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“Gaun Aayeko Bato (A road to a village)” is a story following the advent of a roadway to a remote village in the eastern hill of Nepal. It presents the social changes brought by this infrastructural development, particularly in the lives of Maila Rai, a bamboo weaver, and his family. The movie begins with the worship of the bus that has reached the village for the first time followed by the inauguration of the “Lahure Store.” With it begins the marketization of the village, whose primary victim is Bindre, Maila Rai’s son.

‘Gaun Aayeko Bato’ depicts the unbidden invasion of consumerism and capitalism into the remote corners of the country tailing along with roads and buses. The notions of consumerism and capitalism climb the shoulders of their sister idea of development bolstered by the neoliberal projects. Maila Rai sacrificed his land and labor to pave the roadway to the village. However, as the materialist goods enter the village in those buses, his skills are rendered useless. His bamboo crafts are soon replaced by industrial goods produced in an assembly line, forcing him to seek out alternative means of production. Moreover, overlooking the conflicting timeframe of the events in the movie, coca-cola and noodles can be viewed as the representatives of consumer culture. Bindre’s demands for these items as bribes to attend his school highlights how smoothly consumer culture worms its way into the lives of people.

In addition, as depicted in the movie, infrastructure development is just one facet of capitalist and industrial colonization. Our lives and societal norms are inflicted by technological colonization in addition to industrial and capitalist colonization. As we navigate our way into the new terrain dominated by technology, the technological assimilation into the cultural and social framework is a challenge faced by today’s society. And not even the remotest villages have remained unaltered by this paradigm shift. Living among machines and accepting them as a part of our social fabric was the inescapable reality of the late twentieth century. In a similar vein, the twenty-first century is remodeling itself to accommodate Artificial Intelligence as a part of social structure. Although Maila Rai’s village is far from the introduction of Artificial Intelligence and is just getting in touch with the twentieth century’s innovations like television and smartphones, the pathway cannot be much different for it.

The movie seems to consolidate neoliberalism and brings to the fore its effects on social hierarchy and the rise of defeatist mentality in the people belonging to the lower social standing. At times, Maila Rai is overcome with grief for not being able to provide a respectable life for his family resulting from his unwillingness to be a part of the labor migration leaving his beloved wife and his son behind. As is true of many people in this country, labor migration to the gulf countries stands as the necessary evil harnessed to bring prosperity and wealth to the household, and along with it social recognition. However, be it intentional or resulting from a no-choice situation, workforce migration consolidates the pessimistic attitude of the people who fail to follow that path.

“Gaun Aayeko Bato” is a story of transition, its conflicts and challenges, as the old order and model of our societies are disintegrating and new realities are being constructed. There’s a dichotomy between the indigenous modes of survival and the nationalist ideas of development. The modern notion of development doesn’t provide the necessary space to the indigenous skills and ways of life. While their skills undergo redundancy, the nation fails to tackle this situation. Social policies can mitigate it through retraining and redeployment. The need of the authority to rethink about the future of work and to include indigenous knowledge systems into the developmental framework can be learned from the movie. We have moved past the agricultural revolution, industrial revolution and the corporate revolution. The next revolution will be technological. Yet, similar to the past revolutions, the technological revolution will entail a social revolution, and we should be prepared for this transition.

Nonetheless, the resistance exhibited by Maila Rai against the forces of slavery is highly commendable. Rai discards the illegal way of making money suggested and supported by the capitalist people and follows his skills, although resulting in a failure. This act of resistance is true of many indigenous communities in different parts of the world. Social resistance as such question the existing power structures, mobilizes public opinion, brings attention to the social injustices and systemic problems, and fosters a sense of solidarity, thereby pressuring the policy makers to address the concerns raised by resistance movements.

However, the movie falls short in exposing the social dynamics of the village. As most of the plot revolves around the family dynamics of Maila Rai’s family, the role of society at large isn’t given enough space in the movie. The family often seems detached from the society, particularly in the events following the devastating fate of Bindre’s life, which obviously was a bit overstretched for dramatic effect. This detachment makes the story come off as fragmented. Moreover, despite having the elements required to turn it into a triumphant movie, it is forced to be a tragic one. The financial aspect of the production and the likeliness of the audience to savor the emotionally tragic storyline could be the determining factor.

All things considered, “Gaun Aayeko Bato” is a good watch. It can contribute to the ongoing discussions regarding the notion of development, social resistance, the future of work, technological assimilation, and many such ideas, while simultaneously initiating new discussions pertinent to our social construction. Also, the outstanding acting of Dayahang Rai as Maila Rai, Pashupati Rai as Maili Rai, and Prasan Rai as Bindre Rai is an icing on a cake.

In 2013, Kaori Fujino was awarded the Akutagawa Prize, Japan’s most prominent literary prize, for ‘Nails and Eyes’. Fujino, who holds an MA in aesthetics and art theory from Doshisha University, is best known for fiction that reimagines tropes of horror, urban legends, fairy tales, and science fiction. She was in residence at the University of Iowa’s prestigious International Writing Program in 2017. The English translation of her stories have also appeared in various publications.

Nails and Eyes is a slim book but you won’t be able to breeze through it because of its dark and dreary undertone. There are two additional stories of unsettled minds with eerie settings in the volume that I got. The three stories can all be slotted as horror but all of them deal with real people and the many problems in their lives. I especially liked the third story called ‘Minute Fears’ that revolves around the complexities of motherhood. The other two are equally good but I’m pretty sure everyone who reads this volume will have a favorite—perhaps one they will resonate with.

The main story is about a young girl who loses her mother and her father invites his lover to stay with them. He wants to marry her but they want to figure out whether they will work as a family before taking the leap. The woman tries to create a life for the three of them. She’s secretly relieved there’s a child in the picture and that she won’t have to get pregnant for a baby. It’s convenient that someone else has given birth to the three-year-old. But she’s unable to be comfortable around the girl and vice-versa. They have an amicable relationship at best. But the girl is watching the woman, tracking her every move, and there’s malice. The latter only realizes that when it’s too late.

 ‘What Shoko Forgets’ is set in a rehabilitation home. Shoko suffered a stroke and her memories are hazy. She’s being cared for by her oldest daughter and a disinterested granddaughter. She wants to go home and live comfortably on her couch. She feels she deserves that much at least now that her body is tiring and shutting down. But her daughter won’t listen and there’s someone who visits Shoko every night though everyone seems to be oblivious to it. Her memories of this disappear every morning and that’s concerning. Is it real or is she imagining the whole thing? You can never tell and the story stays in your mind long after you’ve read it.

Nails and Eyes is an interesting piece of literature, one that draws your attention to important themes like parenthood, aging, and isolation among others in a way that makes you think about them from different perspectives. It’s, hands down, unlike any other book I have ever read, in terms of how chilling it was. Fujino’s writing reminds me of Yoko Ogawa, another Japanese writer who has won almost every major literary prize in Japan including the Akutagawa Prize.

Fiction

https://www.goodreads.com/book/show/66092863-nails-and-eyes 

Nails and Eyes

Kaori Fujino

Translated by Kendall Heitzman

Published: 2023 (Original text: 2013)

Publisher: Pushkin Press

Pages: 138, Paperback

Akhanda Bhandari is a well-known name in Nepali media fraternity. Born in Bhojpur district of eastern Nepal, he gained recognition through his influential column ‘Voice of the Voiceless’ in Kantipur daily. Later, he joined Annapurna Post and was appointed as its Editor-In-Chief a few years later. He’s also known for his innovative storytelling particularly with graphic narratives. 

Bhandari made his debut in the world of literature with the novel ‘Malaya Express’ in 2013. The novel delved into the emotional and financial struggles associated with Nepal’s remittance economy. Now, after a decade, he has published his second novel, ‘Bora’, which explores the lives of elderly mothers in Nepal.

Bora, which translates to sack in Nepali, carries both metaphorical and literal meaning in the novel. It symbolizes the burdens shouldered by Yamuna, who labors tirelessly, carrying sacks of sand to finance her son Asal Sharma’s education. It also depicts a troubling scene where Asal and his wife, Nirjala Adhikari, discard Yamuna by packing her up in a sack.

The narrative weaves together the lives of its contrasting characters. Asal is raised by his single mother, Yamuna, after she is abandoned by her husband, Rudra Prasad Dahal. Although Asal grew up witnessing his mother’s hardships and holding her in high regard, he is influenced by his wife, Nirjala, and ultimately abandons her. Nirjala, raised in an affluent family in Kathmandu and a doctor by profession, ironically believes in superstitions. She labels her mother-in-law, Yamuna, as a ‘witch’ and conspires to abandon her. 

Bora is set in various locations—Dhankuta, Jhapa, Itahari, Biratnagar, and Kathmandu. It raises questions about familial bonds and societal values. It examines how Asal, despite being raised amid hardships by his mother and grandmother, succumbs to his wife’s pressure. It delves into the dynamics that lead Asal to forsake Yamuna and how his son, Nirjal, rescues his grandmother from an old age home on the premises of the Pashupatinath Temple.

Like Malaya Express, Bora also ends on a happy note. Both novels are set in the Koshi Province of eastern Nepal and emphasize themes of women’s empowerment. Both novels also talk about journalism. These recurring motifs reflect Bhandari’s passion for uplifting readers and his affinity for powerful female characters and the role journalism plays in our society.

Despite its strengths, Bora isn’t without flaws. There are noticeable inconsistencies, such as the character Rashmi Nepali being described as sipping tea in one instance and coffee in another. The use of English terms like ‘aunty’, ‘please’, and ‘okay’ in dialogues supposedly set in rural Nepal decades ago feels inappropriate.

Nevertheless, Bora is a captivating read. Bhandari has crafted a narrative deeply intertwined with the fabric of Nepali society.  The 471-page novel, priced at Rs 700, is an exploration of the silent sufferings of Nepal’s abandoned mothers and criticizes the tendency of elites to neglect elderly people. The novel also delves into the issues of fragmenting family traditions and the rise of elderly homes in Nepal.

Foodhall is India’s luxury grocer, café, and gifting service with outlets in Delhi NCR, Mumbai, and Bengaluru. It’s India’s leading gourmet and lifestyle store. I have visited its outlet in Mumbai and, even though I wasn’t much of a cook back then, I had fallen in love with it. I could browse the aisles for hours. Everything looked ultra clean and chic.

 So naturally, when I came across a cookbook that was published by Foodhall I had to get it. In true Foodhall style, the book is beautiful. Even just browsing through it is a delightful visual experience. It’s a slim volume but it has 75 recipes from around the world—there are modern European, Asian, and Indian recipes among others. There’s a section devoted to desserts. I guarantee there is bound to be a handful of recipes no matter what type of food you are in the mood for.

Five chefs have come together and shared their recipes in the book. There’s Gresham Fernandes who’s the executive chef at Fine Dine Impresario Hospitality, the company that owns restaurants like Salt Water Café in Mumbai and Smoke House Room in Delhi. Kelvin Cheung, who has shared the recipes for Kimchi Tacos and Moo Shu Chicken among many others, is a consultant at Bastian in Mumbai. Bastian is a seafood restaurant owned by Bollywood actor Shilpa Shetty Kundra and it’s a favorite of many celebrities.

Likewise, there’s Zorawar Kalra who is one of the youngest restaurateurs of India. Sabyasachi Gorai, popularly known as Chef Saby, received the ‘Best Chef of India’ award by the then President of India, Pratibha Patil during the National Tourism Awards 2011-12. Pooja Dhingra is a pastry chef who was featured in Forbes India’s ’30 under 30 list’. Her first cookbook, ‘The Big Book of Treats’ came out in 2014 and in The Foodhall Cookbook, she shares 13 of her delightful recipes. From spiced macarons and matcha cookies to kiwi pavlova and a variety of cupcakes, she has you covered on the dessert front.  

I have already marked a few recipes that I want to try out as soon as possible. I’ve even bought some ingredients that I didn’t have in my pantry. I’m that excited about this cookbook that has been designed to perfection. The full-page photographs that accompany each recipe give the cookbook a coffee table book appeal.

 Each chef also shares helpful cooking tips in their introduction—from asking you to let your intuition guide you in the kitchen to recommending a good weighing scale and best quality ingredients. There is a simple chicken salad recipe with sesame seeds that I’m sure will be quite lovely. Titled the ‘Sesame Spinach Chicken Salad’ it needs a handful of ingredients and the dressing can be made from things that you already have like oil, vinegar, honey, and soy sauce. It’s apparently Cheung’s favorite recipe to make as well. It’s light, refreshing, and super quick and simple to make, he says. 

Most of the recipes in the book require minimal effort and time. Only a few require pre-prepping and some diligence. The Foodhall Cookbook can be the perfect guide in helping you unleash your culinary skills.

https://www.goodreads.com/book/show/38818883-the-foodhall-cookbook 

The Foodhall Cookbook

Publisher: Roli Books

Published: 2017

Photographs: Anshika Varma & Foodhall

(except on page 50, Amrita Diwanji)

Design and layout: Misha Oberoi