Submit your Article

Prajwal Parajuly is a Nepali-speaking Indian author whose works are centered on Nepali culture. He is the author of acclaimed books: The Gurkha’s Daughter and Land Where I Flee. Also a judge of Dylan Thomas Prize 2018 and 2023, Parajuly is currently in Nepal for the launch and reception of Chitralekhako Chaurasi, the Nepali translation of Land Where I Flee. Ken Subedi talked with him about his affinity for books and the current literature scene of Nepal.

What are some of your favorite books? 

I have many favorites. The favorites also keep changing. I have thoroughly enjoyed everything Anuradha Roy has written. I just re-read Jeffrey Eugenides’ The Marriage Plot and thought it was extraordinary. It’s a campus novel I wish I had written. Yiyun Li’s short stories are incredible. I also revisit the classics: I just finished reading A Tale of Two Cities and Persuasion. I will be that cliched Indian writer and mention Arundhati Roy’s The God of Small Things and Jhumpa Lahiri’s Interpreter of Maladies. Smriti Ravindra’s The Woman who Climbed Trees floored me. A childhood book I revisit is The Family at Red Roofs by Enid Blyton. What I read is often inspired by how I am feeling. Do I want to be completely immersed in a new world, or am I pressed for time and want to read in snatches? I often read short stories in the bathroom—read one, finish your business, and you’re done. Read another story the next day.

I am a slow reader. I have to read every word, every sentence. I don’t want to miss a single comma. I often find myself re-reading sentences. It can be exasperating.

How has reading books shaped your career as an author?

Every writer starts off as a reader. I had great English teachers in school. Everyone read at home and at school. I wouldn’t say I read a variety of books when I was young, but what I liked, I read and re-read. In seventh grade, I took it upon myself to memorize George Orwell’s Animal Farm. To this day, I can recite passages from the book. When you read in that intense a way as a child, and when the book is that well written, you’re bound to pick something up.

Why do you think only a handful of writers from Nepal are able to produce fiction in English? Why is Nepal’s representation in English fiction nowhere/negligible?

I think there’s extraordinary work coming out of Nepal. Look at Rabi Thapa, Shraddha Ghale, Prawin Adhikari, Sushma Joshi and Muna Gurung. I know I am forgetting a few other good writers. Have you read Smriti Ravindra? You absolutely must. Of course, I need not mention Manjushree Thapa’s output and versatility. To say that only a handful of writers are producing fiction in English here is to misrepresent facts. Compare the number of writers who write in English to the population of the country. Compare the number of writers to the number of English speakers in the country. I see the representation only increasing. I read the most recent issue of La.lit on holiday in Austria, and I was impressed.

How often do you follow Nepali literature? Can you recommend a few Nepali fiction books that you believe deserve translation into English?

I should do better. I make promises to myself about reading more Nepali books, and I start off rather enthusiastically, but life catches up. I think everything Narayan Wagle writes should be translated into many languages. Sanu Lama deserves to be widely translated. You are aware of the many Nepali-language books being translated into English. Take Chudin Kabimo’s Fatsung, translated as Song of the Soil, by Ajit Baral. Or Lekhnath Chhetri’s Falungey, translated as Fruits of the Barren Tree by Anurag Basnet.

In your opinion, why do some successful authors stop writing a new book after their few successful ventures?

There could be many reasons. Some writers evolve as writers between their first and latter books—nothing you write seems good enough. Others perhaps don’t feel the need to write. Success can be a double-edged sword. It’s easy to get carried away by the adulation around you—writing requires so much discipline. It’s never easy.

Why do you think the writing style of Indian authors writing in English, particularly so-called high-brow literature, is dense? Is it a strategy of postcolonial ‘writing back’?

Is it? I think the vast majority of literary fiction produced by Indian writers in English is accessible. The one dense book I can think of published in recent years is Geetanjali Shree’s Ret Samedhi, translated into English by Daisy Rockwell as Tomb of Sands.

Parajuly’s PICKS

The Marriage Plot By Jeffrey Eugenides

I love this book because it is the great campus novel I wish I had written.

The Woman Who Climbed Trees By Smriti Ravindra

The great Nepali novel. The words sing. The characters stay with you forever.

The Family At Red Roofs By Enid Blyton

Written by English author Enid Blyton, the book is a family saga I never tire of revisiting.

Police have arrested Khagendra Sapkota, officer at the Land Revenue Office, Tulsipur with Rs 2.6 million from the Nepalgunj Airport.

DSP Narayan Dangi, spokesperson at the District Police Office, Banke said that Sapkota was apprehended with Rs 2. 6 million undeclared money during a regular security check while he was about to board a flight to Kathmandu from Nepalgunj.

DSP Dangi said that Sapkota was taken under control after he was found carrying a huge amount of undeclared money with him.

Further investigation into the case is underway, police said.

Pawan Alok, 70, is a poet and essayist from Bhojpur who has received numerous awards for his works, including the ‘Pallav Rastriya Samman’, ‘Satyamohan Joshi Satabdi Mahoutsav Puraskar’, ‘Bangladesh Maitri Sang Samman’, ‘Yogmaya Srishti Samman’ and many more. Babita Shrestha from ApEx caught up with Alok to talk about what fuels his love for writing.

What inspired you to write?

My main source of inspiration is my rural hometown. Back during my high school days, one of my teachers encouraged me to hone my literary skills and since then, I’ve been immersed in literature. We used to have many literature events every year and I used to win most of the competitions. My passion grew, and I eventually began submitting my writings to newspapers. My first published work was ‘Prem Ko Abhivyakti’. After moving to Kathmandu, I attended literary events and worked at Nepal Pragya Pratisthan, where I met notable writers such as Balkrishna Sama, Madhav Ghimire, Siddhicharan Shrestha, and others. Meeting them made me want to write even more.

Is there a particular literary form that you prefer?

I started off as a poet. ‘The Poison Tree’ was published in Bangladesh, while ‘Pawan Alok ka Kehi Kavita’ was published in Nepal. Additionally, I’ve also written a travelog, two travel novels, and three essay collections. I enjoy writing travelogs the most and I find myself indulging in that ever so often. So far, ‘Europe ko Jhajhalko’ has been launched, followed by ‘Arun Express’, ‘Kehi Samjhana Kehi Sirjana’, and ‘Pahad Ra Lamatanna Samudra’. I’m now working on two more books that will be published soon.

Can you run us through your writing process?

I’m a travel enthusiast and so far I have visited 30 different countries. I don’t travel to write, but wonderful experiences prompt me. A travelog, to me, is not a lengthy description but rather a subtle flow of emotion and perception. When I travel, I always take a diary with me. I keep track of things that have an impact on me. Later, I’ll attempt to express that in words. Typically, I work on drafts and then go over them multiple times until I’m satisfied. It takes days and sometimes even months to edit my work. I send my manuscript to other travel writers for feedback and criticism before publication since I believe that modifications are vital for good writing. Also, I try to write clearly and simply so that readers are able to understand the real tone and message.

 When did you realize you had an interest in travel writing? Can you share some of your favorite travel memories?

I completed a degree in the United Kingdom, and while living there, I had plenty of opportunities to explore the city. I used to plan trips during the weekend. I had never considered writing about my trips till I read Tana Sharma’s ‘Belaet Tira Baralida’ at the time.

Following that, I began writing other travel memoirs and even travel novels. ‘Pahad Ra Lamatnna Samundra’ is one of my most significant writings which narrates my travels around Nepal and even to other nations. It covers 15 collections of travelogs from my trips to Janakpur, Bhojpur, Bara, and Parsa, as well as foreign nations such as Switzerland, England, the US, Belgium, France, and others.

 In the book, I’ve also included my trip to the lake district where  English writer William Wordsworth grew up. The authorities have preserved his home furnishings. Seeing that, it struck me that we had outstanding Nepali writers as well, but the government has never given them their due. In order to draw attention to that, I have incorporated my sentiments about the issue as well.

What are some of the biggest challenges you’ve faced as a travel writer?

To be honest, not everyone can write or has the drive to do so. Also, it has always been difficult, particularly for Nepali writers, because our government invests little in the promotion of Nepali arts and literature. Publication and marketing are difficult endeavors, and writers frequently face financial constraints. Given the circumstances, I strongly urge the administration to implement comprehensive response plans. I’ve formed my own organization, ‘Yogmaya Rastriya Naari Srasta Samaan’ at my own expense, to pay respect to Yogmaya Neupane’s contributions. This prize recognizes Nepali women authors who continuously contribute to Nepali literature.

What advice would you give to anyone who wants to become a travel writer?

Travel writing is not only about descriptions of a place but also about the flow of emotions. Don’t be in a hurry to get published. Make sure you get feedback from other writers or readers and work on polishing your draft. You have to be able to make your readers feel like they are there in that place with you and for that, your writing will have to go through many revisions.

The curfew order that had been in effect in Malangawa, the district headquarters of Sarlahi, since Saturday, was lifted at 8 am on Sunday. However, the prohibitory order remains in place, according to Chief District Officer Indra Dev Yadav.

With the removal of the curfew order, life here has started returning to normalcy. Markets have reopened and transport services have resumed. A large number of security personnel have been mobilized in different parts of the city.

According to Sarlahi's Police Chief Naresh Raj Subedi, during the period of the prohibitory order, all forms of protest programs, demonstrations and mass meetings have been banned.

The curfew was imposed at 5 pm on Saturday to ease tension after two groups clashed, using rocks, while returning after immersing the idol of Hindu deity Krishna on Friday evening as part of the celebration of the Krishna Janmashtami festival. 

Subsequent demonstrations and clashes took place in the city on Saturday, prompting the local administration to issue the curfew order.