‘A new literary culture does not permeate in Nepal unless it comes bundled with flashing lights’
I spoke to Nepali writer Rabi Thapa about the state of Nepali writing in English, on the role that translations play in taking Nepali writing to the world, and what the future holds for Nepali writing in English. The interview was published on Scroll.in here.
Despite a history of literature tracing back to antiquity, English writing in Nepal is a more recent phenomenon. How far have we come?
We’ve got to where we are with stops and starts, beginning with sub-par self-translations by poets in the 1950s and peaking, so to speak, with the vanity projects of the ’80s and ’90s. With a few exceptions (the academic and essayist Kamal P Malla for example), this is primordial, non-edited (and largely non-read) Nepali writing in English.
The scene got a shot in the arm with the publication of Samrat’s and Manjushree’s fiction outside Nepal, circa 2001. But it lost steam, perhaps because Nepali writing in English was a niche market and simply didn’t have enough readers. This, despite the phenomenal parallel growth of Nepali-language publishing, driven by media-savvy private companies.
The last few years have seen significant additions to non-fiction from Nepal (in English), Indian publishers such as Speaking Tiger are commissioning new work, and publications like La.Lit and The Record are doing all they can to encourage Nepali writing in English. Ask me again in a few years and we’ll see if this is just another blip or a massing of energies.
How can it be ensured it’s not just a blip? Are there any institutional support systems for writers?
Yes, Nepali language writers do get some support and validation from the Nepal Academy, though this is orientated towards the canon, as represented by the topi-wearing old school. This is not applicable to us for the moment. As for the government’s investing in Nepali writers in English, they’re hidebound. New culture does not permeate unless it comes bundled with flashing lights.
There is a lot of energy visible in Nepali writing today, with slam poets, feminist writings and the Book Bus Library’s focus on writing and reading among schools and colleges. How do you see things moving ahead? And where do you think this energy is coming from?
There is a lot more of youth involvement in writing and performing poetry, in both Nepali and English. The Book Bus (run by Quixote’s Cove), by travelling to towns along the highways, tries to ensure that this energy is not limited to Kathmandu. The themes cover the personal as much as the political. So a slam poetry contest will veer from heartfelt odes to the body, love and teenage rebellion to weary satires on society and politics. Political instability — or stagnation, if you will, in the sense of enduring corruption — clearly frustrates the Nepali youth, who refuse to accept the dysfunction that warps their futures. Writing/performing is one way to express this anger, and search for solutions.
Several translations of Nepali writings, including two of IB Rai’s by Manjushree Thapa and Prawin Adhikari, are on their way. How important are these translations to Nepali writing? Do you think a focus on translations may result in fewer original works?
IB Rai’s is a special case, as he is writing from Darjeeling. Translations of his work are important for the Indian mainstream and to project a Nepali sensibility into the wider world. More translations are needed, to reach Nepalis in Nepal and across the world who prefer to read in English, as much as to allow those writing in Nepal’s languages to be part of a global conversation. Yes, there are not many of us working in English, and spending time on translations means less time on original work — but we’ll get there eventually!
