ich vermute, das stand in dieser Form nicht sofort auf dem Papier! Es hat auch diesen narrativen Ton, der für mich viele englische Gedichte kennzeichnet.

Müsste ich drei Texte für eine Anthologie auswählen, gehörte dieses Gedicht als erstes dazu, dann das Karawanengedicht und die Tempel−Affen.

Müssig zu sagen, das ich vom Autor mehr solche Gedichte lesen möchte − vielleicht kannst Du mir auch seinen nächsten Band zur Lektüre zukommen lassen.

Müssig zu sagen, das ich vom Autor mehr solche Gedichte lesen möchte…

(Oktober 2012)

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It is difficult for me to comment on the poems of Prakash Subedi, without knowing the cultural and literary background you closer. For example, I can not judge what it means that the author pays to the “Nepali Writers in English” – so it takes even a literature in the / give the own language / s. Anyway – I still write down some things I might otherwise write as an editor to an author.

First his little introduction at the beginning: I myself think that poems are “made” and not from “blue”; while you experience as a writer back in the process and again “flashes” that one M.E. However, in a third or fourth revision transition possible (self-) should critically review – that is, some poems the author could benefit from a revision yet – and I would like to state that it has, in my view more than just a talent.

For me, the band also has many features of a debut book (I know it from many scripts that have been sent to me): Since there is as Typographical signaling to make the writing again optically clear. Sometimes these by no means without charm (see page 3, 36.), But I even rate usually caution in the use of such funds – the lines have to convince, not the typography. Similarly, the black or white side (5 and 57) – that this incident carries really well, I would like to question. Another characteristic is the frequent theming of own poem; of their own writing; the ego; then aimed at a Pointe rhetorical structure of some texts; some word games, etc. However, I am sure can be some of the texts well and effectively present. But it would also take into account how and where the lyrical realizations have otherwise developed in this context, what traditions and vanguards there.

However, there are also quite a number of poems, to which I subscribe immediately and without restriction. For example, the three small, haiku offending lines on page 29 – a pointed observation, sat down without effort, but the associations worth releasing message, I think. Although the footnote is required to Localunaquainted, but what the heck. Or S. 10 – the beautiful mirrored warning that not so simple rises, as it first appears; similar p.15 – quite a small mental image; and S. 37 – I like to brush the phrases against the grain, succinctly capture the counter observation, to end with this question.
Or S. 52 and S. 53 – in these lines, stanzas can the poet really recognize: sensual, vivid observations (but not stay in the description), precisely scarce. In “The moment” perhaps something much sums up to the final question, but repealed by the images before.

I believe “Firefly” is my favorite out of the band, much more than just an occasional poem, which is able to say something using a small meeting – also about the author, his sensibility, his linguistic design possibilities. I suppose that was in this form is not immediately on the paper! It also has this narrative tone, featuring many English poems for me.

If I had three texts for an anthology choose this poem was the first to be the caravan poem and the temple monkeys.

Müssig to say that I would like to read more such poems by the author…

(October 2012)

(Translated by Google Translate)

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  •   Dr. Bulla is a German poet, lecturer, and editor.

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Places

clown_-_big_pants
I am living in Australia for a while.
“How different is it from living in Nepal?” my friends ask me.
“Not much,” I tell them.
“Back home, I used to wear clothes sized ‘L.’
Here, I have a hard time finding clothes sized ‘S.’
Ummm . . . . may be that’s the only difference!”
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Books

 

library-stacks.jpgMy friend proudly told me that he had downloaded hundreds of free books, and saved them in his hard drive.

I was really impressed.

“How many of them have you read so far?” I asked him.

He didn’t answer me, though.

May be he was busy downloading another book.footer.jpg

प्रकृती

236d2-fuites

उसले
रातारात सार्वजनिक वन फँडानी गर्‍यो
काठ तस्करी गर्‍यो
टन्न पैसा कमायो
ठूलो घर ठडायो
र,
घर वरीपरी
झन्डै वन जस्तै देखिने
बगैंचा बनायो ।footer

Aarohan-Gurukul Theatre Festivals

gurukulfestival_thumbKathmandu International Theatre Festival in Retrospection

  • Prakash Subedi

Apart from the regular national theatre festivals, Aarohan-Gurukul successfully organized NIB Theatre Festival in 2004 in association with International Theatre Institute Nepal Chapter which featured plays from Nepal, India, and Bangladesh, and Ibsen International Theatre Festival in 2006 which included plays by nine theatre groups from Nepal, India, Pakistan, Bangladesh, and Norway. The active participation and support of the audience, theatre critics, media persons, and theatre lovers during those festivals encouraged the group to organize international theatre festival every two years. Kathmandu International Theatre Festival was an attempt to materialize the same commitment. The first edition of this ambitious project was Kathmandu International Theatre Festival 2008.

Kathmandu International Theatre Festival 2008: An Overview
The 17-day long Kathmandu International Theatre Festival 2008 festival, organized from 11 to27 November 2008, included performances by groups from Nepal, UK, India, Bangladesh, USA, Norway, Denmark and Thailand. Every play had saw performances, one in the day and another in the evening. The following is a brief introduction of the groups, their performances, and the highlights of the festival. (more…)

Haider: A Tale of a Time, a Tale of Timelessness

Can a movie ever do justice to a classic work of literature? This is a perennial question asked every time a great literary work is turned into a movie, and the usual answer is a frank “no”. After watching Vishal Bhardwaj’s Haider, a modern-day adaptation of Shakespeare’s Hamlet however, I realized, this is not the right question to ask. The real question, rather, is how well the movie interprets the literary text, and how it uses the classical text to raise contemporary issues and interrogate contemporary “reality”.

Haider_PosterSet in Kashmir in the mid-1990s, the movie closely retells the great Shakespearean tale but also brings out the stories of thousands of innocent people caught in the border war between India and Pakistan in Kashmir. Even as the movie stays fairly close to the classical Shakespearean story, it does not shy away from introducing interesting changes to the original plot. The story unfolds at three levels. On the outer most circle, there is the story of the people of Kashmir who have lost almost everything in their quest for freedom and democracy. Go one layer in, and you find the story of two ill-fated families caught up in the mess this macrocosmic struggle has created in their personal lives. And, at the center of everything, lies the universal story that delves deep into the psychology of the individual, most importantly the complicated parent-child relationship made famous by Sigmund Freud with the term oedipal complex.

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Delhi Montage: Women, Home and the House

qutub-minar-new-delhi.jpg.pagespeed.ce.Q9njQ1EccnThe Times of India had the following as its headline on March 9, 2010:

“These men win battle, will they win war?”

The news referred to the Indian government’s bid to pass the bill which sought to amend the Constitution and reserve 33% seats in all legislatures for women, and the occasion was the 100th International Women’s Day. There were apprehensions within Congress, too, that reserving seats for women might hurt Muslim representation in the Lok Sabha. But the real obstacle was the strong opposition led by Mulayalam Singh Yadav and Lalu Prasad Yadav, who chose unparliamentarily tactics to prevent the ballot they would surely lose. It was at these men the headline was targeted. At the end, the government dallied and put off the bill for the day.

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Half a day, half a life

kathmandu-patan-temple

Though our individual day starts much earlier, our journey together usually begins at 10.20 in the morning. Balu finishes his classes at a private college in Kamaladi, and I finish mine at a community college in Dillibazaar. We then meet at Putalisadak Chowk, and speed towards Kirtipur on his motorbike. Our classes at the University Campus begin at 11.

“Have you eaten anything?” I shout into his ears as I adjust myself comfortably behind him. “Nothing yet, dai,” he says, “but we’ll eat something in the canteen before the class.” “Yeah, if we ever manage to reach there a few minutes earlier,” I shout back. We laugh, as we move ahead. We repeat this routined exchange every day, and both of us know very well that we don’t usually reach there before time to stuff our rumbling empty bellies.

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Poems of Innovations, Anxieties and Aspirations: A Survey of Six Strings

– BAL KRISHNA SHARMA

Six Strings, a joint anthology of poems by a group of six young Nepali poets contains 60 poems of varying styles, themes, and length. This collection unveils new experiments in technique and style. The poets have attempted to raise an array of issues of topical as well as universal significance, accounting for a welter of transformations being witnessed everyday everywhere. Rendered in simple but lucid dictions, the poems have drawn upon disparate quotidian and philosophical topics. In expressing their poetic exuberance, some of the poets have amply shown the influence of foreign form in their poems without, however, sacrificing native flavor. The influence has revealed unique and bold innovations as in the case of “The Poem,” “The River,” “The Gap” and “Two balls of thread”. This form-content poetic seesaw seems to promise a new trend in Nepali literature in English.

This paper presents a brief critical overview of Six Strings highlighting poets’ response to and their worldview on the issues they have reflected upon.  It draws upon the commentaries and analyses of Padma Prasad Devkota and Mahesh Paudyal. Devkota and Paudyal have analyzed only selected poems; this paper, however, makes a critical observation of the entire anthology and also attempts to highlight the possibility of new interpretations and analyses.

Bal Bahadur Thapa’s poetic observation explores different dimensions of life. “My City”, Thapa’s first poem, paints a bleak picture of a city, evoking dreadful images: “the veil of the fog,” “the smoke of the city,” “smells cancerous” and “the soul warping” (4). The poem evinces a tone of premonition and foreboding. His second poem “A Stranger” reflects on the conflict between illusion and reality with the conclusion that separation is a natural phenomenon.  The speaker has long lived in “pretense of oneness” which is now “upset” (8). In “The Discovery”, the poet renews his perception of the self, through a powerful action of smashing of “a big mirror” (21). This poem follows the passage of a person whose identity is shattered “into bits and pieces” (21), revealing the fact that identity is always inconsistent, unstable and ungraspable. The issue of identity perhaps leads the poet to reflect upon the enigmatic and intriguing relationship between life and death in “Apocalypse”. The poem reveals this enigma when the death of a mother gives way to “the birth of four strong boys” (26).

The transition from the philosophical concern of life, identity and self to the diurnal issue confronting us everywhere is evident in Thapa’s next poem “An Overnight Star”. It captures the overweening ambition of the present day youths who “chase a dream/ a dream to be an overnight star” (27). In this poem, the poet seems to be suggesting that one should choose a career in life according to one’s aptitude and skill. Couched in a wry tone, “Kathmandu, I Love you” brushes a seamy side of urban living.  The poet here blends anonymity, poverty, alienation and plight together to show an entangled and confused existence in Kathmandu. “Rain” shows the confluence of rain and earth through a vibrant sexual imagery. The poem is evocative of the theme of regeneration and growth as against desiccation and sterility. Poet’s idea that commercialism has reduced human beings to a mere automaton is best expressed in “My Best Opium”. This poem follows a pathetic story of the contemporary youths who are dehumanized by commercial world.  Fed up with “endless rat race” (56), the fatigued youth in the poem desperately needs his “best opium” to end his “endless burden” (56). “Holi” presents the poet as a social critic. He is deeply anguished by the cultural distortions that have erupted violently in the contemporary society in the name of festivals. Bulls going berserk “know no decency” and are devoid of any sense of “courtesy” (65). They symbolize terror and anarchy. “The Obscure Object of Desire”, Thapa’s last poem, traces the agony of unfulfilled love. Here, the social barrier symbolized by “a thin glass wall” (66) thwarts the union of two beings.

If Bal Bahadur Thapa has succeeded in blending the philosophical questions of human existence with the concern of everyday activities, Hem Raj Kafle is equally accomplished in dealing with his personal worries and political anomalies.

The poet Kafle visualizes the present world as a place of myriad experiences. The first poem of the anthology and that of Kafle is “My Fear”. It projects that the bonds of human relationships are extremely shaky, vulnerable and tenuous, like “the river that changes its course/ Or splits into two streams” (1). The poet being apprehensive of such unpredictable and fleeting nature of human relationship seems to be in haste to consummate the present intensely. His next poem “Just or unjust” unmasks the way human beings employ deception and fallacies to rationalize their course of action. Will the poet’s chiding such errant come of age?  In “The burden” the poet is heavily weighed down by the elusive nature of peace (Devkota, “reading-half-of-six-strings”). “My neighbor”, one of the most memorable poems in the anthology, picks up a typical commonplace spectacle: a befuddled drunkard with a serious mission to “smash the world” “gun me,” and “bomb my abode” (22). However, the poet’s mission is even more serious: “to forgive him” (23). Poet’s redemptive act of forgiveness is reminiscent of Christ’s forgiveness to his own betrayer. In an epiphany, the poet here discovers his own virtuous self. Another of Kafle’s poems, “On Martyrdom” reveals a sensitive person in the poet. It deals with a solemn issue of unselfish sacrifice and the dignity of martyrdom. However, the betrayal of a well-intentioned sacrifice made by martyrs—“Mercilessly redefined”– (24) dismays the poet. In “Co-travellers”, the poet sketches, in a slightly hilarious tone, some nasty and bitter experiences of life. It highlights the volatile, sinister and self-centered nature of human beings.

The agenda of rights and social awareness finds voice in Kafle’s short but subtle poem titled “Woman’s Day”. In this poem the poet grimaces at the absurdity between what is so laudably professed and what the actual reality is. The poet perhaps wishes to appeal to humanitarian activists of women emancipation and empowerment to be practical and realistic in their approach to women’s problems.  “On the Pile of Papers” beautifully captures a dilemma in which a time-conscious professional is terribly cleft in a conflict between fulfilling his filial responsibility and the terror of institutional deadlines. “[U]ncertain” and “confused”, the poet is caught unawares by his “toddler” when he fails to satisfy his curiosity of what he has been doing with “the pile” (53). In his attempt to expose the pretense of the world, he himself is trapped in self-deception. The poet has expressed his resentment and scathing criticism over the abysmal political scenario in “Street Theatre”. Here, the poet directs his rage at the unthinking and unscrupulous “gangsters,” “players,” and “actors” who have terrorized, brutalized, and devastated “country’s destiny”. Through a dreadful image of a giant beast swallowing a doe, the poet shows how people are at the mercy of these irrational and whimsical “pythons” (57). “The City breeds” takes readers through seemingly insignificant urban activities during festive occasions to ruminate on a serious issue. By placing “democrats” beside “[d]irt” and “dearth” (58), the poet’s impression and that of general people towards democrats as filthier than dirt becomes obvious.

More reclusive and introspective than any other poets in the anthology, Keshab Sigdel, however, adroitly elevates a seemingly ordinary event to a philosophical height.

Sigdel considers search, intrigues and change as the major themes of his poems.  His disillusionment with the present state of affairs and inability to reconcile himself with his future forms the base of his poem titled “To Myself”. Much water has flown in the river, indicated by the word “That”, since he first cast his vote out of his own accord. Now he feels his freedom threatened as “everybody speaks with threat” (2). His next poem “Identity” reveals his desperate struggle to discover his own identity.  His search begins with linguistic medium in “12 letters,” “BLOCK LETTERS” , mechanical medium in “Times Roman, Font Size 12” and official documents “1/147 and 2492318”. But the search turns into “a farce” (10). The poet’s any one attempt to define his identity only imprisons him into yet another definitional trap before he finally realizes the futility of his identity search.  “The Chess Game” reveals a subtle psychological relationship between two opponents at a chess board, each trying a smart move to outsmart the other opponent. Suddenly, he realizes that he is “A mere dice in flesh and blood” (19) being constantly maneuvered by some other players. In “My buddha-in-becoming” the poet takes “a buddha-in-becoming” to wander in an “enlightened” (34) city in search of enlightenment. The poet in “The change” directs his rage first at the “Time” that has engulfed him. Then, he expresses his anguish as his “scary” (35) reality. Man relishes in foisting submission on the weak, which is the theme of “Gratification”. This poem allows us a peep into a strange human psychology.  In the poem, it is actually the speaker who is “in gratification” because he has produced a life-long obeisance from the dog with a “piece of bone” (39).

In “Wonders of a leaf” Sigdel shows a leaf being engrossed in an amorous dream. On realizing that it was overwhelmed and consumed by the parasitic behavior of a caterpillar, the leaf is suddenly beset with a doubt:   “a mystic of life” (49). In a self-questioning tone, the leaf after being an active participant in the process of transformation (the caterpillar was transformed into a butterfly) wonders “if the butterfly is my love” (49). Political issues function as a recurring motif in this anthology. In line with this, “Metamorphosis” recounts the story of the manipulation of the common people by “a group of artists” who are entrusted with a responsibility of transforming “an Unreal City” into “a Real City” (50). The promised city never came into being. However, the common people, including the poet himself, continues to hope against hope until they accepted their “own defacement” and witnessed their own “metamorphosis” (51). Relating the theme of betrayal, the poet in “Will Power” constantly plays on the meaning of the word “change” to lend a witty and ironical twist to the last line of the poem. On being asked the possibility of their change, one of the leaders becomes confused and replies “We haven’t decided yet”. It pokes fun at the much-hyped rhetoric of “New Nepal” (59) used as a political spin by the so-called political leaders to hoodwink common people. Finally, poet’s last poem “Reward” sums up a 20-year career of a lady typist in a good-natured humor.

Iconoclast and inventive in his own way in the context of Nepali English writing, Prakash Subedi is seriously engaged in blending the form with meaning.

Subedi is always prepared to conjure something out of a very ordinary situation.  In “Goats”, his vision, inspired by the severed head of a goat and live goats munching “a few strands of straw/under the table” (3), transcends “the butcher’s dirty wooden table” (3) to reflect very broadly upon the transient nature of life. Illustrative of bold experiment, “The Poem” represents an appeal to use simple but connotative dictions for poetic or artistic creation. A verbose style only suppresses and obscures the meaning of a literary work.  In its use of conceit—“two big drop of tears” creating an ocean, the poem “Barrier” is reminiscent of the Metaphysical poetry of English literature.  Emotions always hinder progress. “Two big drops of tears” have “created an ocean” for the poet. Now the poet’s earlier determination “to cross the Mighty Koshi” (17) takes no time to shake.  Should a determined man like our poet be held back by sentimentalism?  As an audience watching an artistic performance, the poet stumbles upon a riddle: which one is true, life or art? The stage is synonymous with life and vice versa, as Padma Prasad Devkota understands (“At the theatre”), (Devkota, “reading-half-of-six-strings”).

The shorter the subtler! The case in point is “Time”. This poem claims the dream as being “longer than the night”. If dream here refers to vision, then it can be inferred that the poet wishes to celebrate “the permanence of vision in the infinite gyre of the space-time continuum” (Paudyal “poetry-in-strings”). Big changes in the world have emanated from the dreams “longer than the night” (33). “Two balls of thread” allegorizes an event through the imagery of two balls of thread. When the two boys “fell into a deep dry well” (38) they each found a ball of thread. One wove his share of thread into a rope and climbed out; the other got entangled and snared in his. In the journey of life, some utilize an opportunity at hand to their advantage, while others fail to do so. “The State” refers to a deplorable political situation. Great political figures “tall men” with genuine vision and commitment “chose to leave the state”.  The state has faced an acute dearth of honest political leadership and is “ruled by the dwarfs” (47). The political theme of “The State” can also be found in “Unity”. This poem aptly captures the contemporary political hide -seek game of Nepal. Selfishness, treachery, and vested personal interest have made it difficult to grasp and establish unity in the country. In “Gods” the poet finds gods callous and indifferent. Rather than relieving his afflictions and mopping his “torrential tears”, gods laugh “at the top [their] voice” (67), the poet complains. So, the poet is deeply despaired.  A poet emerges out of self-sacrifice, whereby he establishes his immutable ties with such cosmic elements as “the winds,” “the clouds,” “the mountains,” “the flowers,” “the stars,” “moon,” “the sun,” and “people” (68) (“Poet”).

Unlike her preceding counterparts—Thapa, Kafle, Sigdel and Subedi—Sarita Bhattarai has explored and dealt with the issues related with women, domesticity, environment and so forth.

Bhattarai’s first poem “Transformations” exposes a gruesome story of violence being administered in “daily dosage” to a woman. Her account of the portrayal of “torture and abuse” (5) meted out to the woman in question is very moving. Sometimes, an ordinary action turns out be a moment of epiphany (“Spectacle”). Wonderstruck at the sight of a beast, the poet is suddenly led to reflect upon the unparalleled craftsmanship of nature, and “marveled / At the beautiful ugly creature/ And nature’s genius” (13). Constructive conflict leads to common prosperity and positive results. In “Kitchen garden” the muttering and grumbling couple, though found wrangling in the kitchen garden, are actually involved in the cosmic act of procreation. In “Pathways” the poet has used “walking” (30) as a controlling motif in the poem, relating it to her loneliness.  “A Plea” is one of the poems in the anthology which makes a veiled reference to impending ecological upheavals due to befall humankind. If a mighty star like sun is “sick” or “annoyed”, the sickness is likely to play havoc with “The land,” “The being,” “Animals,” “lakes,” and “humans”. The poet on behalf of the entire chain of being implores the annoyed sun to “scatter its warm rays” and respond to the “Hopeful eyes” (31). To trespass is to incur dispute and antagonism. In “At play” the baby and the dog are well aware of this fact. When will the so-called grown up conscious adult learn this humility and create a harmonious place for a peaceful living? This question worries the poet.

Environmental concern reemerges in “The K Valley” as in “A Plea”.  By mystifying the familiar geographical place Kathmandu (K in the title instead of Kathmandu), the poet lends a tone of some eeriness to the poem. Personified as an old woman, the valley is afflicted with some serious medical conditions: “Her food pipe clogged with sewage/ And windpipe chocked with fumes”.  She buckles because of the overload of “innumerable selfish offspring” (45). This situation does not auger good for the environmentally threatened citizen of the K valley.  In “The red”, the poet observes that red color is pervasive and inescapable. She seems to project red as a color of violence as she describes it as “Fiery and furious red/ Dangerous, murderous Red” (46). Women are the victim of this violence.  “Silence” is one of the most outspoken poems in this anthology. The four stanzas of the poem are enclosed by the word “silence”. This seems that silence exists as an overpowering element, engulfing all external sounds. Ironically, silence has profusely inspired the poet in articulating her “lonely but painfully true” (61) story.  “Ladybird army” is the last poem of Sarita Bhattarai. The poem moves from a simple description of overwhelming swarms of ladybird, causing havoc everywhere, to contemplate how the three-fold motion– My motion/Their motion and non-motion (62)—became “their death trap”.

The poems of Saraswati Lamichhane, the last poet of Six Strings, echo those of Bhattarai and Subedi in terms of theme and experimentation.  Besides,  Lamichhane chooses to deal with the power of poetic expression, change, attitude and some of the harsh realities of femininity.

In her first poem titled “Poems”, the poet subtly emphasizes the idea that poetry is a strong and infallible form of communication among human beings. So, she reasons, “I decided to remain/silent” (6). Her next poem “Change” denotes that people’s perception undergoes a sea change as they come across a new environment or circumstance. Change is a matter of attitude and perception.  “Shift”, dealing with the theme of love, expresses poet’s confusion between dream and reality. Being uncertain, the poet asks, “which one is true!” (16). Remarkable in topographical features along with imageries, “The river” follows the incessant flow of a river to illustrate challenges, changes, expectations and disillusionment in life. Another poem, “The view” advocates developing and cultivating objective perception that provides a true view of the world. Criticizing the tendency of perceiving the world on borrowed view, the poet emphasizes the need to acquire one’s own point of view –true “glasses” (29)—which remain intact and reliable for good. One of the most experimental poems in this collection is “The Gap”. The poet here seems to attempt to erode the gap that separates mother from daughter. A daughter cherishes a “deep-seated realization of a mother, who bears an inevitable destiny of becoming a mother” (Paudyal “poetry-in-strings). In terms of typographical feature, this poem resembles those of e.e. cummnings’–“a poet of imaginative typographical experiment” (Ruland and Bradbury 275).

Artistic creation results from a continuous struggle between the creator and what he creates. Art is always elusive, so ideas “melt, run, and evaporate…” (43), the poet Lamichhane admits.  A sense of guilt besets her for imprisoning ideas on her “cold dry paper” (43). However, her “Ideas” will take on a new lease of life when they renew “the fight” (43) with thousands of readers ahead. This should redeem the poet of her sense of self-guilt (“I am writing a poem”). Next, the poem “Hills” is a meticulous observation of the changes that have occurred in the environment. The green quiet habitats that have sheltered “Leopards” and “Antelopes” have been changed into “Brown/ Crowded Resorts” (44). Another poem, “Women-in-red” encapsulates how women are perceived by the society as they enter into different phases of Red—“The First Red, The Second Red, The Third Red…” . Right from their first biological transformation (their initiation into puberty), women are constantly subjected to strict social scrutiny. They are classified, “treated,” “examined,” and “taught” (63) in a certain way. This social ritual is enacted time and again throughout a woman’s life. The last poem of Saraswati Lamichhane is “The Woods and the city”. The charming “cold-green-darkness…” of “the woods” wherein the poet longs to “trek,” “get lost,” “jump,” “sing,” and “dance” is too fascinating a place for the poet to resist. However, she has to abandon this idyllic place and is compelled to return to face “the hot-grey-city…” (64). The contrast between her longing and reality renders the poet’s situation miserable and poignant.

The observation in the paragraphs above shows that the poets of this anthology have dealt with the issues of human relations, identity, politics as well as ecology that have continued to haunt us in the contemporary world. Their attempt to present these issues in a new poetic form is indeed a trailblazing contribution to Nepali literature in English.

For raising various contemporary problems in the poems, the present anthology deserves readings from new perspectives. For their visual effectiveness, the poems of Prakash Subedi and Saraswati Lamichhane can be compared and contrasted with those of e.e.cummings’. Hem Raj Kafle and Bal Bahadur Thapa’s politico-social and cultural consciousness can be studied from cultural perspective. The unique observation of Keshab Sigdel may be a concern for those interested in, religion and politics. Feministic readings may enhance and expand the recurring feministic voices in the poems of Sarita Bhattarai and Saraswati Lamichhane. Likewise, a good number of poems are readily amenable to eco-critical reading.

Works Cited

Devkota, Padma. http://padmadevkota.blogspot.com/2011/11/07reading-half-of-six-strings.html

Paudyal, Mahesh. http://stats.kkk.com.np/the-kathmandu-ost/2011/09/30/related_articles/poetry-in-strings/226885.html

Ruland, Richard and Malcolm Bradbury. From Puritansim to Postmodernism. A History of

American Literature. New York: Penguin, 1992.

Thapa, Bal Bahadur and et.al. Six Strings, a Joint Anthology of Poems. Kathmandu: Society of  Nepali Writers in English, 2011.

 

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Stars and Fireflies: Poetic Journey into Epiphanies of Impermanence

SAGUNA SHAH

As if out of impulse—

As if in a flash—

            My poem writes me:

                        A few incomprehensible inkblots

                        A few inarticulate idioms

                        A few invisible shades

                        A few mute rhythms

[. . . ]

But when,

Every time,

I find the modest man

Figuring out unerringly

What my poem has written of me

And nodding his head

In faultless comprehension—

                        It gives me a pleasant shock

                        And a reassurance . . . . (“My Poem and My Reader” 34-35)

Although the poet “silently dedicates these lines to [h]is teacher,” he seems to lay his unfaltering faith on the readers” by believing that his poems are able to communicate to them (34). “They actually are unpremeditated flashes that would hit me now and then, and I have simply attempted to record them,” says poet Subedi about his poems collected in Stars and Fireflies in the foreword (iii).

Stars and Fireflies, Prakash Subedi’s first anthology of poems, was published by Society of Nepali Writers in English (NWEN) in the year 2009. It comprises of 49 short but very contemplative pieces that have rich layers of meaning. This anthology has been warmly received by the readers and scholars for its meditative philosophical insights and for taking them through a wide myriad of emotions. Here, the poet has been successful in sweeping the readers into the rigmarole of deep reflective thinking, taking them beyond the reach of his adeptly crafted simple voice. In this regard, Binay Ghimire, in his review of Stars and Fireflies, claims, “Some people write out of vanity, others to entertain, or to enlighten, some even to make money, but most importantly they all write to communicate something. Literature has undergone many changes— earlier it talked about the world of Gods and heroes, now it is the man-made fantasy pop literature that is all rage. But Subedi’s poems are timeless—evocative and enlightening” (7).

Indeed, what Ghimire says is true as Subedi’s poems are able to communicate to the readers. After reading the anthology, one can feel that his poems reflect the elegant understatement of relationships, love, nature, politics, and the power of artistic expression in the everyday language that people use. They are about run of the mill subjects, yet meaningful in every aspect. They are comprehensible and people can relate to what the poet is trying to say. Simple or complex, resolute or oblique, poetry becomes aesthetically pleasing when it is able to evoke a certain kind of visceral tremor in the readers and Stars and Fireflies has successfully done the same.

In terms of style, there is an uncannily striking resemblance to the American poet E.E. Cummings’ imagism and psychological indulgence in treating the first and last poem that is devoid of words. Like Cummings’ poems, Subedi’s poems give a visual effect. The dark and light square boxes respectively named “The first Poem” and “The last Poem” give a visually concrete image of mankind’s journey from darkness to light, from ignorance to wisdom. The series of other poems that twinkle in between perhaps symbolize our growth seeking slender meaning in the chaotic upheaval of life. The poet’s meditative experimentation with the style that breaks the conventional method seems to be immeasurable with these two poems. Again, the visual imagery is very prominent in the poem “Eyes,” in which the poet opens his eyes to ‘look’ at the world and closes them to ‘see’ it.

Though these poems appear to be impulsive flashes, on explicating Stars and Fireflies, the readers find an overlapping mélange of emotions, realization, speculations, and delusion. There are various themes, some of which stand out whereas some are subtle. Like Wordsworth, the poet weaves in themes from the common life and incidents. The poems range from politics, philosophy, romance, religion, war, and the insignificant turmoil of the commoners. While most of poems are somber in tone, the readers cannot disregard the humor and restrained satire. A tone of mockery can’t be ignored in poems like “To the ‘bard’,” in which he makes fun of a bard in this manner:

Turn this iridescent box off, lad!

And, go—

Cuddle in your cozy bed:

            What more

            Will you add after all

            To the glistening granite Herculean heap

            Of

Shakespeares,

                        Devkotas,

                                    And Khayyams? (41)

Here, the poet himself is not exempt from those, who trivially attempt for a creation. Perhaps he is mocking himself, too. After all, what significance could one add over the burning intensity of Shakespeare, Devkota and Khayyam’s exuberant work? The poet also seems to be influenced by the aphoristic magnitude of Nietzsche and Devkota’s existential quest. His fondness for these iconic figures can be observed in the poems “After Reading Nietzsche-1/2,” “Fear,” “To Devkota-1,” “Presence” and “To Devkota-2.”

Despite his obsession with the iconic figures, the poet’s voice, in most of the poems, is that of a common wo(man), disillusioned with the political unrest in a country distraught with civil war, the lives lost, and the tug of war between the political leaders. These concerns of the common wo(man) are expressed in a poignant manner. Subedi makes a profuse use of satire in poems like “Fish,” in which a small fish asks a big fish why they are eaten. In reply, the big fish gulps the small one and gives a belch. “For those who carry guns,” “Flowers,” “The drinking water project,” and “A Commoner” are a few poems that mock the social scenario of present time in Nepal. Subedi’s satire takes a scathingly rebellious stance against politics and our leaders especially in poem like «“Milk and blood.” Presenting the nation as the tigress and the leaders as her cubs, the poet makes a satire on the corrupt political leaders in a metaphorical way: “She resisted but they sucked / She moaned but they sucked / She groaned and whined but they sucked and sucked / She collapsed but they sucked until the last drop of her blood” (“Milk and blood” 30). Here, he uses the metaphor of cubs and tigress to vent out his anger and frustration at our leaders, who have drained our country of resources for fulfilling their self interest. “He seems to have woven his own frustrations into them, thus also revolting against the reigning anarchy and chaos,” Richa Bhattarai echoes the similar idea about Subedi’s poetry in her review entitled “Terse Verse,” published in Republica (p).

In the same manner, Subedi expresses his discontent in the poems like “At the temple” and “Fingers,” in which he subverts the ideologies, values, beliefs, ethnicity, and religion. He writes, “The worshippers were busy throwing the coins, the priests were busy collecting them” (8). Here, the speaker ponders over who is more of a devout, what have we made of our faith in religion. The fingers are symbolic to our distinct nature of being. However, it does not matter which one of us is more important. What is the entire struggle for? Despite having separate identities, we belong to the same hand. Thus, the poet stands for solidarity.

Apart from political satire, the most prominent and dominating themes in majority of the poems in Stars and Fireflies are the transitoriness and meaninglessness of life. Paradoxically, in this very futility, in this very meaninglessness lies the existential quest, meaning of life, the realization. The focus of the present study henceforth is on illuminating the same. In poems like “The Dog and the Caravan” and “the [k]ing,” the poet contemplates over transience. And this very transience brings about the paradigm shift between the center and the margin. Nothing can remain static forever. “The Dog and the Caravan,” for example, highlights the dilemma of this shift where the poet takes an age old proverb, “The dog barks but the caravan passes,” and tries to show the ironical change as illustrated by these lines:

But

 I saw

The dogs passing,

Glancing occasionally

            At the silent, still caravan—

                                    Were they expected to bark? (37)

Here, the transition is shown by the rejection of the grand narrative. The second stanza juxtaposes the ‘normal’ expectations that the dogs will bark on seeing the caravan pass. This poem appropriates the proverb to question the center v/s margin, and normal v/s abnormal through the perspective of the margin, the dogs. Though “the [k]ing” seems more of a political satire, it is also reflective of the change in the status quo. The poet claims that “a [k]ing is a [k]ing as long as [h]e wears the mask. A [k]ing is a [k]ing as long as people see [h]im in the mask” (20). Here, the mask symbolizes power and identity.

Slowly, it, while fleshing out the transitoriness in Subedi’s poems, dawns on the readers that his poems simmer with wisdom derived from the Buddhist philosophy, and the three marks of existence shared by all sentient beings namely impermanence, suffering and non-self. Nothing ceases to exist, but the state of being undergoes a continuous cycle of change. “Do not encumber your mind with useless thoughts. What good does it do to brood on the past or anticipate the future? Remain in the simplicity of the present moment,” says Dilgo Khyentse Rinpoche (np). In the same vein, we can notice the state of impermanence of being in these lines:

Dew drops

            Upon the blades of grass

                        Just before the sunrise—

A flock of birds

            Ready to take a long flight

                        After the night’s rest—

A young girl

            About to get her hair parting

                        Smeared with the red vermillion powder—

The cherry buds

            Opening into blossoms

                        As the dawn brightens—

When is life:

            Before

                        During,

                                    Or  after? (“The Moment” 53)

Mankind by nature is intertwined in the perpetual cycle of life and death caught into the past, present and future. The content is simple yet profound. In the above quoted lines, the small details make one contemplate the transition that comes so swiftly giving delight at the moments of epiphany. This impermanence in Buddhism refers to the fact that all conditioned things are in a constant state of flux.

This change is again beautifully expressed in the poem “Time” as cited below:

Weare

Madefor

Eachother

…w    e…

…a       r        e…

…n        o        t…

…m        a       d       e…

…f        o        r…

            …e       a      c      h…

                        …o    t     h       e      r… (14)

What is more important: the past, present or future? Perhaps, it is this moment that is to be embraced and lived for it shall no longer remain the same. Time, here, is symbolic to being in a constant state of flux. Change is primary, if it exists at all. Here, in the first stanza, the speaker seems in urgency to assert the oneness. It is ironical that as time passes the change in relation seems to grow wider apart like the space between the words. Perhaps, this poem also symbolizes the selfishness of people- whenever they are in need, they come close but after the purpose is fulfilled, the relation also rifts apart leaving a vacuum.

Most of the times, the poet does not seem to address any specific readers as his poems are rather pensive. In “Meditation,” the speaker contemplates the abstract ideas related to Buddhist philosophy:

I shut the windows of my room

                        And pulled the dark curtains over them.

I closed the door from outside

                        And firmly bolted it.

Finally, I shut the main gate too.

Having done all that—

            I entered into my room. (15)

Here, the act of shutting, pulling over the curtains, locking, and bolting are metaphorical and the speaker is renouncing everything in order to reach that state of realization. Thus, the act of sheltering showed here leads to the ultimate exposure of the self from within. In Buddhism, ignorance is the root of all the suffering.  Buddha offers the cure in Cessation (nirodha), in Nirvana, which is elaborated by Paul Williams and Anthony Tribe in the following passage:

If suffering in all its forms results from craving, then it follows that if craving can be completely eradicated, suffering will come to an end. As we have seen, the way to eradicate completely craving is to eradicate its cause, ignorance, through coming to see things in the deepest possible manner the way they really are. The complete cessation of suffering is nirvana (Pali: nibbana). (60)

We are in a constant strife to attain happiness fulfilling our dreams and desire relying on the external sources. It could be the materialistic or bodily pleasure that we seek. We forget that this dependence on the external factors give us a momentary contentment. We are awakened only when we begin to understand that the profound satisfaction is only found when we let go off the worldly pleasure. This is again a shift from ignorance to bliss. Again, the ‘I’ here is symbolic of entering the self where room is the body and windows, and doors are the senses.

The poet manages to hook the audience to such philosophical contemplation over impermanence through his stylistic innovations. The apparent chaotic structure and erratic line breaks devoid of punctuations break the conventional method of poetry writing. At times, it even appears to be monotonous. However, this also makes his style even more ornately experimental and exempt of artificial vanity. Moreover, the structural and linguistic experimentations, very often than not, reinforce the ideas the poems convey.The poet also seems to be deliberately frugal with words allowing the readers liberation from the boundary of the tableaux he has painted.

In all, it would not be an exaggeration to claim that Stars and Fireflies, with all its innovations, takes one to a meditative poetic journey into impermanence. Though impermanence shapes our life and world, we hardly bother to notice it. In this context, Subedi’s poems, by foregrounding transience in artistic ways, provoke us to notice it amidst the banality of our life. Once we notice it, banality remains no longer banality. That’s the beauty of flashes of Stars and Fireflies.

 Works Cited

Bhattarai, Richa. “As Stars and Fireflies Shine and Glow.” Republica  (May 8, 2009): (p)

Dilgo Khyentse Rinpoche. http://www.themindfulword.org/2013/buddhist-quotes-mindfulness-buddhism-meditation-impermanence-suffering/

Ghimire, Binaya. “Writing Outside the Margins.” The Kathmandu Post (August 29, 2009): 7.

Subedi, Prakash. Stars and Fireflies. Kathmandu: Society of Nepali Writers in English, 2009.

Williams, Paul with Anthony Tribe. Buddhist Thought: A Complete Introduction to the Indian

 Tradition. London and New York: Routledge, 2000.

(Published in Of Nepalese Clay, 20th issue)

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In Media

News/reviews of Stars and Fireflies

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Prospero Workshop 2015, Denmark-Sweden

Workshop for Playwrights and Theatre producers – May 2015

The main subproject in the first period was a three week long ’double’ workshop for 6 play writers and 6 theatre producers from Burkina Faso, Uganda and Nepal.

In a dialogue with three  ‘ambassadors’ from the three countries – Patrick Mangeni, professor in Literature and Drama at Makerere Univerity in Kampala/Uganda, Prakash Subedi, teacher in Literature and Drama at Kathmandu University/Nepal and Bonaventure Yameogo, producer and president for AFRICAPAX network and ARTerial Network/Burkina Faso – we could plan and organize a useful and relevant workshop with highly qualified participants, who can guarantee a professional result, local grounding and a realistic future for the developed projects. 12 competent and motivated writers and producers were invited to participate in the workshop. As teachers and Nordic networkers we chose Norwegian, Danish and Swedish theatre people with long – and various – experience from the field.

The workshop was held May 4 – 22 2015. We worked at Landskrona Teater for the first two weeks and the last week we spent at the Danish Development Center for Performing Arts in Odsherred in Denmark.

The first 10 days were just for the Play writers. They got introductions to various writing methods, dramaturgy principles, thoughts and theories and experiences from working with Performing Arts for children/adults, about art/pedagogics, history/new trends. They wrote a new story each day, which was discussed by the group the following day. In the middle of the period the producers arrived and the participants was put together in pairs – writer and producer –to develop a realistic and visionary project, a start on a theatre performance for children in their homeland.

The workshop was celebrated and the result presented at an international meeting and arrangement at Teaterøen in Copenhagen. The participants presented themselves, their work and the concepts developed under the workshop. Nordic colleagues were invited to read, listen and give professional feedback and just to do networking. The arrangement was public and the interest from the branch was warm.

The workshop was a great experience for all that participated!

The exchange of experiences was amazing and intercontinental. 5-6 new concepts for performances for children and family theater were produced during the weeks. All of them are going to be realized and two of them also intercontinentally.

Participants: Alain Hema, Adama Kaboré, Bonaventure Yameogo from Burkina Faso, Patience Nitumwesiga, Juliet Nantambi, Lillian Mbabazi, Olivia Namyalo from Uganda, Prakash Subedi, Alok Lamsal, Dillip Rana Bhat, Devendra Neupane, writers/producers from Nepal.

(http://prosperoperformingartscenter.com/home-2.html)

NWEN Past events

Events of the Previous Years

Venue: Kathmandu

Date:2001-2011

POETRY READING SESSIONS:
NWEN on a regular basis organized poetry reading sessions on the last Saturday of each English month to promote cr

Poetry Reading Sessions

Venue:Kathmandu

Date:2001-2011

NWEN on a regular basis organized poetry reading sessions on the last Saturday of each English month to promote creative writings and readings have been a part of our regular activities. NWEN has alre

Literary Workshops

Venue:Kathmandu and Nagarkot

Date:2005 and 2009

First Workshop: The first literary workshop was organized on July 30, 2005.
Second Workshop: NWEN organized the second literary workshop on the theme- NWEN

TALKS BY GUEST POET/WRITER:

Venue:Kathmandu

Date: 2001-2011

1.     NWEN invited senior lyricist/poet Mr. Ratna Sumsher Thapa as guest poet at one of our monthly programs to give talk about their writings.

INTERNATIONAL EXCHANGES/ VISITS:

Venue:Kathmandu and Lucknow

Date:2011 and 2012

1.  NWEN invited a group of poets from the University of Iowa, USA, in of its special poetry reading session on 30th April 2011. Christopher Merill,         Directo

ANNUAL COMPETITIONS

Venue:Kathmandu

Date:2008 and 2010

Poetry Competition: NWEN organized an annual poetry competition on 6th March 2010. Twenty four poems were received for the competition.

Short Story C

BOOK DISCUSSIONS/RELEASES:

Venue:Kathmandu

Date:2001-2011

1. NWEN organized an event to discuss Ammaraj Joshi’s collection of short stories on June 28, 2008 at Apex College Seminar Hall in       Kathmandu.

2. The first iss

Poetry Festival

Venue:Lalitpur

Date:Nov. 16, 2002

NWEN organized its first poetry festival on November 16, 2002 at Patan Multiple Campus premises in Lalitpur, Nepal. 83 poets, writers and literary enthusiasts had registered for the festival.

Annual General Meetings

Venue:Kathmandu

Date:2011

NWEN hold its Annual General Meeting every year after the completion of Nepali fiscal year. The last AGM was held in August 20011.

Literary Workshop- 3

Venue:tbc

Date:2012

Third Series of NWEN’s Literary Workshop will be organized by the end of this year.
Date and venue is yet to be confirmed.
We will post the details as they are decided.

 

Events

Introduction: PANAsia Creativity

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(Artwork: Chirag Bangdel)

PAN-Asia Creativity

When people hear the name of our country, Nepal, there are mixed reactions. The geographically unaware mistake us for Napolitans, The more in tune mention the famous Gorkhas or mountain-climbing Sherpas. This is fine because these groups and the Highest mountains on earth, amongst which thy dwell deserve more recognition than they get. Yet, the way the world goes one has to be in the midst of conflict, diamond mines or petroleum fields for the world to know you exist.

So, why should they know we exist and what and who are PANAsia Creativity?

 

(more…)

Introduction

इब्सन: प्रयोग र सन्दर्भ (Ibsen: Experiments and Contexts)

Editors: Bal Bahadur Thapa, Jeebesh Rayamajhi, Prakash Subedi, Sanjana Shrestha

Publisher: Aarohan-Gurukul Theatre, Kathmandu, Nepal

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(Ibsen)

Henrik Ibsen is undoubtedly a familiar name for the lovers of literature as well as theatre in Nepal. But familiarity of the great playwright seems to be limited only to a few plays, primarily The Doll’s Hose, and to a few topics such as realism, naturalism, and woman’s emancipation. Moreover, no books providing detailed information on Ibsen’s plays, themes and experiments are available in Nepali language so far.

Isben: Prayog ra sandharva (Ibsen: Experiments and Contexts) is an attempt of Aarohan-Gurukul to fill that gap, and open up new avenues of Ibsen-discussion in Nepal. The book includes twenty insightful essays written by renowned Ibsen scholars from 11 countries, namely Nepal, Norway, UK, Iran, Taiwan, Bangladesh, India, the United States, Greece, Japan and Georgia, and translated into Nepali. The essays primarily deal with the issues such as translating, adapting, and performing Ibsen in different languages and cultures of the world, and shed light on those aspects and dimensions of the playwright which have not been much discussed in the Nepalese context.

The essays are followed by a brief biography of Ibsen.

Balu

(Editors)

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NWEN Poetry Reading, May 2008

Launching of Clay 20

Reading, Writing and Presenting Poetry

“Reading, Writing, and Presenting Poetry”

A workshop organized by Society of Nepali Writers in English (NWEN) in Nagarkot on March 28. 2009.

News/Reviews

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Introduction

Events

In Prospero Performing Arts Centers first period we have concentrated on three subprojects, to demonstrate what the platform wish to be and can be used to.

The project have been implemented with the help of generous support from Nordic Culture Point, Nordiska Kulturfonden and Kulturbryggan and the collaboration partners own energy and resources. Passepartout Theatre Production has also been supported by Danish Center for Culture and Develpment and The Danish Arts Council, to contribute as an economical active part of the project. Danish Development Center for Performing Arts, Danish School for Performing Arts, has also been a crucial partner in one of the subprojects.

The three subprojects have been

1. A two days Nordic seminar about theatre and art for children today

2. A Three week’s workshop in a meeting between Play Whrigts and producers from Uganda, Burkina Faso and Nepal.

3. Development and presentation of an artistic collaboration and co-production within Europe

Subproject – Nordic seminar about theatre and art for children today – May 2014

As the starting shot for Prospero we thought it was a good idea to take a look at ourselves here in the Nordic countries – to try to define what’s our speciality and characteristics when working with Performin Arts for children and young people. Do we have anything special, something else than the rest of the world in this field.

The Nordic countries are famous for our respect for the child, for the high quality in children’s theatre, literature etc. and for our well functional funds for art and culture. We decided to organize a two day long Nordic seminar about the subject – for colleagues and people working with the issue.

The seminar was held May 12 – 13 2014 in Landskrona, just before the Bibu-fesival in Helsingborg.

The first day a smaller group of 15-20 people met to work with the questions about the Nordic view on the child, the childhood, art and pedagogics.

The second day everybody with interest could come to join the seminar and the discussion

The seminar resulted in a Charter about children’s right to art and culture. It was written in Swedish, Danish, Norwegian and English and was based on the article 31 in the UN’s Convention on the Rights of the Child.

Subproject – Intercultural Workshop for Play Whrigts and Theatre producers – May 2015

The main subproject in the first period was a three week long ’double’ workshop for 6 play writers and 6 theatre producers from Burkina Faso, Uganda and Nepal.

In a dialogue with three ’ ambassadors’ from the three countries – Patrick Mangeni, professor in Literature and Drama at Makerere Univerity in Kampala/Uganda, Prakash Subedi, teacher in Literature and Drama at Kathmandu University/Nepal and Bonaventure Yameogo, producer and president for AFRICAPAX network and ARTerial Network/Burkina Faso – we could plan and organize a useful and relevant workshop with highly qualified participants, who can guarantee a professional result, local grounding and a realistic future for the developed projects. 12 competent and motivated writers and producers were invited to participate in the workshop. As teachers and Nordic networkers we chose Norwegian, Danish and Swedish theatre people with long – and various – experience from the field.

The workshop was held May 4 – 22 2015. We worked at Landskrona Teater for the first two weeks and the last week we spent at the Danish Development Center for Performing Arts in Odsherred in Denmark.

The first 10 days were just for the Play writers. They got introductions to various writing methods, dramaturgy principles, thoughts and theories and experiences from working with Performing Arts for children/adults, about art/pedagogics, history/new trends. They wrote a new story each day, which was discussed by the group the following day. In the middle of the period the producers arrived and the participants was put together in pairs – writer and producer –to develop a realistic and visionary project, a start on a theatre performance for children in their homeland.

The workshop was celebrated and the result presented at an international meeting and arrangement at Teaterøen in Copenhagen. The participants presented themselves, their work and the concepts developed under the workshop. Nordic colleagues were invited to read, listen and give professional feedback and just to do networking. The arrangement was public and the interest from the branch was warm.

The workshop was a great experience for all that participated!

The exchange of experiences was amazing and intercontinental. 5-6 new concepts for performances for children and family theater were produced during the weeks. All of them are going to be realized and two of them also intercontinentally

Participants: Alain Hema, Adama Kaboré, Bonaventure Yameogo from Burkina Faso, Patience Nitumwesiga, Juliet Nantambi, Lillian Mbabazi, Olivia Namyalo from Uganda, Prakash Subedi, Alok Lamsal, Dillip Rana Bhat, Devendra Neupane, producent from Nepal

Subproject – Development and presentation of a co-production within Europe

One of the ideas about Prospero and the Nordic triangle is to structurally support development and presentation of intercultural Performing Arts for children in our countries as well. It is difficult to reach the audience with ‘unknown’ artists, it is more expensive etc.

Therefore we chose to put a European co-production under the wings of Prospero in the first period, to demonstrate a possibility for the framework. Prospero cannot be a producer, but a base for development and presentation.

A co-operation between Mala Scena in Croatia, Passepartout Theatre Production in Denmark and Landskrona Teater in Sweden was developed under 2013 and 2014. We made an application for Creative Europe, national, local funds and a used time on detailed planning and share work and roles. In October we could present the performance “Why me?” in Zagreb and Landkrona and in January 2015 in Copenhagen – with a plan for a Nordic tour.

PROSPERO WORKSHOP MAY 2015

http://prosperoperformingartscenter.com/prospero%20workshop%202015%20publikation%20-%20publication.html

(From Prospero Website. For more details, visit: http://prosperoperformingartscenter.com/home-2.html)

 

 

 

 

 

 

 

 

 

Events

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ACH members discuss the decline of the Humanities, and the possible courses of action the organization could take for its upliftment in Nepal.

(April 6, 2013, Russian Cultural Center, Kathmandu, Nepal.)

(Some ACH collaborations)

Events

Events

(For details, visit LAN blog: https://lankathmandu.wordpress.com/events-programs/)

Events

Introduction: NWEN

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About NWEN

Society of Nepali Writers in English (NWEN)  was established on December 9, 2000 by a group of writers and academics as an organized body of Nepali writers writing originally in English. Primary objectives of NWEN are to develop a common forum of Nepali writers writing originally in English,to promote Nepali creative writing in English within the country and abroad, to create a sense of national identity through literature, cultural interaction and activities, and to promote international understanding and amity through cultural exchanges.

To achieve these objectives NWEN organizes regular reading sessions, talks, symposia, and discussions; publishes a literary magazine with creative and critical writings of different genres; publishes anthologies of creative and critical writings in English, organizes creative writing workshops, seminars and conferences to train new and prospective writers in English, facilitates the publication of poets and writers in medium journals, magazines, and newspapers; and, coordinate programs for cultural exchanges with other related organizations/ institutions at home and abroad.

(From NWEN website. For more details, visit: http://www.nwen.org.np/index.php)

Introduction: LAN

Introduction

Literary Association of Nepal (LAN) was founded two decades ago by a group of academicians associated with Tribhuvan University to promote academic, literary and research scholarship in the country. With the emergence of new Universities in the country, now the LAN constitutes members and supporters from all Universities including Kathmandu University, Pokhara University, Purbanchal Univeristy, and Mahendra Sanskrit University.

(more…)

Introduction: DSRC

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Laxmi Prasad Devkota (1909-1959) lovingly known as Mahakavi or Great Poet for his great body of powerful poetry and significant writings inNepali and English, commands great respect in the world of Nepali letters. Nearly half a century after he left the literary scene, Devkota’s contributions in diverse genres of literature and many areas of Nepalese social and cultural life remain deeply felt and appreciated. MAHAKAVI LAXMI PRASAD DEVKOTA STUDY AND RESEARCH was set up in June 2005 at the initiative of writers, academicians and concerned citizens to honour the memory of Laxmi Prasad Devkota and to promote research and scholarship on his life and works.  (more…)

Introduction: ACH

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Established by a group of promising Nepali young scholars, researchers and artists in 2012, Asian Center for Humanities (ACH) aspires to contribute to the promotion, preservation and fostering of various fields of humanities like film, music, theatre, literature, sculpture and painting at both national and international levels.

Objectives:

ACH aims at achieving the objectives below: (more…)

Introduction: Prospero

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PROSPERO PERFORMING ARTS CENTER

Prospero Performing Arts Center is a Nordic organization, founded in 2013 by Landskrona Stad/Sweden and Passepartout Theatre Production/Denmark with a third partner in Kilden Teater- og Koncerthus in Kristiansand/Norway.

Prospero Performing Arts Center is a platform – a Nordic triangle – with the purpose to support and establish international, intercultural performing arts for children and young people. We will do this by creating and extending a professional network for artists from the whole world – in and by workshops, seminars, symposiums and publications. By initiating and encourage innovative and professional, intercultural productions and performances – a performing art not fearing to mix traditions, techniques and cultures, but want to explore styles, forms and traditions within art. A kind of anthropological Performing Arts cooperation – the mirror can be angled in any direction.

Prospero’s first projects have been supported by Nordic Culture Point, Nordiska Kulturfonden, Kulturbryggan/Sweden, Danish Center for Culture and Development the Danish Art Council.

(From Prospero Website. For more details, visit: http://prosperoperformingartscenter.com/index.html)

Pan-Asia Creativity

Prospero

ACH

DSRC

LAN

NWEN

Organizations

Please click here to read about all the organizations:

https://prakashsubedi.wordpress.com/category/6-organizations/

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News/Reviews

Introduction

News/Reviews

News/Reviews

News/Reviews

Blog English

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Blog Nepali

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My translations

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Translations of my works

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Translations

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Book talks

Please click here to read all the book talks: https://prakashsubedi.wordpress.com/category/4-book-talks/

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Essays

Please click here for all essays: https://prakashsubedi.wordpress.com/category/2-essays/

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इब्सन: समय र सन्दर्भ

Ibsen: Beyond Time and Space

Six Strings

Stars and Fireflies

Gallery

Literary Studies

Literary Studies is a journal published annually by Literary Association of Nepal (LAN).

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(Front cover, 26th issue)

 

Devkota Studies

Devkota Studies is a half-yearly journal published by Devkota Study and Research Center (DSRC).

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(Front cover, 10th issue)

Of Nepalese Clay

Events abroad

Events Home

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Nepali

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Poems Nepali

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Events

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Journals

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Palm-sized stories

Please click here to read all palm-sized stories: https://prakashsubedi.wordpress.com/category/3-palm-sized-stories/

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Books

Please click here to read about all books: https://prakashsubedi.wordpress.com/category/5-books/

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Essays

Poems

Please click here to read all the poems: https://prakashsubedi.wordpress.com/category/1-poems/

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Blog

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New Regionalism: A Conference with Prof. Spivak

Summer Arts Festival

Summer Arts Festival is organized annually by PANAsia Creativity, and features all the genres of arts including literature, music, painting, theatre, and films.

The first edition of the festival was held on 30-31 May, 2014 at Shaligram Complex, Jawalakhel, Kathmandu.

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South Asian Poetry Festival for Peace

“United for Peace and Poetry”

SAPFP is a festival that celebrates the joy and the power of poetry. It provides a platform for the expression of thoughts and ideas and believes in unity in diversity. Poets and lovers of poetry meet and unite to celebrate two beautiful and important needs , peace and creativity. South Asian Poetry Festival For Peace 2013 will be held for two days, December 7 and 8, in Basantapur Durbar Square and Patan Durbar Square premises.

South Asian Poetry Festival For Peace is scheduled to be held every year . Apart from the sheer joy of poetry, the festival aims to provide a platform where voices and visions are also shared. This is also a space where cultural exchange takes place.

(From SAPF website. For more details, visit: http://www.southasianpoetry.com/index.php)

http://www.southasianpoetry.com/poems.php?link=prakash.php

April Theatre Festival, Denmark

Dariyanagar Poetry Festival, Bangladesh

Sufi Festival, Jaipur

International Sufi Festival, October 20-22, 2013

Diggy Palace, Jaipur, India

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In news:

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(https://saanjh.wordpress.com/2013/11/07/kashmirs-rays-shone-at-international-sufi-festival-rashmi-talwar/ )

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SAARC Festival of Literature (2013), Agra, India

 

 

Prof. Abhi Subedi on SAARC Festival of Literature, 2013

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                                                                                   (The Kathmandu Post)

In news,

Ktm post SAARC Literary Festival

(The Kathmandu Post)

Sufi Festival, Amritsar

International Sufi Festival, October 20-21, 2012, Amritsar, India

SAARC Festival, Lucknow

SAARC Festival of Literature, 2012

Lucknow, India

 

SAARC Festival, Dhaka, Bangladesh

BEYOND BORDERS: TOWARDS TRUST AND RECONCILIATION

WRITE Foundation (Writers Readers Illustrators Translators and Educators Foundation), an affiliated Chapter of the Foundation of SAARC Writers and Literature (FOSWAL) in Bangladesh.

SAARC Literary Festival Dhaka 2014 on 27th & 28th of February 2014 at the National Museum, Dhaka.

The theme of the festival is something that is possibly closest to all our hearts: BEYOND BORDERS: TOWARDS TRUST AND RECONCILIATION. A prominent aspect of this theme is the importance of the Language Movement of 1952 in Bangladesh in the subsequent geopolitical structuring of the subcontinent. We chose February, to be the month to host the festival, as February is when we all come together to honor our martyrs who gave their lives up for our language: Bangla.

A quest for common ground, spanning eight South-Asian nations, with some of the region’s greatest literary minds. Towards a Present, conjured from the triumphs, tragedies and trivia of the Past; a balancing of what was lost in the fire and what, gained in an embrace. A modern voice of Unity, devised from antiquated divisions.

In 2014, the journey continues in Bangladesh.

(http://writefoundation.org/events/festival-description/)

 

No time to read?

Big_book_thoNo time to read? Let’s read short poems, then!

Size matters.

It matters even more to the time-starved individuals of the so-called modern times like me.

This April, I downloaded an Android application called “Poems. Emily Dickinson” on my smartphone. It contained a total of 1082 poems by the reclusive 19th century American poet. I read all the poems in a period of two months, and that I did on a micro-bus from Ratna Park to Hattiban and back, on the way between the university where I work and home.

(more…)

Monsoon Memories

erosionlandsIn the hills where I grew up, rain, first and foremost, meant flood, and when I think of rain even now, it still means a flood for me…a flood of memories.

I was born in a remote village of Parbat, and since my parents wanted me to get a better education than was available in my village, they had sent me to a boarding school in Baglung, the headquarters of Dhaulagiri zone. The school where I studied was far away from home, and I could go home only during long vacations or festivals. Monsoon was much awaited by every single boy and girl in the hostel since it meant the end of the mid-term exams, and the beginning of a one and half month long vacation. My father would come to take me home, and we would cover a five-hour long walk which involved climbing up and down hills and crossing a couple of rivers that could have turned wild after the recent downpour.

(more…)

Torments of the ‘Transition Generation’

The young Frenchmen and Americans at the end of World War I who had been completely disillusioned after their war experiences were called the Lost Generation by Gertrude Stein. The youths of my generation who spent (and are still spending) the longest phase of their formative period in the so-called never ending transition can be aptly called the fated Transition Generation.  At first, I thought it was my personal crisis and there was no sense in making a fuss out of it. On a closer observation, however, things appeared otherwise. I found my case representative of so many contemporaries of mine who, since they have been able to understand something, have never known anything else except the transition, the excuses made in its name, and the heavy price they have been paying for it.

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When the country entered into the multi-party democracy in the 1990s, those belonging to my generation were just heading towards adolescence. We would hear our elders holding high hopes from the long-awaited achievement. We were supposed to be lucky for being born at a time when ages-old autocracy had allegedly come to an end and the country was finally moving towards its golden era of freedom and prosperity.  The first year, obviously, was called a period of transition, and we looked ahead with high hopes. But the transition seemed to prolong. It is just a shishu prajatantra (‘toddler democracy’), and is in the process of being institutionalized, they would say, and that everything would be settled very soon. And as anyone can guess, we believed that, too. But no sign of stability, peace and prosperity was to be seen anywhere, and the country seemed to be in a state of mess more than ever before. It was not much long before the country entered into the mad feat of arithmetic games of MPs’ head counting. Nothing was like before anymore, except the transition. Then there was the Maoist rising, and the transition seemed unrelenting. After much bloodshed, the Maoists came into mainstream politics, the elections of the constitution assembly were held, and the country was declared a republic. People finally wanted to believe that the grudges were finally gone forever, and the days ahead would be what they had longed for since what seemed like ages. Unfortunately, what ensued is right in front of us. We look ahead to the day when shishu ganatantra (‘infant republic’) matures and serves to the people’s expectations, but the day doesn’t seem to be anywhere near. (more…)

The question of recognition  

Doris Lessing dies aged 94

(Dorris Lessing)

Unlike many other awards, nominating someone posthumously for Nobel Prize was not a practice right from the beginning. Previously, if a person had already been nominated for the Prize before death, he/she could be awarded with it. Effective from 1974, however, the provision was made that it may be given to a deceased person only if it was already awarded but he/she had died before receiving the Prize. This tradition of honoring a person if he/she is still alive became more conspicuous as the Nobel Prize for Literature this year was given to the British writer Dorris Lessing. Apart from her contribution to literature, described by the Swedish Academy as “that epicist of the female experience, who with skepticism, fire and visionary power has subjected a divided civilization to scrutiny”, one more reason behind awarding her with the Prize was her age too: she was already 87, and it was almost a now-or-never thing, which Lessing also mentioned in a humorous note during one of her interviews. Hence, she has been the oldest person to receive the literature prize and the third oldest Nobel Laureate in any category. She also stands as the eleventh woman to be awarded in the literature category in the 106-year Nobel history. (more…)

Of the Almighty Money

75cJYBgVWhy would an octogenarian leader with a “golden political career” want to defend a detested millionaire convict fleeing the arrest order? Or, why would the cadres of a “revolutionary party” with a mission of “social transformation” want to spare other similar corrupts simply because they get a good share of that booty in the form of donations? These questions shoved me into a soliloquy on the power of the omnipotent money.

When did the decadence of human civilization begin? There may be diverse answers, but for me it was the day man conceived money.

Culture reflects itself through scores of ways—in songs, in folklores, in foods, and in fashion. But it is reflected in language more than in anything else. Have you ever noticed the metaphor, tone and matter pervading the language we use today?

(more…)

Sinhala translations of my poems

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(Translated into Sinhala by Daya Dissanayake, Published in Daily News, Colombo, Sri Lanka)

_________

මුතුහර

බෙල්ලෙකු තුල
වැලි කැටයක්
මුතු ඔපය ගන්නට
කෙතරම් කලක්
ගතවේද

සිඳු පතුල කිමිද
සියක් බෙල්ලන් කඩා
ගොඩ ගෙන එන්ට
කෙතරම් කලක්
ගතවේද

ධීවර තරුණෙක්ට
සියක් බෙල්ලන් කඩා එකම
මුතු ඇටක් හෝ දකින්නට
කෙතරම් කලක්
ගතවේද

ලොකු කුඩා මුතු අමුණා හුයෙක
ලකල් වූ මුතුහරක් තනන්නට
එය සොඳුරු ගෙලක පළඳන්නට
කෙතරම් කලක්
ගතවේද

අහෝ මා මිතුර එද
මෙවන් වෙහෙසින් තැනූ මුතුහර
යලි එක් හුයෙක නොබැඳෙනා ලෙස
බිඳී මුතු දසත විසිර යන්නට
ගතවන්නේ අසුරු සැණක්
පමණක් නොවෙද…..

(Translated into Sinhala by Samanmalee Abayasiri)

_________

කවියා

අර කවුද? මම ඇසුවෙමි
පිස්සෙක්! ඔවුහු කීහ
පිස්සෙක්?
ඔව් දුප්පත් අහිංසක පිස්සෙක්!
ඔහු හරිම විසුළුයි,
තනිවම දොඩයි! ඔවුහු කීහ
ඔහු තනිවම දොඩයි
මදනළද මේකුළුද
මල් පිපෙන තුරු වදුලු
ඉර සිඹින කඳු ගැනද
තනිවම දොඩයි ඔහු!
හරිම විසුළුයි
නොහැඟේ ඔහු අසම වෙන දේ
නමුත් දනී ඔහු
ඈත ඉර හඳ තාරකා ගැන! ඔවුහු කීහ.
දොඩන්නේද ඔහු ඔබ ගැන?
මම ඇසුවෙමි.
අප ගැන – ඔබ ගැනද – හැම ගැනද
දොඩයි ඔහු නිරතුරුව!
ඔහු ගේ දෙඩවිලි වල
නැති යමක් යමෙක් ඇතිද?
එය වීය මගේ අවසන් පැණය.
ඔවුහු පිළිතුරු දුන්නෝය මෙසේ
ඇත යමෙක් ඔහුගේ
දෙඩවිලි වල නැති
ඒ දුප්පත් අහිංසක පිස්සෙක්
නොදොඩයි කිසිවිට
ඔහු ගැන ඔහු………

(Translated into Sinhala by Samanmalee Abayasiri)

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DSRC

Devkota Studies 10

LAN Introduction

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Of Nepalese Clay

Of Nepalese Clay is a biannual literary journal of Society of Nepali Writers in English (NWEN) which brings together different genres of creative writings. Twenty-three issues of the journal have been published so far.

 

Some recent issues of Clay are available online here:

http://www.nwen.org.np/publications.php?pageTitle=Of-Nepalese-Clay

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An article on Clay by Srilankan writer, Daya Dissanayake
Daily News (Colombo, Sri Lanka)
February 5, 2014

 

Introduction

Ibsen: beyond time and space

A collection of essays on Henrik Ibsen by different Ibsen Scholars from around the world.

Edited by Prakash Subedi, Jeebesh Rayamajhi, and Bal Bahadur Thapa

Published by : Aarohan, Nepal (Kathmandu), 2006

Physical details: 281 illus. ISBN:99946-2-007-X.

 

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Books of 2009

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As “Stars and Fireflies” shine and glow

– Richa Bhattarai

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Review (The Himalayan Times)

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Poetry in Strings

– Mahesh Paudyal

A group of six young experimentalists associated with the Society of Nepali Writers in English recently launched Six Strings—a joint anthology of poems that reveal that poetry can address things seldom thought of. Brief yet brilliant, the poems are about relations between men and women and vice versa, humans and the city, and changes forced upon lives by other lives.

Bal Bahadur Thapa has honestly asserted human realities of the present—even those that pertain to issues often considered ‘private’. Honesty worthy of a true poet, his themes are deeply philosophical and address some of the subtle issues associated with the psycho-sexual reality of life. My City is filled with pessimistic foreboding about bad times ahead. A Stranger delves into the nemesis of separation decreed upon relations, however intimate they are. The falseness of the world and the corresponding falseness of identity find expression in The Discovery. Apocalypse is deeply contemplative, narrating the tale of a mother that dies at childbirth, leaving behind four ‘strong and menacing’ boys. An Overnight Star is an absurdist’s search for fame within the limits of his existential contingencies. In Kathmandu, I Love You! poet Thapa lays bare the paradoxes associated with Kathmandu, fundamentally marked by plight, poverty, filth and disorder. Rain takes up sexual imagery, suggesting nature’s impregnation of the dry earth. Holi, one his best poems in the anthology, aptly catches the psycho-sexual filth foisted upon the piousness of Holi, the festival of colours.

Prakash Subedi’s poems reveal an epiphany known to all but seldom thought of. Experimental in make and Zen-like in content, they reveal realities that immediately appeal to the intellect. Goats, for example, juxtaposes the slain goats’ heads on the butcher’s table with those of live goats munching grass under it, and exposes the simultaneous existence of life-death binaries, and brevity of life doomed by nemesis. The Poem is metapoetic, claiming that “beneath the massive weight of their big bulky words, remained squeezed, hidden and choking—the poem,” satirising the tendency of authors to veil the bankruptcy of ideas in their creation by a cloak of heavy affectation and pedantic verbalism. One of his best poems in the anthology, Barrier is an apology in favour of emotion. “I was prepared / to cross the mighty Koshi / when two big drops of tears / from your eyes / created an ocean for me.” In Time, the poet writes: “Did you notice, the dream was longer than the night?” upholding the permanence of vision in the infinite gyre of the space-time continuum.

Keshav Sigdel’s verses are more about identity in an apparently unreal world. In him, a powerful urge for change becomes conspicuous, though an inevitable frustration at the lack of change is more or less explicit. To Myself at best represents both these evaluations: “That election/ I voted my own will. This election / I am not sure / because / everybody speaks with threat / to vote for ‘the people’”. Deeply satirical, the poetry is a sublimation of a commoner’s frustration with political impunity. The ‘tag’ nature of one’s name—that often acquires a consubstantial connotation—is exposed in Identity. Metamorphosis presents a grotesque picture of the real, characterised by our strategic suspension of the matter-of-fact realities to retire to an imaginary Byzantium. His Will Power is one the best poems in the anthology wherein the fallacy of the mere rhetoric of change is exposed, especially at a time when the spokesmen of change are themselves undecided about changing.

Hemraj Kafle’s poetry is more or less about paradoxes associated with life and relationships. He foregrounds plain realities and laughs at their incongruities. His opening poem My Fear invites readers to the richly contemplative world he promises in the anthology: “You say life is a river / And you and I sail along / But I fear a time / When the river changes its course / Or splits into two streams.”  Equally meditative is The Burden, commenting on the mere verbosity of peace to which practically no one is committed. My Neighbour, and Co-travellers are poems on relations characterised by vanity and self-centeredness. On Martyrdom, On the Pile of Papers and Street Theatre are satirical poems voicing the poet’s disgust at the inimical changes being foisted upon our time. Woman’s Day best expresses Kafle’s wit where he portraits his mother on that day: “So/ As usual / My mother / Got up early / fed her family / gathered her native tools / and went to work.”

Sarita Bhattarai has furnished some of her finest verses, more bent on the experiences of being a woman. Transformation is partly feministic, claiming that all tortures meted out by males transform into tears. The claim is, to some extent, an inapt generalisation. The word ‘transferred’ associated with tears sounds out of place. The Spectacle promises a gothic experience, attempting to identify beauty as an ugly beast. The poet marvels at its beauty while the beast is ‘contemplating’ the poet’s danger. How a beast can contemplate a poet’s danger is not explainable. Her Kitchen Garden expresses the best in her, harmonising as it does the opposites. Her sharp criticism of man’s territorial concern is beautifully expressed in the poem At Play.

Saraswati Lamicchane, while maintaining lexical brevity like others, exposes some poignant facets of art, and some ugly realities of life. Her celebration of the strength of poetry can be seen in Poems, wherein she writes: “Since/ my poems are just / between/ you / and/ me / I decided to remain silent.” The relative nature of  ‘change’ that acquires a dynamic denotation just because attitudes change or the environment in the vicinity changes is the substance of her poem Change. Concrete and quite experimental, The Gap echoes the deep-seated realisation of a daughter, who bears an inevitable destiny of becoming a mother. The best expression of her feministic attitude finds expression in Women-in-red wherein redness, associated with birth, sex and childbirth, is given an allegorical hue as related to a woman’s evolution in a social fabric, and her ultimate identity as defined by the redness of vermillion, and of course of blood.

Edited with extreme linguistic accuracy and characterised by a conscious selection of word and images, this anthology in a way heralds the burgeoning of a new generation of poets capable of translating fine human realities into beautiful pieces of art worth reading.

(Paudyal is a faculty member at the Central Department of English, TU)

(Published on Oct 1, 2011 in The Kathmandu Post)

http://kathmandupost.ekantipur.com/news/2011-10-01/poetry-in-strings.html

Reading Half of Six Strings

PADMA DEVKOTA

Time constraints have allowed me to go quickly through only half a book that deserves to be read completely. This is not a denial to read the remaining other half. Six Strings, a compilation of the poetry by six friends who seek numerical balance of representation in the book (six times ten poems each) rather than gender balance (two women and four men), nevertheless seeks judgment of the reader in terms of performance rather than in terms of the identity of the writer. And, it is not easy to identify the poets in terms of style and subject matter until one gets quite familiar with their writing. Thus, these new voices challenge their readers to identify the poems they like before they identify the poet.

I have taken a back-page approach to fall back upon a traditional method of reading these poems, which makes me feel at ease. I have chosen to sample five poems by each writer to get a rough idea of what these are like. Alphabetically listed in terms of the name, the irony of fate is such that the only two women poets appear at the tail end of the list. The males are still dominant! Anyway, the national democratic practice of including thirty-three percent of women representation in everything one does organizationally is rigorously upheld. This is a consolation for the politically minded.

For the poetically minded, there is much more than quantification of competence through presence. Sarita Bhattarai, a poet who has chosen to talk about domestic experiences in her works, smiles at a couple who complain regularly that s/he is the only one who works (“Kitchen garden”). However, each one of the two shares in the garden work and the seeds grow. Of course, they do not only complain to each other; they also share their sorrows between themselves (“Transformation”) like two good friends. Yet, the reality is that, despite their wedding vows of never parting, each has a lonely journey to take. One lives alone, one dies alone (“Pathways”). “Spectacle” and “A Plea” both deviate somewhat from the theme of domesticity and are also vague to some extent. However, Sarita is a very promising poet who has found a voice and a theme.

Saraswati Lamichhane, a meek and gentle absence in grave company, sounds true to herself when she says that silence is the best form of poetic communication between a couple (“Poems”). She is not alone in this line of thinking because many poets writing of love have taken a similar perspective. And, without perspective one is blind (“The view”), says Saraswati. To develop a way of seeing that is uncommon is as hard as it is rewarding. Saraswati does this in “The River” where she symbolically expresses her faith in her parents’ physical aggression as a challenge to continue loving and caring for each other. She surprises us with yet another interesting perspective in “Change” where her subtle understanding of the way she changes because of the variety of people with whom she comes into contact daily as opposed to the table that does not change despite this contact is indeed laudable. Her theme is love and perspectives change again from expectations in dreams and expectations in waking hours with a change in the character who expects the same love from the other (“Shift”).

Prakash Subedi, another meek and humble poet who is recently under the influence of Buddhist texts, likes to look beyond the forms of things as they appear. Life, death and time prove to be the themes of his poems. In “Time,” he questions only: “Did/you notice/ the dream was longer than the night?” “Longer” means more meaningful. In “The poem,” he suggests that words are not always as meaningful since they, out of some figurative self-importance, choke the poem they are supposed to exude. When things are not what they seem to be, the world is a stage and life is as much acting as there is acting on the stage (“At the theatre”). To find meaning where it is least expected is to have an insight into truth: in “Barrier,” Prakash finds two drops of human tear a greater hurdle than the entire ocean.

Keshab Sigdel, with his special concerns for society and human rights, finds life a nightmare in the poem titled “The Change.” We come to this conclusion because he says that mornings are scarier than nights and confesses: “I fear the Broad Day Light.” To him, enlightenment has taken an about turn in the cities (“My buddha-in-becoming”). “To myself” probably explains this by expressing the poet’s fear of degenerated political practice in the nation. He seeks his own true identity amidst a multiplicity of identities and finds out that the twelve letters of his name “only exhibit[s] my non-existence.” He is a mere nobody, a mere piece on the chess board, a pawn moved and manipulated by the players who determine the course of his life (“The chess game”). This is probably what makes his life a nightmare.

Hem Raj Kafle, who seems ready to accept any topic under the sun as a theme for his poems, obviously has a wider ken of vision. He is as much at ease talking about a personal fear of separation from one’s companion as a result of natural forces such as a river (“My fear”) as about general human nature. In “Just or unjust,” he finds the human inclination to justify themselves quite disgusting and self-centered. Another poem, “The burden,” talks about the elusiveness of peace, which everyone desires. The language, though, is quite obscure especially in the third stanza of this poem. He talks about how the condition of the family of a drunkard raises enough pity in him to forgive the drunkard where others might blame the drunkard for making the family suffer. In the poem titled “On martyrdom,” the poet seeks to understand the new definition of martyrdom by asking what qualifies one to become a martyr.

Bal Bahadur Thapa, a quiet and hard working person, brings up the imagery of the womb frequently in his poems. Not quite happy with human ambition of overnight success (“An overnight star!”), he regards human individuality as something that should create its own destiny by moving from the mother to the other and resigning oneself to the inevitability of such a separation (“A stranger”). Survival will then mean hard work on one’s own. In “Apocalypse,” he even accepts the possibility of the mother’s death at childbirth. With this juxtaposition of life and death, or death-in-life as in the city (“My city”) one has to grow wise with the realization that the external image of unity of the self is a lie (“The discovery”), that the self is all fragments, indeed.

Put the seis amigos together and you will find a love of normal sunshine in a happy domesticity, a desire of peace and prosperity in the social world, a desire to enhance the cultural world, a disgust of all that hampers the blossoming of human civilization with barbaric and anti-humanistic militantism, a desire to understand love, life, human relations, death, time, and eternity. Originally written in English, the poems are readable, experimental at times, visually effective at other. After a first reading, the poems begin to attach themselves to this or that poet in terms of themes and styles. All of them promise a growth along individual lines of visions and perspectives.

Since all of these poets are active members of the Society of Nepali Writers in English (N/WEN), I am very proud of these young poets who, I believe, will soon inspire other people with their success. I congratulate them all.

Maitidevi, Kathmandu
July 23, 2011

(http://padmadevkota.blogspot.com.au/2011/07/reading-half-of-six-strings.html)

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Welcome…

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Dear friends, welcome to my blog (or, whatever it is, or it is not….and, only if you have nothing better to do, that is!)

I have lately realized that I am very careless about archiving things: I have lost many things I wrote and published over the years (even though, almost all of it was incoherent, insubstantial stuff, and losing it would not matter much to anyone, including myself). So, I thought of putting together some of those thing in one place (primarily for myself as an archive, but also for those friends who have read my stuff and have asked me to write and share more, and . . . for you too, if you insist. 🙂 )

This is just a beginning, and I hope to gradually add more writings.

Thank you for being here.

Prakash

Ritual, pastiche, or something else?

tribhuvan-universityStudents studying for a Master in English at Tribhuvan University are required to write a thesis in their second year, which equals to a hundred-marks exam. The normal tendency, so far, has been to choose from some high sounding Western philosophical theories (different versions of deconstruction, post-colonialism, and feminism, among others, are in vogue these days, for that matter), and to ‘apply’ them on some Indian or English novel in which a certain trait is thought to be obvious and conspicuous. In most of these cases, no creativity or originality is involved in the ‘research’, and its not very unlikely if the student visits some websites, gathers lines and paragraphs  from here and there, and completes the ‘research’ by using them as her/his own ideas. The result normally is a volume of around seventy-pages in average between two black hard covers with golden prints on them, looking alike not only from outside but also regarding the content—similar to the bricks made out of the same mud and mould—and ‘signifying nothing’. For those who expect something worthy after all the fuss, the height of disappointment becomes conspicuous when, during the viva-voce, the student cannot explain a single issue s/he has eloquently discussed at length in her/his research.

(more…)

Reservation

Safa_Tempo,_Kathmandu,_NepalHow often do you use the public transportation?

If you do, you must have become aware of the fact that few months back, as if out of nowhere, a new notice appeared above certain seats of all the public buses, microbuses, and safa-tempos: ‘seat reserved for the ladies’, and ‘seat reserved for the disabled’ (I doubt the latter as even being politically correct).

Then, more often than never, instead of a lady or a ‘disabled’ person, you must have found a ‘perfectly abled gentleman’ comfortably settled in those seats and snoring. Snoring over the ‘rights’ of the ladies and the ‘disabled’?

(more…)

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Introduction: Stars and Fireflies

Stars and Fireflies is an anthology of poems published in 2009 by Society of Nepali Writers in English (NWEN).

BookStars and Fireflies

Genre: Poetry

Author: Prakash Subedi

Publisher: Society of Nepali Writers in English, Kathmandu (NWEN Publications Series-4)

Year: 2009

ISBN: 978-9937-213189

 

 

Launching of Stars and Fireflies

Stars and Fireflies was launched by Prof. Rameshwar Adhikari on March 28, 2009 in Nagarkot in a function organized by NWEN.

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Introduction: Six Strings

Six Strings is a joint anthology of poems published in 2011 by Society of Nepali Writers in English (NWEN). It includes sixty poems by six Nepali poets, namely Bal Bahadur Thapa, Hem Raj Kafle, Keshab Sigdel, Prakash Subedi, Saraswati Lamichhane and Sarita Bhattarai.

BookSix Strings: a  joint anthology of poems

Genre: Poetry

Authors: Bal Bahadur Thapa, Hem Raj Kafle, Keshab Sigdel, Prakash Subedi, Saraswati Lamichhane, Sarita Bhattarai

Publisher: Society of Nepali Writers in English, Kathmandu (NWEN Publications Series-5)

Year: 2011

ISBN: 977-9937-2-3743-7

In Media:

THT July 24_THT Aug 14_Kantipur Aug 15_KPost Aug 14

(The Himalayan Times July 24, The Himalayan Times August 14, Kantipur August 15, Kathmandu Post August 14)

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Creative recitation

KATHMANDU: Poetry recitation programme held on May 30 at Institute of Advance, Communication, Education and Research Centre (IACER) college welcomed a crowd of participants. This plainly proved the rise of interest in english language and creative writing among people. This recitation programme is regular organised by the Society of Nepali Writers in English (N/WEN).

As amateur poets and other participants were passionately waiting for their turn, the recitation schedule set off with a poem Kirtipur Flood by an emerging poet Prakash Subedi.

The programme followed speed with other poems from Keshab Sigdel, Tila Ram Sapkota, Sarita Bhattarai Hem Raj Kafle, Muna Pokharel.

Most of the poems presented the idea of irony and humour. Sigdel’s ironical poem titled Happiness which touched upon marital subject was rewarded with standing ovation from the audience. Similarly, Hem Raj Kafle’s poem Woman’s Day was also successful to deserve similar cheer ups.

Professor Padma Devkota commenting on the poems of the participants said that the poems today represented multiple dimensions.

“This society has really provided a spacious platform for expressing emerging poets’ inner thoughts through poems,” he added. Devkota also informed that N/WEN was established by a group of writers and academicians with the main objective to encourage Nepali writers who write in english.

(February 09, 2016, The Himalayan Times)

Creative Recitation

Asian literature festival, Thailand

ASEAN and Asian Festival for Literature and Culture, Phuket, Thailand (April 22-26, 2015)

 

 

 

 

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In News

Two Nepali Poets at the Asian Conference on Literature and Culture

Apr 23, 2015-The ASEAN and Asian Conference on Literature and Culture started in Phuket, Thailand, from April 22. Representing Nepal in the conference are poets Keshab Sigdel and Prakash Subedi. The conference is organised by the Department of Cultural Promotion, the Ministry of Culture (Thailand), with support from the Phuket Municipal Office and Phuket Rajabhat University. The convention was inaugurated by Vira Rojpojchanarat, the Thai minister of culture.

Addressing the inaugural ceremony, Rojpojchanarat said that in a world that seems to be getting divided more and more along political, religious, ethnic and linguistic lines, culture and literature could be the means to unite all the people.

The opening session of the convention saw renowned Thai authors Prabhassorn Sevikul and Sukanya Chonlasuek talking about the importance of organising regional level conferences on literature and culture.

Participants in the conference include poets and writers from countries like Nepal, Bangladesh, Pakistan, Thailand, Myanmar, Taiwan, Cambodia, Laos, Vietnam, Singapore, Malaysia and the Philippines, among others. The conference will go on for five days, and end on April 26.

(The Kathmandu Post, Published: 23-04-2015 08:18)

Phuket news

Highlights

ASEAN and Asian Festival for Literature and Culture, Phuket, Thailand (April 22-26, 2015)

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Campus recall (The Himalayan Times)

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                                        (Published in The Himalayan Times)

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Three Favourite books (Navyaata)

Thus Spake Zarathustra by Friedrich Nietzsche

One of the most accessible and the most popular among Nietzsche’s works, Thus Spake Zarathustra remains special due to many reasons. Many of his prominent ideas such as the death of the god, the superman, and the eternal recurrence find lucid expression in this book. Moreover, this book represents Nietzsche’s boldest attempt to find a literary form appropriate to his revolutionary ideas, and his distinction as a poet is best demonstrated here. One can disagree with some of Nietzsche’s ideas, but I can’t imagine someone remaining unimpressed by the sheer beauty of his language and ideas.

download (1).jpg2. The Little Prince by Antoine de Saint-Exupery

This is apparently a children’s book. But the protagonist of the novella, the little prince, in the course of his travel, makes several profound and idealistic observations about life and human nature, which make it an equally enjoyable work for all.  On our way to adulthood, we ignore and forget many important things in life, including our sense of curiosity and innocence. The book gives us a rare opportunity to look at the world one more time through the innocent eyes and revive our childhood.

3. The Tibetan Book of Living and Dying by Sogyal Rinpoche

104310Many philosophers from the East and the West have defined death as the final awakening. They believe that the best way to understand life is through the understanding of death. This rare book by the Tibetan master provides a comprehensive teaching of Tibetan Buddhism, with special focus on the importance of comprehending the process of dying and death. Though the book revolves around several issues of Buddhism such as impermanence, compassion, evolution, karma, and the nature of mind, its focuses on the practices before, during, and after death, and the spiritual help of the dying.

(Published in Navyaata, Shrawan 2067)

My five picks (Republica)

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(Republica)

 

 

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Take a leap from the words (VENT)

Prakash Subedi’s first collection of poems, Stars and Fireflies, was published recently. Subedi, who is affiliated with the Aarohan Gurukul Theatre and the Society of Nepali Writers in English (NWEN), currently teaches at the Central Department of English, TU, and Dillibazaar Kanya Campus. V.E.N.T! Magazine met up with this budding poet to hear his perspective on literature, life and poetry.
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When did you start writing?

I’ve been writing poems for a very long time now. I must have started in primary school. I had a very inspiring teacher who playfully pushed me into writing. And while he would spoil his students with praises and flattery, I think his attention and enthusiasm had a lasting impact on my desire to write. However, it was only about five or six years ago that I began to write seriously. (more…)

Ibsen: Beyond Time and Space

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(The Kathmandu Post)

 

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Men, Words and Metaphors (ECS)

                    – by Isha Gharti (for ECS Friday)

Bal Bahadur Thapa (Balu), Keshab Sigdel and Prakash Subedi, represent the Nepali poets/writers of the new generation. Over the last decade, in addition to their powerful writing, they have been very active in the literary scene. They have contributed to the theatre and film scenario and have been active through organizations such as Society of Nepalese Writers in English (NWEN), Literary Association of Nepal (LAN) and Devkota Study and Research Center (DSRC).

Apt with skills, substance and a will to contribute to national literature, they are a strong force to be reckoned with. Steadily gaining national and international recognition, they are slowly changing the scene of English writing in Nepal.

What made you get into literature?

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Pearls

Pearls

 

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Tears

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           (Tears in Heaven, Kusche Lirmel)

Day and night

they kept on pouring—

I asked them:

When are you going to stop?

They continued to flow,

but a tiny drop

looked at me and said:

When are you going to stop?

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Roots

RootsForWingsLogo5You need to have

solid, strong roots

that go deep into the earth,

they said.

And, I got so busy

strengthening my roots

that I never looked up

to see the sky.

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Eyes

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I opened my eyes

and

looked at the world—

I closed my eyes

and

saw the world.

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Flirting with life

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                                                         Sebastiao Salgado

I’ve been flirting with life for long,

and, I just have two fears

(or, is it only one?)

I am afraid-

my flirting

may anytime turn into something serious,

and, I am afraid-

my flirting

may never turn into anything serious.

.

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                                                                                                             (Where does this trail go? )

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The Poem

Untitled

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खशीहरु

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                                  (Fighting Bucks by Stefan Schinning)

बगरेको पसल –

काठको फोहोर टेबलमाथी
ङीच्च हाँसिरहेको
एउटा खशीको टाउको –

नजीकै,
दुई त्यान्द्रा परालका लागी
तँछाड मँछाड गर्दै
लडिरहेका
खशीहरु ।

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वार्ता

images (1)सानो माछाले

ठूलो माछालाई सोध्यो:

किन खान्छौ हँ  हामीलाई ?

जवाफमा

ठूलो माछाले सानो माछालाई कप्लक्कै  निल्यो

अनी

डकार्यो ।

 

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कुर्ची

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                                                (Pedro Friedeberg)

सिकर्मीले कुर्ची बनायो,

त्यो कुर्ची उसका लागि बनेको थिएन –

उ बसेन

भरियाले कुर्ची बोकेर ठाउँसम्म पुर्‍यायो

त्यो कुर्ची उसका लागि पनि बनेको थिएन –

उ पनि बसेन

तर, जसका लागि त्यो कुर्ची बनेको थियो,

उ पनि त्यो कुर्चीमा बसेन-

उ त्यही सिकर्मी अनी त्यही भरिया माथि बस्यो !

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मैनबत्ति

बलेर
जलेर
पग्लेर
आधा-आधी भई सक्दा पनि
सोचमग्न छ
मैनबत्ति-
म बलुँ
कि नबलुँ ?
जलुँ
कि नजलुँ ?
पग्लुँ
कि
नपग्लुँ ?
.
.

नियती

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दाग-रहित बाँच्ने प्रयास
गरिरहन्छु

मेरो
यो प्रयास
कुनै बखत पनि
नटुटोस भनेर होला शायद

ममाथी
निरन्तर
दाग लगाइरहन्छ

मलाई
अनुग्रहित बनाइरहन्छ . . .

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Welcome!

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Dear friends,

Welcome to my blog [or, whatever it is]!

I recently realized that I am very careless about archiving things; I have lost many things I wrote and published over the years [even though, almost all of them were very very insignificant and losing them would not matter much to anyone, including myself, I know].

This is, therefore, my humble attempt to put together all of my writings in one place [primarily for myself as an archive, but also for my friends who have read my stuff, and have encouraged me to write more…]

Thank  you.

Fond regards,

Prakash

[It’s going to take a while for me to add things here though, it seems… 🙂 ]

 

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