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Prakash Thamsuhang is a Panchthar-born poet and essayist currently based in Ilam, where he leads Yakthung Lekhak Sangh and Ilam Nagar Sahitya Kala Sangit Pratisthan. He has been felicitated with several awards, including Dibyabikram Nembang Smriti award, Manamaya Smriti award, and Srisas Hong Kong award, for his works. His recent book, Shabdathum, collection of essays (2023) garnered critical acclaim. Ken Subedi conversed with Thamsuhang about poetry and essays.

You have written poetry as well as essays. What is more close to your heart and why?

I have been writing poems and essays together from the very beginning of my writing journey. Though I published works of essays after 17 years of publication of works of poetry, I share my thoughts and feelings through essays that I can’t express through poetry. I think the first condition for an essay is thought. Other elements required for an essay are secondary subject matters. But poetry strongly demands art as well as thoughts. An essay is like building a wall of stone, whereas poetry is an art of making a statue of stone. I love reading and writing poetry a lot. I am a great admirer of the way poetry strikes mind and soul with supernatural power.

Can you share a few common elements between poetry and essays? Or are they completely different from one another?

The common element of poetry and essays is thought. Essay and poetry both are the ideological weapons of a poet, through which the poet strives to make a positive impact upon the mind of a reader. I say that there should be in-depth feelings in both the genres, poetry and essay. An essay becomes sharp if a poetic element is mixed in it as good readers comment so. Contemplation, reflection and philosophy are also the common elements of both the genres. Poetry and essays have different structures altogether.  However, some experimental poets have been writing prose poetry. To criticize Nepali poets and poetry, some have been accused of creating poetry by pressing enter key in essays. Poetry has to tell many things with a few words. Essays, on the other hand, do not have word limitations.

What inspires one to become a poet and a writer? 

There has been much evidence when the writers produce literature as a matter of a response pertaining to significant events. Literature is being written out of such an urge in Nepal as well. For example, Nepali literature is being written based on the ten years’ civil war. Similarly, literature is being written on environmental crises, social transformation, etc. But what I think is the aesthetic consciousness of the writer along with the subject matter is an important thing. Is literature in favor of social justice or not? I think that a writer’s effort should lie in making society beautiful. Writers and poets should strive to make the earth worth living for all creatures. 

What books have the most influence on your writing?

I find a lot of ideas in books. Imagination is the most important aspect for me that I find in them. My reading journey started with comics and Muna magazine during my young age. Indian detective novels and Prakash Kovid’s Love novels, which I read during my teenage years, taught me to love words. I read somewhat serious books during my college life. They helped me in developing thoughts. Some of the books taught me to know myself. They taught me to understand the difference between religion and spiritualism. These books surely have their impact upon my writing.

There is a greater impact of books of Bairagi Kaila’s poems in my writing. Philosophical and cultural consciousness, proper use of myth and expressive skills found in Kaila’s poems impress me a lot. I also take inspiration from the essays of Shankar Lamichhane. His unique and extraordinary writing skill surprises me more when I re-read them.

Do you agree that contemporary poets have started writing in other genres like essays and novels? Do you think that authors should write across a variety of genres or should they stick to one?

There is much evidence that a poet can write in other genres too. Recently, as you said, poets are in the race of writing fiction. I agree. The poetic quality of a poet, when used in a work of fiction, can illuminate the work. There isn’t any uniform rule that a poet should just write poetry. I don’t feel bad if a poet presents his capability through different mediums.

Dr Kuldeep Singh is a distinguished plastic surgeon and senior consultant at Indraprastha Apollo Hospital in New Delhi, specializing in aesthetic plastic and reconstructive surgery. With over 25 years of experience, Dr Singh has developed exceptional skills and expertise in the field, establishing a reputation for excellence and professionalism in cosmetic and aesthetic surgical procedures throughout his nearly three-decade-long career.

Can you tell us about your journey into the field of plastic and reconstructive surgery?

I embarked on my medical career after earning my MBBS in 1982, followed by a master’s degree in surgery in 1986. I completed my plastic surgery training at PGI Chandigarh in December 1989. In January 1990, I began working as an Assistant Professor in Plastic Surgery at KMC Manipal, a position I held until November 1995. Subsequently, I relocated to Delhi and joined Apollo Hospital as a resident consultant. I have since been a full-time consultant at Apollo Hospital, where I continue to practice today.

What inspired you to specialize in this area of medicine?

After completing my master’s in surgery, I hadn't initially considered a career in plastic surgery until my move to Delhi. Upon arriving in Delhi, I secured a position as a registrar at Saptajain Hospital, specifically in the plastic surgery department. The department was exceptionally well-run and efficient, which piqued my interest in the field of plastic surgery. Although I joined as a resident, I soon realized that many people there were preparing for entrance exams for the super specialty course in plastic surgery. Motivated by this environment, I decided to apply for the course as well. This decision led to my admission to PGI Chandigarh, where I completed my advanced training in plastic surgery. Following my time at PGI, I landed my first professional role in Manipal, which marked the beginning of my dedicated career in plastic surgery.

What are some of the latest trends and advancements in cosmetic surgery that you find particularly interesting?

Plastic surgery encompasses two main branches: reconstructive and cosmetic surgery. Reconstructive surgery corrects defects, deformities, and injuries to restore normal function and appearance, while cosmetic surgery focuses on enhancing the features of those who are already normal. In our practice, 30 to 40 percent involves cosmetic procedures, with the rest being reconstructive. Cosmetic surgery primarily deals with rejuvenation or restoration, addressing age-related changes such as skin pigmentation, texture, and sagging. Previously, surgical options were mainly available for those over 50, but now non-surgical methods like Botox, fillers, and lasers are accessible for younger patients, helping to minimize aging changes early on. By intervening early, we can prevent more severe issues later in life. The best cosmetic treatments are subtle, aiming to make you look like a healthier, fresher version of yourself without obvious signs of intervention, maintaining a natural and unique appearance.

How do cultural perceptions and societal attitudes toward cosmetic surgery differ between countries, such as India and Nepal ?

Traditionally, in India and Nepal, people lived in joint families and typically began earning in their late twenties or early thirties, often continuing to reside in the family home. Cosmetic surgery was generally frowned upon, seen as vain, and reserved for life-saving situations. This perspective is now evolving as young people gain professional and financial independence earlier, choosing to live separately and make personal decisions, including opting for cosmetic procedures without seeking family permission. Increased purchasing power and cultural shifts towards personal autonomy have led to more young people spending on travel, health, exercise, and cosmetic procedures. This trend mirrors practices in the West, where children often leave home at 16, becoming financially independent and personally funding their education and surgeries. Consequently, cosmetic procedures became more common there sooner. Over the past five to ten years, similar trends have emerged in India and Nepal, with more young people embracing independence, reflecting a broader cultural shift towards self-sufficiency and personal well-being.

How do technological innovations such as 3D printing and robotics play a role in modern plastic and reconstructive surgery?

Technological advancements have significantly impacted both cosmetic and reconstructive surgery. In cosmetic work, three primary types of energy, including radio frequency, are now delivered through advanced systems that enable precise and safe treatments for skin tightening, fat reduction, and texture improvement. These systems have evolved to offer highly selective treatment options, with modern machines incorporating sophisticated software that includes preset settings tailored to specific skin types and issues, making non-surgical procedures more effective and safer. In reconstructive surgery, significant progress includes the development of microsurgery, which allows surgeons to join arteries and veins less than one millimeter in size under a microscope, restoring blood flow to amputated limbs and tissues used in cancer reconstruction. Additionally, super microsurgery has emerged as a groundbreaking technique for repairing lymphatic vessels, which are less than 0.5 millimeters in diameter. This is particularly beneficial for conditions like post-breast cancer treatment, where tissue removal can cause swelling due to blocked lymphatic channels. By repairing these channels, the fluid flow is restored, preventing limb swelling. While robotics has not yet significantly influenced plastic surgery, 3D printing is proving to be highly beneficial, allowing for the creation of customized bone and dental implants, especially useful after injuries or cancer surgeries. These advancements collectively enhance the precision, safety, and outcomes of both cosmetic and reconstructive procedures.

What advice would you give to young medical professionals who are considering a career in plastic surgery?

For young medical professionals contemplating a career in plastic surgery, my advice would be to embrace the captivating nature of our specialty. Unlike other fields, plastic surgery knows no geographical bounds, encompassing the entire human body. It offers a constant source of stimulation and creativity, demanding innovative thinking and adaptability on a daily basis. Those with an artistic inclination will find plastic surgery particularly rewarding. Before each procedure, envisioning the desired outcome and working towards it requires a blend of surgical skill and creative vision. If you’re drawn to the artistic side of medicine, plastic surgery is a field worth exploring and committing to.

Dr Khurram Abbas is the director of India Study Center (ISC) at the Institute of Strategic Studies Islamabad (ISSI). Previously he served as Research Fellow (RF) at the Islamabad Policy Research Institute (IPRI). Dr Abbas has extensively worked on the foreign and defense policies of the six GCC States with particular emphasis on Pakistan and Arab countries, China and Arab countries, and India and Arab countries. He regularly delivers lectures at International and National universities and presents papers at national and international conferences. He also contributes to academic journals and national/international dailies. Dr Abbas has five book chapters, twelve research articles, and more than a hundred newspaper articles to his credit. Kamal Dev Bhattarai of ApEx talked to him about the South Asian issues including the chances of revival of SAARC. 

How do you view the current situation of regionalism in South Asia?

In a world engulfed by traditional and non-traditional issues facing survival, security and welfare of humanity, no state can afford to effectively handle all the problems on its own. Environmental, socio-political, cultural and economic issues are of unprecedented volume and scale and require an interwoven, comprehensive collective approach. This can only be done through multilateral mechanisms particularly at regional level. Regionalism is, henceforth, not a choice but a compulsion in the contemporary world. This is even more crucial in the case of South Asia which, being the most populous yet least integrated region, has been coming across multiple challenges of horrendous nature like poverty, natural calamities and cultural conflicts at frequent intervals. Unfortunately, regional cooperation is missing in South Asia when the region needs it the most. Most of the smaller states are passionate about reviving the process. Yet such cooperation is only possible when the bigger states, especially India and Pakistan, agree to join hands for its revival.

Why is there stalemate in the SAARC process?

With an unmatched market size and population, with a plethora of emerging economies, and rich natural resources, South Asia could have plucked the fruits of regional integration more than any other region. Sensing the need for easing trade restrictions and adopting collective strategies in the face of multilateral challenges including climate change, human security and others, countries in the region agreed to form SAARC as a platform to strategize and multiply their efforts on multiple fronts. The forum was aware of the fact that bilateral issues between various states may pose a threat to the effectiveness of SAARC. This fear motivated the member states to categorically drop the idea of using the platform to vent grievances of bilateral nature and focus on multilateral issues instead. This worked for around three decades as the member states moved toward integrated approach and collective mechanisms of welfare, with a snail pace though. However, the very threat of exploiting the organization to serve self-interest under the garb of bilateral issues materialized when the new government in New Delhi attempted to thwart the ongoing cooperation on the pretext of the so-called cross-border terrorism. 

SAARC is in fact a platform that, apart from providing opportunities for regional integration, can ensure balance in the region and establish checks on aspiration of a state to become regional hegemon while exploiting smaller states. It is evident from the events of a decade that India has been ambitious to lay the part of the policing force of South Asia using its larger clout and external support. SAARC could prove to be an obstacle in its way, so India tactfully neutralized the forum while blaming Pakistan without solid evidence.

Is there any process of revival of SAARC?

Lately, there have been efforts at the diplomatic level between the member countries to revive the SAARC process. The SAARC Secretariat is in touch with all members and the secretary general of the organization has been paying official visits to the member states to gauge the environment in this respect. During his visits to Male, New Delhi and Islamabad, the SAARC secretary general exchanged notes with dignitaries on revitalizing the SAARC process. It is significant that all three countries that hosted the secretary general expressed their commitment to revive the desired role of the organization. However, revival of SAARC is a task easier said than done. But one can be optimistic about it keeping in view the positive gestures of member states. The first step toward reviving SAARC is nothing else but to convene its highest body, i.e. the SAARC Summit, which has been dormant for about a decade. The summit will open new avenues for revitalizing cooperation among member states and will ensure a tangible return of SAARC at the regional horizon.

Can BIMSTEC serve as an alternative to SAARC?

BIMSTEC cannot be a suitable alternative to SAARC due to several reasons. The first and foremost reason is that while SAARC geographically represents a particular region, BIMSTEC, in its essence, is not a regional arrangement. Its members consist of the countries that fall in two different rather distinct regions. They do not share their frontiers, values, problems and challenges. Also, distinct circumstances of each country do not allow them to join hands in adopting similar approaches to tackle their issues. Additionally, every member of BIMSTEC is already part of a regional organization: Bangladesh, Bhutan, India, Nepal and Sri Lanka share the SAARC forum, while Thailand and Myanmar are part of ASEAN. South Asia at large will never be able to benefit from BIMSTEC the way it can utilize SAARC for a collective good. In addition to that, South Asian countries like Nepal, Sri Lanka and Bhutan will not be willing to accept BIMSTEC as an alternative to SAARC. This is evident from a recent debate which took place in Nepal’s House of Representatives that met to discuss the BIMSTEC Charter a few weeks back. At maximum, BIMSTEC can be classified as a loose arrangement of cooperation between two regions that is yet to bag any tangible achievement.

Should South Asian countries consider forming a new regional organization to replace SAARC?

SAARC is one of the oldest regional groupings that is about to complete four decades of its formation. Despite unfavorable circumstances, internal and external irritants, SAARC has contributed to the trust building among regional powers. Although its performance cannot be rated as satisfactory, the association has come a long way from where it started in 1985. SAARC regional centers in the member states, South Asian Free Trade Agreement (SAFTA), SAARC Development Fund (SDF), South Asian University (SAU), Disaster Management Initiatives (DMI), and SAARC Visa Exemption Scheme are some of the milestones which SAARC has achieved. Although everyone of these initiatives calls for further deliberation in order to maximize the output, the journey is in the making. South Asian countries were able to reach this destination through years of efforts, trust-building measures and mechanism formulations. Abandoning SAARC to turn toward establishing a new regional organization will be nothing more than reinventing the wheel. SAARC needs to be revived and revitalized. This will save a lot of time, energy, resources and will help South Asia to reintegrate in a better, time- and cost-effective manner.

Karl Wine is an emerging musical talent who has quickly made a name for himself with his energetic performances and music. Hailing from France, Wine has successfully collaborated with various international artists, expanding his reach and influence in the global music scene. His dedication to his craft and his passion for music are evident in his engaging stage presence and the enthusiastic response he consistently receives from fans. As Wine was in Nepal for Nepal Bike Day, Nesum Limbu from ApEx, talked to him about his Nepal visit and his music career.

How has your experience been so far in Nepal?

This is my first time in Nepal, and I have to say, I’m thoroughly enjoying it. The warm weather is absolutely wonderful, and I’m delighted by the local cuisine, especially dal-bhat, which I could eat every day. I’m also captivated by the country’s supportive and close-knit community, where everyone treats each other like family. The culture is fascinating, and the sense of solidarity among the people is heartwarming. Being a nature enthusiast, I always thought I’d be here for the natural beauty, but I never expected to have the opportunity to collaborate with Nepali artists. Overall, I’m loving everything about my time here, from the scenery and the food to the culture and the people. This journey has been more rewarding than I could have ever imagined.

Can you tell us about your recent projects and any new music you’re working on?

Yes, there’s this song called ‘Paisa’ by the singer Kushal Pokhrel. He reached out to me to collaborate, and when I heard the song, I thought it was amazing. We’re planning to release an international remix of the song in a few weeks, and I’ll be shooting the video here in Nepal, which is really exciting. Another project currently in the works is an album that my friend and I are creating with only Nepali artists. It will feature international music but exclusively with Nepali talent, highlighting their unique styles and voices. Since many people recognize me from the song ‘Oh-Na-Na’, we’ve decided to name the album after my verse from the song ‘Asian Beauty’. Once the album is released, we have plans for extensive promotions not only here in Nepal but also in the United States. 

What are your thoughts on the music scene in Nepal? Have you come across any local artists or music styles that have caught your interest?

A lot, actually. The first time I heard Yabesh Thapa, I was captivated by his style. I love that he’s singing in Nepali but using international beats, rather than sticking to traditional music patterns. This unique approach really fascinated me. Their singing styles intrigue me with a softness and distinct quality unlike what I hear in Europe. Their sounds and word usage are compelling. Even without understanding the lyrics, I feel deeply connected to their music, as their emotion and expression transcend the language barrier. That’s why I believe the music scene in Nepal is truly fantastic. 

You’ve collaborated with some of the Nepali artists. Can you tell us how these collaborations came about?

I’ve always wished to work with Asian artists because I admired the mutual respect they have for each other, which is different from what I often see in Europe. When an artist from the Philippines reached out to me for a collaboration, I immediately agreed, and that’s how ‘Oh-Na-Na’ came to be. Four years later, I started receiving messages saying the song was very popular in Nepal. At first, I was skeptical since I wasn’t familiar with the music scene there. Curiosity got the better of me, and I decided to look up some Nepali artists to see if I liked their work and could create new music with them. That’s when I came across Yabesh Thapa. I messaged him, expressing my interest in working together, and he responded saying he knew my song. This led to the idea of making a remix of ‘Oh-Na-Na’ with him. I also reached out to Sushant KC, proposing that he join us in the remix. We completed the song, and it became an instant hit in Nepal, with people all over the country participating in dance challenges. 

You recently performed at Nepal Bike Day. How was the experience performing at such a unique event, and what was the atmosphere like? Additionally, how did the audience react to your performance?

The event far exceeded my expectations. Initially, I was slated to perform just a few songs, and I was feeling quite nervous since it was a biker’s event. I had serious concerns that my vibe and musical style might not resonate with the biker crowd. However, those worries began to fade when Bizen went on stage before me, and the crowd went absolutely wild with excitement. When my turn finally came, the audience’s energy was even higher, and their enthusiastic response was overwhelming. It turned out to be not only a fantastic performance but also an amazing experience overall. The warm reception and the incredible atmosphere made it an unforgettable night, leaving me eager for more opportunities like this in the future.

Throughout your musical journey, what has been the most challenging aspect you’ve encountered? Moreover, what message do you aim to communicate through your music?

In the world of music, there are numerous obstacles, especially if you lack the necessary knowledge about the industry and the intricate process of creating music. These challenges can be quite daunting and overwhelming. My goal with my music is to bring joy and enjoyment to people from all walks of life. I want my audience to feel the urge to dance, to let loose, and to have fun. Through my songs, I aspire to help them temporarily forget their problems and immerse themselves in a world of sound that provides happiness and relief. When people listen to my music, I want them to experience a sense of freedom and exhilaration. I hope my melodies and rhythms can offer a respite from their daily stresses, giving them moments of pure, unadulterated joy. By creating an atmosphere of positivity and excitement, I aim to foster a connection with my listeners that transcends the ordinary, leaving them with lasting memories of happiness and enjoyment.