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Tom Lutz is a Distinguished Professor Emeritus and Professor of the Graduate Division at UC Riverside, the founding editor-in-chief and publisher of the Los Angeles Review of Books, founder of The LARB Radio Hour, The LARB Quarterly Journal, The LARB Publishing Workshop, LitLit Book Fair, and LARB Books. Ken Subedi sat down and conversed with Lutz about his experiences of Nepal and his works while he was in Nepal for New York Writers Workshop Kathmandu 2024.

When did you come to Nepal for the first time?

During the big earthquake. In 2015.

Did you come for work or pleasure? What was the purpose?

No, I travel. I write travel books. I travel whenever I get the chance. Gertrude Stein said—you can either buy clothes, or you can buy art. So you just have to choose—what do you want? She bought art and I bought clothes for one dollar, and then I travelled.

Where did you travel? To France?

I have travelled to 150 countries.

Where did you travel in Nepal in 2015?

I just travelled in Kathmandu and some rural towns around Kathmandu. What is that big temple town?

Changunarayan? Bhaktapur Durbar Square?

Yes, right.

So you came to Nepal in 2015. But when you were living in the US, when did you know about Nepal for the first time?

Well! It was the first time I had been to Nepal where there was a religion which was so syncretic. I see in the Buddhist temple, a Buddhist monk praying to Ganesh.

But usually Buddhists pray in their own rites. But here in Nepal, even the Buddhists pray to the Hindu gods.   

Exactly! This is the only place I have seen that. 

The roots of Buddhism lie in Hinduism.

Yeah, right! Of course! And the basic kind of Namaste, kindness, was impressive to me. That’s on the positive side. On the negative side—I had a romantic image of Kathmandu.  So I was surprised by the traffic and the pollution, and the poverty. That was surprising. I didn’t expect it.

So you also got to see how the earthquake ruined the country and the people who were devastated by it, right? 

Yes. I only came because I had some time, and I went to India as well.

Right now, how was your experience attending the workshop and Himalayan Literature Festival? 

Literature is international. It’s a cosmopolitan kind of activity. When people write – sometimes Nepalese writers write about Nepal, sometimes American writers write for America. But most of the American writers write hoping to write for the world. 

That is also because of the English language!

Yeah! And Yuyutsu is a perfect example. He goes everywhere. He writes to everyone. And he brings writers from everywhere. He is a perfect example of the cosmopolitanism of literary work.

But at the same time that may also create some sort of homogeneity, also the cultural homogeneity.

Yes. I think literature fights against homogeneity. Literature is interested in all the nooks and crannies of difference. There is no reason to write about Taylor Swift for example. Writers don’t tend to be interested in the normal.

Salman Rushdie says that a writer should always challenge the current stage, like current tradition, current norms, or established values. What’s your opinion on this view?

Yes. Literature always crosses the boundary. For example: Take this cup of tea; there is no story here. But if I take this tea and throw it in your face, then it is a story. I crossed a cultural boundary. It is something abnormal. And then it becomes a story.

You have written lots of books on various genres. You also write travelogues. You travel. There are so many areas where you have worked simultaneously. What excites you, what fascinates you the most? Is it literary criticism, fiction, memoir, or novel, or travelogue? Do you have any favorite areas? It’s like asking a father which son you love the most. In Nepal, the youngest son is always loved.

Yes. And that is true. The youngest child is more loved. The book I am working on is always the one that. I am reading something which is from 2021. Just four years ago. 

Did you write a memoir in 2022?

No, it’s a novel. The novel has some memoirist aspects. It’s the new novel I just finished that is coming this year. And novels are really fun.

You can take the characters to where you want!

The characters go where they want. And I watch them, I think. 

Do you let the characters go, or do you bring some restrictions?

The characters take their own life jack. It’s more like you are watching them do things. 

I guess you love all the genres, but novels should be more near to your heart. 

Yeah! I don’t know about the heart. It’s all about the book 1925. It’s a literary history. It was also really fun. I loved that work.

So, the venture which you are working on is the most exciting part! 

I think that I have written these very different kinds of things because I had a teaching job. It paid me a salary. I could write whatever I wanted to write.  I didn’t have to worry about whether I sold it, if I sold 10 copies or 10,000 copies, or 100,000.

So, you write for the sake of passion?

It’s whatever you want to do. I travel but I do not have an itinerary. I wander freely and write freely like I travel.

Have you written anything on Nepal?

Yes. I think I have a Nepal section in one of the travel books, The Kindness of Strangers.  I have already written about it.

It is said that for the same person to be a good creative writer and a good literary critic is a rare thing. You have worked as both and succeeded. Do you think you can be good in both areas?

A lot of critical people who write criticism think that they don’t have the ability to write creative kinds of fiction. I think they just don’t try it. And some novelists and some poets think that they can never do other things. So they don’t try. I tried to write a novel when I was much younger but I had not read much and had not gone to college yet. They can get in each other’s way sometimes.

Do you think it is possible to work like you? How can you balance that?

For me, that’s a very personal thing. I said I am not going to try to write great literature. I am going to write a thriller. Mystery genre does not have to be fancy; it does not have to be great literature. It can be just to tell a fun story. I think it’s somewhere in-between.

Is it due to your profession? Are you able to balance both works like literary criticism and the work which you are doing? Many professors teach how to write, but they don’t write themselves. But you have done a great job. 

Exactly, it helps. I think I became a better critic when I wrote some poetry and some fiction. I think I write better criticism, I write better fiction and poetry because I love my works as a historian, as a scholar. 

I think you started with literary criticism. Or, did you start with creative work?

I graduated from my high school. Then, I worked doing different things for ten years. Then, I started going to college. Then after graduate school, I became a professor. So during that period, I was writing poetry, I was writing songs, I tried to write fiction. My earliest attempts were creative writing. But I didn’t publish anything. And then when I started going to school, my first book was a scholarly book.

Regarding the Los Angeles Review of Books, what triggered you to start a new media only dedicated to reviews?

There is a personal reason and a historical reason. The personal reason is—I got a new job, a very good job, and a very good pay. I thought what I should do next is—something that’s not for me, not to make my career better, not something more absurdist. I should do something for the service. When all the book reviews in America were dying, the newspapers were shrinking; I grew up reading the book reviews in the newspapers. That was my introduction to literary culture. And I wanted other people to get into the conversation. I started an online service. It did not cost anything. I called my friends. It was volunteer labor. Gradually it became bigger and bigger. I had to hire staff. So, I built a board of directors and turned it into a non-profit organization so that we could take grants and gifts, and pay staff. I spent 60 hours a week for ten years.

It is like a contribution to the literary fraternity. People are writing reviews throughout the world. The representation of local literature is also accessible throughout the world.

We have readers in 200 countries.  

How do you find the representation of the Global South in producing great literary works? What is your view regarding their representation from South Asia?

I am 71 years old. When I started reading literature in the 1970s, I never heard the phrase Global South. We read Gabriel Garcia Marquez, Alejo Carpentier and Frantz Fanon. There were a dozen texts from around the world. There were a handful of people. Also VS Naipaul. Now, for the last 20 years, the idea of the Global South has been a part of every English Department, every Literature Department. Every university has people working on Global South literature; now, it’s a recognized area. The American book market is dominated by very few bestselling authors. All of the big money is going into publishing all of those few bestselling authors from the US and the UK. In the second level, there are lots of authors from Africa, India, and the East. There are a lot of writers now who are considered the important literary writers of the Four American Literary Readers who are from the Global South. So it’s a big change. If you look at Germany or any Latin American country, the publishers there publish half of the work that is translated from other languages. In America it’s three percent. It’s still a very small part. That means that even though Africa is being represented in Four American Readers, it has been represented by a small percentage of writers from Africa. Often, those are writers who have moved to England or America.

I think one should be at least second generation to become a published author in the US, like Ravi Shankar. If he was first generation in the US, it would have been more difficult for him to secure publishing from the American publishers. It may be because of the languages, the familiarity with the culture.

Ngũgĩ wa Thiong’o from Kenya. He was a famous author in Kenya. His fames were around the world, while he still lived in Kenya. But he had gotten into trouble with the government.  And he was imprisoned. He fled to America. So he lived in America for 20/25 years. So writers like that have much more access to American readers because they live in America, give readings in America and are part of the scene. There are a number of authors who live in both places and cultures. I know there are hundreds of great African writers who Americans have never heard of and have never translated.

What languages do you speak besides English?

I speak some French and some Spanish.

“Never Never Land” is an account of Iti, a middle-aged woman, who retreats to live with her elderly relatives in the distant mountainous region of Kumaon, seeking respite from her monotonous life as an editor in the city. She intentionally escapes the hustle and bustle of a cosmopolitan life to an aloof mountain village where she had sweet childhood memories. Iti finds pleasure while going back to her childhood place where she pleases her spirit with mountains, flowers found there, greenery, pasture, and nature.

The novel, narrated primarily in the first person by Iti, starts with her recounting the stories and folktales native to the mountainous Kumaon. For instance, ‘The Sun has his own stories, and his own way of telling them. You can hear him best at mid-day when he casts no shadows.’ The novel also depicts the bond and affection between grandparent and grandchild, here through Badi Amma and Iti. Grandparents do not have a sense of fear while they love, their affection and love outweighs any sort of suspicion, fear and reluctance. The affection is so immense that Iti has no sentiments towards her mother but the bond between her grandmother is highly revered.

The relation between landlord Rosinka and her maid, Badi Amma or Lily is outstanding and asks for special attention from the readers. The carefully carried out duty that Lily performs in the house of Rosinka even in her nonagenarian days proves her faith, love and friendship with Rosinka, the 102 year old woman who led an active life herself. 

In one of the chapters, the story is narrated by Rosinka where she mentions that she had urinated on her bed. Badi Amma soon cleaned up, removed the sheet and under-sheet and laid out a large pink bath towel on the bed. Then she said, ‘You can lie down again. The quilt isn’t wet. I will get you some tea.’ Such tremendous love and affection is noted well by Rosinka in spite of her old age. Instead of saying that she wetted the quilt or she hasn’t, she said, ‘the quilt isn’t wet’.

Despite Rosinka’s rude behavior in her heyday, once narrated to Iti by her grandmother Badi Amma, she continued to work as her maid, a confident person throughout her life. And Rosinka too, along with her husband, had apologized to her maid and insisted on returning back. This further confirms the special and ideal relation between the two elderlies.

The narration on natural objects, mountains, flowers, nettle cooking etc. is poetic and detailed. It is the writer’s extraordinary talent to weave words so meticulously on trivial or ordinary things and events. The projection of celebration of life and merry making by the 90 year old and 102 year old women is astounding motivation. They enjoy doing household errands, drinking tea, wine, being quite satisfied in their lives.

Similarly, the use of poems and poetic lines in between the narratives add literariness to the novel. For e.g. the verses of William Blake’s O Rose thou art sick is placed justifiably, which added literary flavor to the plots.

The book does not gloss over the terror that seizes the Himalayan landscape when it is caught in the midst of adverse natural calamities, much worsened by human encroachment. Iti’s once-idyllic repose loses electricity and water, and she writes that the narrators were comparatively safer, for they were near the top of the hill. They were saved from the collapse of rocks and boulders on their roof, even as down below in the village, the monsoon went on, with landslides and floods taking place everywhere. 

As the book progresses and Iti realizes that dreams can also turn into nightmares, the stories of Badi amma’s and Rosinka’s pasts unfold. Nettle soup, called ‘witches’ brew’ or ‘dayan ki chai’ in the hills, must be made carefully, lest the nettles burn you. If held as tightly as possible, they do not hurt. Badi amma makes this soup to comfort Iti in her sickness, even as she tells a tale of its boiling, stinging past. Like palak leaves, the antidote to nettle, always grow nearby in nature, the book presents at once a whirlwind of hurt and love, betrayal and friendship. Thrust together, they present a balance. Never Never Land is a tale of wisdom, on what it means to be old and young. As the mountains speak and the sun tells its stories, Iti finds her way towards their lessons of love and resilience. 

Never Never Land

Namita Gokhale

Published Year: 2024

Page: 167

Publisher: Speaking Tiger

The culmination of the New York Writers Workshop Kathmandu (NYWWK), Himalayan Literature Festival (HLF) concludes after a two day event full of panel discussions, book launches, poetry and fiction readings, dramatic performance and book signings. The two day festival held three concurrent sessions covering more than twenty sessions. The faculties of the NYWWK as well as participating international writers from all around the world interacted with Nepali authors on areas ranging from translation to poetry and photography to travel writing.

On May 27, the festival was officially inaugurated by Minister of Women, Children and Elderly Bhagawati Chaudhary together with the Ambassador of the United Kingdom to Nepal Rob Fenn. Minister Chaudhary applauded the initiative of Himalayan Literature Festival for organizing such literature events in Nepal, bringing writers from all around the world, inviting New York Writers Workshop and dedicating the festival to the great Nepali poet Gopal Prasad Rimal. She said, “Such festivals enhance the promotion of the entire nation through words.” Similarly, Rob Fenn recited his poem and emphasized the need for such cultural exchanges.

On the first day of the festival, sessions on Ghazal as Blues, role of big and small magazines, Nepali poetry reading, conversation with poet K Satchidananda, Home and Beyond, Culture of Silence, Nepal Bhasha poetry reading, Translation, English poetry by Nepali poets, launch of literary magazines Pratik City Issue and other five books, The Space of Nepali literature on Nepali media, Flash Fiction, Workshop on Constraint, Chance and Discovery by Ruth Danon were held. A dedicated panel discussion and reading was held in the evening on Indian Letters Now where contemporary Indian poets and writers discussed Indian writings in English.

According to the curator of the festival, Yuyutsu RD Sharma, the inaugural festival is dedicated to the great Nepali poet Gopal Prasad Rimal for his contribution to Nepali poetry and literature is immense. He said, “Rimal never compromised with the then ruthless regime. Though he faced wrong accusations, he continued to revolt against authority with his powerful poems.” Shreejana Bhandari, the director of the festival said that they are planning to continue organizing a literature festival dedicating a great Nepali poet on each edition of the festival.

More than forty five poets recited their poems, some in English, some in Nepali and some of them in Nepal Bhasha. Nepali poets like Dwarika Shrestha, Shailendra Shakar, Sita Pandey, Kishor Pahadi, Ramesh Chitiz, Shyam Rimal, Tanka Upreti, Avaya Shrestha, Amar Aakash read their poetry on contemporary issues. Other poets like Rajni Mila, Sabina Maharjan, Dr Ananda Raj, Suresh Kiran recited their Nepal bhasha poetry. Likewise Nepali poets writing in English, Bhuwan Thapaliya, Paru Timilsina, Sushant Thapa, Sameen Shakya, Tejan Subba and others performed their English poems.

Noted journalist turned author Narayan Wagle opined that the current crises in media has led to decreasing the content of literature in media. Veteran journalist Yubaraj Ghimire opined that content of literature in media depends upon the background of the editor mainly. Poet Shakuntala Joshi expressed her views that poems are getting enough space in big media though some are struggling to publish their initial works. Republica’s editor Kosh Raj Koirala opined that there are many platforms like Sahityapost to publish the works of literature. It is not a must to publish in big media to draw one’s attention.

On May 28, the festival started with workshops on metaphors by Prof Tony Barnstone, Whittier College with the workshop participant writers. The workshop followed by another on Text, Image and Sound with speakers Jami Proctor Xu, Da Mao and Jah Rose Jafta. They discussed how such elements can be incorporated and utilized in the writing crafts. Concurrently, Nepali photographer Bikas Rauniar conversed with Boston-based photographer Julie Williams-Krishnan on the Art of Photography. They discussed how photography can be a powerful tool of expression through the medium of art.

Likewise, a dedicated session on the life and times of Gopal Prasad Rimal was held with moderation of Deepak Sapkota and speakers Yuyutsu Sharma, Raj Kumar Baniya and Narayan Dhakal respectively. They discussed the contributions of Gopal Prasad Rimal and how his poetry can be representative of the then Nepali society. They also realized the need for translations of his works. Piia Mustamaki, professor of English at NYU Abu Dhabi moderated a session on travel writing with writers David Drukan, BN Joshi, Tom Lutz and Neville Sarony. They discussed their individual styles of writing travelogues and if some are more public and personal accounts. Tom Lutz shared his experience that he traveled to new places and countries where he lets the place and people there to allow him understanding of the location and culture.

Veteran Indian author Pankaj Bisht interacted with prolific Nepali author Narayan Dhakal on various themes of writing including translation, South Asian literature, world literature and their personal experiences regarding how they weave stories. The second day saw the launch of six new books written by authors such as Vinita Ramani, Yann Vagneux, Tim Tomlinson, Anish Ghimire, Sudeep Sen and SS Dogra.

Moreover, Akhanda Bhandari’s new Nepali novel Bora was discussed by the critic Ganesh Khaniya where the latter delved into the criticism of the book without spoilers. He unearthed the writing strategy that Bhandari applied while writing his book. The two spoke on how the book has tried to portray the bitter reality of dumping one’s mother at the cost of material wealth and invidualism that is growing due to modernity.

In addition, Nepali writing trends were discussed by the panelists Raj Kumar Baniya, author Shailendra Adhikaree, poet Avaya Shrestha, Amar Aakash and Bimala Tumkhewa. They discussed how increasing populism is encouraging authors to produce low quality books and how authors should take required time and make efforts to not sway with populism. They also discussed the chronicles of the past Nepali writing and how Nepali writing has increased publications in various genres such as poetry, novels and essays.

Towards the end, Rimal’s poems Bhet and Hos were dramatized and performed, paying tribute to the great Nepali poet. Likewise, poems of Yuyutsu Sharma Khachharharu, Father, Rains, poems of Ravi Shankar, Laloo the Handsome, Healthy Happy Hindoo, Exile and poems of Tony Barnstone, Roses & Death Birth were also performed creating an open theatre in the garden. The dramatization was directed by Che Shankar and produced by Garden Theatre Community.

The NYWW Kathmandu faculties and participating writers have headed towards Pokhara where they shall be writing and exercising their crafts on the natural beauty and splendor of the Lake city, historical sites, monuments of Pokhara and then towards Chitwan to delve deeper into the nature of the wildlife.

The New York Writers Workshop Kathmandu recently concluded workshops held at various picturesque locations around the valley, including their base at Park Village Resort, Budhanilkantha. Participants and faculty also embarked on cultural excursions, visiting iconic sites like Pashupatinath, Swayambhunath, and Bouddhanath. They explored the rich history of Changunarayan, the grandeur of Basantapur Durbar Square, and the vibrant markets of Asan and Indrachowk.

Workshop attendees, hailing from diverse corners of the globe, were accompanied by representatives from White Lotus Book Shop, who facilitated connections with the local people and culture. Inspired by their experiences at holy shrines like Pashupatinath and Changunarayan, participants created poems and stories that were shared during workshops.

Yuyutsu Sharma, curator of the Himalayan Literature Festival, shared that some of the workshop participants plan to present their work at the upcoming festival, which will take place at Kathmandu Guest House in Thamel on May 27 and 28.

The festival promises a vibrant showcase of international literary talent. Workshop writers, captivated by Nepal’s cultural tapestry and natural beauty, are crafting poems, stories, and even photography based on their experiences.  Several plan to create lasting artistic expressions upon returning home, with some considering documentaries exploring Nepal's rich ethnic diversity and customs. Authors are enthusiastic about translating their workshop creations into languages like Greek, Spanish, and Panamanian. Further excursions to Pokhara and Chitwan are planned, allowing them to deepen their understanding and translate their experiences into various literary forms.

The festival boasts an esteemed faculty, including Prof. Tim Tomlinson, Dr. Piia Mustamaki, Dr Ravi Shankar (workshops for GATE College), and Tony Barnstone, Ruth Danon, and Jami Proctor Xu (workshops for Kathmandu International School, Guheswori).

The festival will be inaugurated by Rob Fenn, the UK Ambassador to Nepal. He will be joined by distinguished guests, including co-founders of the New York Writers Workshop, Tim Tomlinson and Dr Ravi Shankar.

The festival will take place across three venues within Kathmandu Guest House. Following the inauguration, there will be various programs including panel discussions on Ghazal and the evolving role of magazines, as well as a Nepali poetry reading session. Renowned writer K Satchidanandan will also be in conversation, while other panels explore themes of ‘Home and Beyond’ and the ‘Culture of Silence.’

The festival will also feature multilingual poetry readings. Rajni Mila is set to moderate the Nepal Bhasa poetry session, while Tony Barnstone will lead a discussion on translation with renowned translators.

There will also be book launches and signings, with around 12 books scheduled for release, including the latest City Issue of Pratik magazine. Authors like Gorka Lasa, Tony Barnstone, and Shyam Rimal will be among those presenting their works.

The festival will also pay homage to the revered Nepali poet Gopal Prasad Rimal. His son, Madan Rimal, will speak about his father at the opening session. The festival also features the inauguration of Rimal’s English translations and a stage performance of his poetry by the Garden Theatre Community. A panel discussion on Rimal’s life and times is also scheduled for May 28.

The festival encourages interaction between international and Nepali literary figures. Photographer Bikas Rauniar will engage in a discussion on the ‘Art of Photography’ with Boston-based photographer Julie Williams-Krishnan.

Nepali literature is well-represented with panels like ‘The Space of Nepali Literature in Nepalese Media’, featuring prominent writers like Yubaraj Ghimire and Narayan Wagle, moderated by Ken Subedi. Critic Ganesh Khaniya will discuss the latest novel by Akhanda Bhandari, and a panel titled ‘Nepali Writing Now’ will delve into current trends in the Nepali literary scene.

The Himalayan Literature Festival promises a comprehensive experience for literature enthusiasts, offering a platform for exploring Nepali, Indian, and international writing trends across various genres.

New York Writers Workshop (NYWW) is organizing its annual workshop and conference in Kathmandu on May 22. The workshop is scheduled to culminate in the Himalayan Literature Festival (HLF) at Kathmandu Guest House on May 27 and 28. The workshop and the festival shall have participation of over 35 international authors and faculties as well as over 50 Nepali writers covering various genres. The workshop will be facilitated by expert faculties including Tim Tomlinson, co-founder of NYWW, Yuyutsu RD Sharma, poet and curator of HLF, Ravi Shankar, board member of NYWW, Julie William-Krishnan, international fine art photographer, Jami Proctor Xu, poet, essayist and translator, Dr Tony Barnstone, professor at Whittier College, California, and others.

Ken Subedi talked to them about the event.  

Tim Tomlinson

Nepal strikes me as complicated and colorful. Spiritual retreats, rugged treks, white-capped mountains, lavender lotuses. I’m excited to experience it all. Above all, I come here to learn. The conference/workshop participants are coming from Poland and Panama, Australia and Armenia, the US and the UK, Singapore and South Africa, India and China. This will be a truly international conference filled with highly accomplished poets and writers engaged in generous cultural cross-pollination.

I’ll be looking at various ways that fiction intersects with and draws from travel. And I’ll be launching a new book, Listening to Fish, which provides something of an account of my own experiences visiting other worlds, specifically those under the surface of the sea.  

Yuyutsu RD Sharma

Having worked in the Nepalese literary circles for the last four decades, I take this event as a summary of my struggles in the nation. To live with the currents and cross-currents of Nepali literary life, writing in Nepali, translating from Nepali into English, translating from English into Nepali, editing journal, Pratik and Nirala series, teaching in various campuses, all the contacts I earned will come into force in HLF festival and NYWW. So, I am very excited about doing in my own world what I have been doing during my travels across the world, to sing songs of the mighty Himalayas.

I have been traveling the world and in the words of American poet Walt Whitman building friendships as thick as tree-trunks. Finally curating the festival looks like returning home in its truest sense. I see the festival and workshop as grand feast for the Nepalese readerships and Nepalese literary community. I am sure the workshop will become a grand bridge to build connections between far flung literary worlds.

This workshop and festival will be the first of its kind covering 12 days with most exciting panels and readings and interactions. I plan to present a rich selection of finest writers out of the treasure trove of my literary friendships I have forged across continents. Scores of best-known poets and writers from five continents seems an exotic treat for my Nepali audiences. I can't believe it's actually happening right now.

Ravi Shankar

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Exactly a decade ago in 2014, I had the good fortune to visit Nepal. I spent a week marveling at the syncretic culture, the emplacements of Buddhist stupas and Hindu shrines next to one another, the multicolored stalls of flower sellers and icon hawkers and copper utensils and DVDs next to pockets of profound meditative silence. I ran a poetry workshop at a local school, visited Pashupatinath and Swayambhunath, vying with monkeys for the view, was treated to Newari song and dance, strolled by the gnarled, coin-festooned stump of Viasha Dev, the toothache tree, along a chowk past Thahiti Tole, ate momos and tsampa in streetside stalls, was treated warmly by the Neaplese people, all under the magnificent presence of the Himalayas, which lent a mystical air to the everyday. I was commissioned to write a poem about Thomas Jefferson while visiting, and that poem "Thomas Jefferson in Kathmandu" was published in Caravan and has been anthologized and included on school curriculums.

Therefore, I am ecstatic to visit again, this time with the hope that I can penetrate further into the shamanistic mysteries of Nepalese culture and engage even more fully with readers and writers both local and international. Given the scope of the inaugural Himalayan Literature Festival, which we have been planning for months, I'm keen for the exchange between languages to happen and for us to be united in the shared love of art and letters.

The New York Writers Workshop and the Himalayan Literature Festival are truly unprecedented historical events. We will be bringing students and faculty from around the world, including Pushcart Prize, National Endowment for the Arts and Humanities, Poetry Society and Pablo Neruda prize-winning poets, the first Asian to deliver the Derek Walcott Lecture at the Nobel Laureate Festival, publishers of iconic publications such as the Los Angeles Review of Books, Nirala, Drunken Boat, translators from the Chinese, Tamil, Spanish, Hindi, Dutch and Malayalam, professors who have taught at NYU, Columbia, Tufts, City University of Hong Kong, IIT-New Delhi, given TED talks and been featured at festivals around the world. During the NYWW workshop we will be doing generative writing exercises with well-published authors and creative excursions into the heart of Kathmandu and the two-day HLF (open to all!) will host simultaneous panels, including concurrent ones run in Nepalese, English and Newari, and a special keynote on the state of Indian literature that's not to be missed.  Based on the shape of the program and interest from the locals, this should be a truly spectacular event.

I will be participating as host, moderator, panelist and performer at HLF. I plan to discuss bhakti poetry and writing through the mundane to arrive at the divine, to explore the spectrum of translation practice, and to introduce the audience to six of India's finest living writers who will appear together on stage for the very first time. I will also have some copies of my Memoir Magazine and Connecticut Book Award finalist memoir Correctional and my Muse India award winning translations of Andal, The Autobiography of a Goddess, with me for my Nepalese readers, and I will be available throughout the festival to speak formally and informally about publishing and the ways that we might collaborate with and sustain each other. For those who are interested, there is still space available in both the workshops and HLF and the coordinators can be contacted for sign ups. In my writing workshops, all the members will depart with a deeper understanding of craft and an original new text of their own that they can continue to polish for publication. I will be documenting my visit on the socials @empurpler.

Julie William-Krishnan

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​​​​​​​I am so very excited about this opportunity to visit Nepal, and for the purpose to be related to creativity. I have several friends from Nepal, and I have learned about Nepal through them over the years, and I am so excited to have the chance to experience their home country firsthand. The NYWW program is very inspiring, and I am excited to meet the various participants, as well as to visit the sites in Kathmandu and the surrounding region. I look forward to delicious food, beautiful sights, talking about writing/art, and seeing old friends and making some new ones.

I expect the NYWW workshop and the Himalayan Literature Festival to be enriching and exciting. I have been very excited to watch the momentum grow over the past few months as participants from around the world have confirmed their attendance. I expect many connections to be made between writers/artists, new conversations, the sharing of ideas, and lasting friendships to be formed.

I am a photographer first. Though I dabble in writing and have studied literature as well as photography. I am planning to share how images and words can work together for creative purpose, how they can each inspire the other. I will also share my personal journey as a fine art photographer.

Jami Proctor Xu

Nepal is a country I have wanted to visit for many years. China has been like my second home ever since I first lived there when I was nineteen, so I think of Nepal as a neighbor. I’ve also traveled many times to India, but somehow the timing never worked out to visit Nepal. I’ve been drawn there for the natural beauty, the cultural uniqueness and diversity of the Nepali people (as well as spiritual and cultural resonances with China, Tibet, and India), and by Nepali poets I’ve met at poetry events in China. I became friends with Yuyu several years ago, and he has kept inviting me. I’m grateful and thrilled I am finally able to get here. I know it will be meaningful for me on a spiritual level, and in terms of the Nepali people I meet. I am looking forward to hearing the work of many more Nepali writers during the Himalayan Literature Festival.

I think the workshop will be a magical time, the way writing events tend to be. Having writers and artists from around the world come together to share their ideas and work always seems to bring about exciting collaborations, as well as new work. The participants come from a wide range of backgrounds and experiences, and the faculty also has diverse yet overlapping interests that should bring about lively discussions and readings. I am extremely grateful to be part of a workshop in Kathmandu.

I will be reading some of my own poems, as well as translations by Chinese writers, discussing my work as a translator, and facilitating conversations with poets and visual artists on creating work within different media. I’ll also be exploring ways being in dialogue with place, self, other writers, and the natural world allows us to expand the possibilities of our own work. I think of poetry as a healing practice, and hope to bring some aspects of that into the shared spaces during the festival.

Shankar Tiwari wears multiple hats as an author, freelance journalist, and a youth leader of the Nepali Congress. Renowned for his regular columns in national newspapers and his literary works focusing on figures such as BP Koirala, Pradip Giri, and DB Parihar, Tiwari’s persona is a blend of literature and politics. Like BP, he divides his time almost equally between these two domains. Recently, he has put forth his candidacy for the position of central committee member of the Nepali Congress in its 2024 General Convention.

Reflecting on his entry into politics, Tiwari recounted, “During my Bachelor’s studies, amidst King Gyanendra’s takeover, I was more inclined towards study and research than active political involvement. However, an opportunity to stand as a student leader via the Nepal Student Union arose just before the Free Students Union election. It was then that I realized the futility of personal development without addressing the political landscape of our country.”

Tiwari’s interactions with leaders like Gagan Thapa and Pradip Poudel further spurred his interest in political activism.

Asked about the intersection of his roles as an author and a political leader, Tiwari shared, “I’ve delved into the writings of political figures, ranging from Karl Marx to BP Koirala. What I’ve noticed is that writers possess a clarity of thought and secure a lasting place in history.”

Tiwari stressed the enriching impact of both literary and political pursuits on one’s personality. His columns in various newspapers, starting from Himal to Annapurna Post and eventually in Kantipur, not only bolstered his reputation but also provided a platform for personal growth and understanding of national and global literary trends.

Although his previous bid for a central committee position in the Nepali Congress was unsuccessful, Tiwari views it as a valuable learning experience. His vision for reforms, if elected, revolves around prioritizing general elections over party conventions, ensuring leadership renewal, and curbing the tendency of party dominance.

“If the party fails to enter the government after the elections, the party president’s term must be terminated within six months. This will pave the way for a new generation to lead the party,” he said. “In European democracies, it is an established notion that political parties are not rejected but leadership can be rejected. I want to establish the same value here.”

Tiwari’s academic journey, including his study of Gandhi’s philosophy at the Gandhi Center and his observations of student politics at Jawaharlal Nehru University (JNU), solidified his commitment to political activism. He emphasizes the importance of ideological clarity and the necessity for senior leaders to make way for the new generation.

Echoing the liberal values of the Nepali Congress, Tiwari envisions a space for healthy debate and collaboration between different viewpoints. Drawing parallels to past predictions, he sees the party’s role in shaping Nepal’s democratic future.

Advocating for a shift in perspective regarding Nepal’s brain drain, Tiwari perceives migration as a developmental process. He believes that when governance becomes more effective, brain drain can transform into brain gain, fostering innovation and progress within the country.

“Modernization in the country has been driven due to people migrating overseas. Look at Kathmandu, we can see new and innovative businesses, new ways of doing things. It was all possible due to those people who migrated overseas and brought those new ideas back home,” he said.

Tiwari reminisces about his involvement in projects like the biography of DB Parihar, which debunked misconceptions surrounding Nepali cinema’s history. His academic pursuits, particularly in Gandhian studies, reinforced his dedication to social activism over conventional career paths.

In Tiwari’s view, politics should respect and foster cultural and literary expression rather than imposing its will. Positioned as a guiding light for Nepal’s new generation, Tiwari follows in the footsteps of esteemed figures like CK Prasai, Narahari Acharya, and Pradip Giri.

New York Writers Workshop, an alliance of published authors and professional writers based in New York City is organizing an international literary conference and workshop in Kathmandu starting on May 22 in partnership with White Lotus Book Shop, Lalitpur. The workshop shall be accentuated with Himalayan Literature Festival on May 27 and 28 at Kathmandu Guest House where the workshop writers will be showcasing their literary productions from the workshop- from memoir pieces to poetry and other forms of literature.

As per the Festival director Shreejana Bhandari, over thirty-five international authors and faculties will be participating in the Kathmandu Workshop as well as Himalayan Literature Festival. The first edition of the Himalayan Literature Festival shall encompass panel discussions, poetry readings in various languages, book launches and interactions. Yuyutsu RD Sharma, the curator of Himalayan Literature Festival as well as the Himalayan poet played a pivotal role in persuading the New York Writers Workshop team to organize the new edition of Workshop and Conference in Kathmandu and begin an international literature festival in its true sense.

As per Tim Tomlinson, President of New York Writers Workshop and Bhandari, director of the Himalayan Literature Festival, the festival shall feature authors Lourdes Rodriguez Tomlinson and Dr. Ravi Shankar, faculties such as Jami Proctor Xu, Poet, Essayist, Translator, Julie Krishnan-Williams, International Photographer, Dr. Tony Barnstone, Professor at Whitƫer College, California.

The Workshop and Literature Festival will also feature the Polish poets Son Van and Dariusz Lebioda; Panamanian poet Gorka Lasa; South African poet and performer JahRose Jafta; US poets Ruth Danon, Peter Allenspach and his wife Da Mao; English poet Maria Claire Heath; Greek poet, writer, and educator Vasilis Manousakis; Hindi novelist, Pankaj Bisht; Indian poet and scholar K Satchidanandan; Hong Kong writer and performer Neville Sarony; Brian Hou, photographer, and Jane Houng, musician, writer, philanthropist, from Hong Kong; writer and university professor from NYU Abu Dhabi, Piia Mustamaki; Australian writer Lizzie Packer; as well as aspiring writers Kathleen Butler, Kathryn Kempf, Ann Gordon, Nancy Parish, and Marianne Sciberras.

In addition, over three dozen Nepalese authors including Dwarika Shrestha, Narayan Wagle, Shailendra Sakar, Raj Kumar Baniya, Deepak Sapkota, Manoj Dahal, Sarad Pradhan, Narayan Dhakal, Shyam Rimal, Amar Aakash, Bhuwan Thapaliya, Vijay Gurung, Rajani Mila and others will be joining the festival and some of them shall be interacting on various themes in Nepali literature as the panelists. The festival is dedicated to the great Nepali poet Gopal Prasad Rimal and his contributions to the Nepali literature will be discussed as well as the English translations of his works shall be made public.

Dr Chakra Raj Pandey is a co-founder and the Chief of Orthopedics and Traumatology at Anamiwa Health. He is highly sought after for his expertise in complex trauma, arthroscopy, joint replacement, sports medicine, and pediatric orthopedics. Dr Pandey was among the founding directors and served as the first medical director of Grande Hospital until 2021.

Born in Melamchi to farming parents, Dr Chakra Raj Pandey had the opportunity to attend school in Kathmandu. He studied at Laboratory School, supported by scholarships for several years, while residing with his uncle. Ranking 6th in the SLC examinations of 1980 showcased his academic prowess. “During those days, our sole focus was on excelling academically,” recalls Pandey of his school years. 

Despite enjoying football and dancing, his dedication to academic excellence remained unwavering.

Asked about his interest in science and later medicine, Pandey reflects on a pivotal moment from his youth: aiding an injured elderly woman struck by a bus when he was a ninth grader. Despite lacking technical knowledge, his innate desire to assist those in need ignited a passion for healthcare. 

Immersing himself in biographies of notable figures such as Albert Schweitzer, Madame Curie, Florence Nightingale, Joseph Lister, and Alexander Fleming further fueled his ambition. Driven by a multitude of experiences, Pandey was determined to pursue medicine, devoting himself wholeheartedly to his studies.

Recalling the catalyst for his journey into orthopedic medicine, Dr Pandey reminisces about witnessing the groundbreaking work of William DeVries in 1982, who implanted the world’s first permanent artificial heart. Initially drawn to vascular surgery or cardiology, Pandey’s trajectory shifted after sustaining a knee injury during a football match in 1987, which introduced him to the field of Orthopedics. Despite the challenges posed by the injury and subsequent surgery, his determination only strengthened, propelling him towards his chosen path.

During his undergraduate studies, Pandey’s personal experience with knee surgery influenced his decision to pursue orthopedic surgery. With the support of his teacher, he embarked on a journey that ultimately led to his specialization in Orthopedic Surgery. His unwavering commitment to his craft is exemplified by his relentless pursuit of excellence during his postgraduate residency in Turkey, where he exceeded expectations through sheer dedication and hard work.

Dr Pandey’s vision for Anamiwa Health, which he co-founded with his wife Sapana Pandey, emphasizes the importance of patient care and a proficient, cohesive team across all facets of the institution. Committed to upholding healthcare values, Pandey ensures that his team at Anamiwa strives for excellence in patient treatment and fosters a culture of continuous improvement.

Anamiwa Health complements Nepal’s healthcare system with its specialized focus on joints, arthroscopy, sports medicine, joint replacement, complex orthopedic trauma, and revision surgeries. Dr Pandey’s 33 years of active practice exemplifies his dedication to providing optimal orthopedic care, considering socio-economic and psychological factors alongside medical treatment.