<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a19c7e80680e08f924jpeg.jpg" alt="" width="1000" height="1781"/><figcaption>Museum of Nepali Art (MoNA), a private museum, opened to the public in February 2020. MoNA has traditional and contemporary art on display. Photos: DRISHNA STHAPIT</figcaption></figure>Just entering into the basement museum inside one of the new blocks at the <a href="http://archive.nepalitimes.com/news.php?id=3761#.YAGk8y2B3R0" target="_blank" rel="noopener noreferrer">Kathmandu Guest House</a> complex in Thamel, visitors may feel their eyes are playing tricks.Is this the Rubin Museum in New York? Visitors can be forgiven for doubting if they are still in Nepal--the subdued lighting, elegant interior exude a perfectionist attention to detail, a place where modern melds seamlessly into traditional.Right away on entry, there are paintings of Ganesh, the auspicious elephant deity, and right after that the eyes are arrested by Raj Prakash Tuladhar’s Five Yoginis, a depiction of the Buddhist guardian deities of Kathmandu.The <a href="http://www.mona.com.np" target="_blank" rel="noopener noreferrer">Museum of Nepali Art</a> (MoNA) was set up by Rajan Shakya (pictured below), the CEO and scion of the <a href="https://ktmgh.com/kathmandu-guest-house/" target="_blank" rel="noopener noreferrer">Kathmandu Guest House (KGH) group</a>, who believes strongly that contemporary Nepali art compares to the best the world has to offer.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a39c7e80680e08f925jpeg.jpg" alt="" width="1500" height="844"><figcaption> </figcaption></figure>“Religion and art are interwoven so deeply in Nepali society. Yet most people here do not know about art even as they worship idols and temples,” says Shakya. “Think about the hands of those artists, and the talent it takes to be able to invoke <a href="https://www.nepalitimes.com/banner/new-newa-art/" target="_blank" rel="noopener noreferrer">gods in idols</a>, and inspire such deep faith in another human being.”<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a69c7e80680e08f926jpeg.jpg" alt="" width="606" height="580">Shakya’s passion shows in the museum that he has helped create. He has long known that <a href="https://www.nepalitimes.com/banner/nepali-art-going-places/" target="_blank" rel="noopener noreferrer">Nepali art makes the rounds in international exhibitions</a>, and that buyers wait in line to snap up work by Nepali artists.“I wanted Nepalis to know that there is a place in Nepal for Nepali art, and be proud of our artists, whether they construct temples, make paubha, or sculpt statues,” says Shakya whose MoNA houses contemporary and traditional art by living Nepali artists, around 85% of which is from Shakya’s private collection.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2a79c7e80680e08f927jpeg.jpg" alt="" width="1500" height="947"><figcaption> </figcaption></figure>“There is nothing more meaningful to Nepali artists than having a permanent space in Nepal itself,” says Raj Prakash Tuladhar, whose paintings have been exhibited internationally.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2ac9c7e80680e08f928jpeg.jpg" alt="" width="225" height="225">MoNA’s walls are dedicated to <a href="https://www.nepalitimes.com/review/old-art-meets-new/" target="_blank" rel="noopener noreferrer">contemporary art</a> that spans styles and methods, from golden prints of Kathmandu’s temples to vibrant acrylic abstracts. Up-and-coming artist Rashana Bajracharya’s reimagination of Mona Lisa as a cancer survivor—serenely smiling, without hair—hangs front and centre, one frame away from <a href="https://www.nepalitimes.com/here-now/lain-singh-bangdels-legacy-lives-on/" target="_blank" rel="noopener noreferrer">Lain Singh Bangdel</a>'s painting of casually geometrical, multi-coloured roofs, titled Huts of Kathmandu. <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2ad9c7e80680e08f929jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Sarada Man Shrestha’s In Quest of Water, a murky mixed media piece portraying a woman at a ढुङ्गे धारा stone spout done in earthy browns and greens, hangs close to a pencil sketch of Queen Aishwarya.“The museum was created for present-day artist, they should be able to enjoy fame in their lifetime,” says Shakya. But some of the paintings span generations of artists. Indeed, four out of six paintings from Manik Man Chitrakar’s Buddha’s Life series are on display at the museum.Three paintings hang on the Arya Tara Wall of the museum, two among them completed decades apart by Anandamuni Shakya, the Nepali pioneer of 3D sketches, in 1938 and his grandson Surendra Man Shakya, in 2017.The third Arya Tara painting, Samundra Man Singh Shrestha’s oil on canvas, compared with Anandamuni Shakya’s mineral pigment on canvas serves as historical documentation of how the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener noreferrer">traditional Nepali art-form</a>, and 3D art, has evolved.Shrestha’s Green Tara is so detailed, the gold ornaments against her skin so intricately painted, that one almost expects to feel the ridges of gold and gemstones should they reach out and touch the painting.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110111128/636cd2b09c7e80680e08f92ajpeg.jpg" alt="" width="1500" height="842"><figcaption> </figcaption></figure>The museum is dedicated not just to showcasing art, but also to the work and resources that go into the process. Purna P Hyoju’s mineral paints are staged along with one of his incomplete paintings, as are Anandamuni Shakya’s paintbrushes, Surya Bahadur Chitrakar’s inkwell, and Raj Prakash Man Tuladhar’s eyeglasses, a way of connecting the art to the artist, and the artist to the viewer.The museum also has sculptures ranging from floor to ceiling bronzes to black stone busts. Besides curated artwork, attention is also paid to the interior, the deep red walls providing a textured backdrop to some of the exhibits. There are carved wooden columns salvaged from a building destroyed by the earthquake.Gold frames, sleek and streamlined, hold the contemporary artwork, while the ones that display the traditional paintings are ornate and detailed. The ambient conditions also need to be just right, and MoNA has humidifiers, air purifiers and temperature control.https://www.youtube.com/watch?v=pTNHpYk4ZvwMoNA opened in February 2020, but <a href="https://www.nepalitimes.com/review/a-single-brushstroke/" target="_blank" rel="noopener noreferrer">could not welcome visitors because of the pandemic</a>. It did hold two online exhibitions during the lockdown: a virtual 360° Covid-themed show titled tangential stress 2020 was the first of its kind in Asia.The year of isolation gave Shakya and his team the time to iron out the kinks for the <a href="https://www.nepalitimes.com/banner/nepal-museums-reopen-after-8-months/" target="_blank" rel="noopener noreferrer">physical opening after the lockdown</a>. Shakya hopes to eventually set up different museums for contemporary and traditional art, and hopes to expand to Patan and Pokhara, while collaborating with museums internationally.“Art is at the forefront of the preservation of our culture and heritage,” says heritage conservationist Alok Tuladhar. “But Nepali art is only accessible to the über elite, and we need to expand that circle so that more people appreciate the artwork and the artist.”For people who are unable to visit the museum, all the artwork is available for free perusal online. Says Shakya, “In Nepal, visiting museums has never been an activity like shopping, or going to the movies or restaurants. Nepalis also need entertainment that is more stimulating and meaningful.”

Shristi Karki

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Nepali art finds a new home

<figure><img width="1500" height="1222" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35719c7e80680e0482aejpeg.jpg" alt=""/><figcaption>Photos: SEWA BHATTARAI</figcaption></figure>Printmaking is as old as Nepal's history itself, and printmakers have brought fame to the country by winning many  international competitions. For all that, little is known about printmaking here. An exhibition at Siddhartha Art Gallery titled Seduction of Printmaking, organised by Print Making Nepal Artists’ Collective seeks to change that.The exhibition features prints by more than 30 artists, reflecting various genres: from traditional arts like Paubha and Mithila art to contemporary pieces on nature and urban life, and fusion works as well. While the pieces are a delight to see, the exhibition is also an opportunity to understand the complex arts of printmaking. The pieces may look like paintings, but in fact, prints are created through a variety of complicated processes.Read also: <a href="https://www.nepalitimes.com/review/etched-in-our-memory/" target="_blank" rel="noopener">Etched in our memory</a>, Prakriti KandelSome methods require carving the basic shape on wood, painting it in colours, and stamping it on paper. In others, motifs are etched on metal and the art emerges by applying acid to the metal which erodes it into different patterns. Still others require the use of a printmaking machine. Prints started out in China and Japan and were used to illustrate Buddhist texts, but now have spread all over the world. <img width="1500" height="1848" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35759c7e80680e0482afjpeg.jpg" alt="">Printmaking is quite difficult and expensive too, as it requires equipment and tools. Until recently, there were only a few private printmakers in Nepal, but now the Printmaking Association has acquired a machine that can be used by all printmakers.“Our aim is make printmaking more known in Nepal, and also to make it easier for future printmakers to work,” says the Association President Uma Shankar Shah, lamenting that the government has neglected the genre. “No printmaker has ever been awarded by the government, and it has conducted no printmaking workshop till date. We hope to work for more recognition.”Set up in 2017, the Association seems to have succeeded in pumping some fresh blood into the printmaking community. Senior printmaker Birendra Pratap Singh, who was the first person to own a printmaking machine in Nepal, had not made a print for 18 years. But he was energised to make one for this exhibition. The exhibition has also managed to rope in renowned non-printmaker into making prints, like the Paubha artist Lok Chitrakar and Mithila artist SC Suman.Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of the gods</a>, Tsering Dolker Gurung<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank" rel="noopener">Mithila art with a message</a>, Prakriti Kandel <img width="1500" height="1749" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108111152/636a35789c7e80680e0482b0jpeg.jpg" alt="">Inaugurating the exhibition this week, French Ambassador Francois-Xavier Leger said: “Printmaking artists are dynamic and creative. It confirms what I always thought, that the new generation is active.”The Seduction of Print MakingTill 24th AprilSiddhartha Art Gallery, Baber Mahal Revisited

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Leaving an imprint

Nepal’s month-long cricket carnival ended on a sunny Saturday in Kathmandu with a final game in which the Lumbini Lions dominated the Sudurpaschim Royals with both bat and ball.&nbsp; The Royals were bowled out for an embarrassing 85, thanks to Namibian Ruben Trumplemann’s three wickets for three runs, and captain Rohit Paudel’s hat-trick in the eleventh over. Only opener Ishan Pandey’s 33 run-innings was of any note.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025121315120_ced9258f9503a03fe53760d5ff420136ea9cfbaf3001512399ec5cafeef25364.jpg" data-media-id="editor_0" data-image-id="2025121315120_ced9258f9503a03fe53760d5ff420136ea9cfbaf3001512399ec5cafeef25364" data-rendition-name="original" width="1366" height="909" loading="lazy" alt="NPL 2"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213141232_0b712b438a97b49747029e4b3884b0eeba8ec0ff0bfbc5fd3d61cbb2002a16c2.jpg" data-media-id="editor_1" data-image-id="20251213141232_0b712b438a97b49747029e4b3884b0eeba8ec0ff0bfbc5fd3d61cbb2002a16c2" data-rendition-name="original" width="1345" height="1000" loading="lazy" alt="NPL 2"> </figure>  The Lions came out with virtually no pressure on them, and Dinesh Adhikari’s 42 off 13 including 27 off the first over bowled by Dipendra Singh Airee won the match. Rohit Paudel came in to finish the match calmly, with 11 overs to spare, scoring two stylish fours and a six before holing out with the Lions on 83.&nbsp; The Lions took comically long to get the final two runs to win the game, losing one more wicket. But it was merely a matter of time, and a single ended the Royal’s misery.&nbsp; As dusk fell, the big fluffy lion mascot was on the field dapping up the Lions as red fireworks went off and Lumbini fans leaped from their seats in the packed stands.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213141232_ba4c4fde1865c583cf324d253563a0fc96002c31e8381ee85850f71c67515ea9.jpg" data-media-id="editor_2" data-image-id="20251213141232_ba4c4fde1865c583cf324d253563a0fc96002c31e8381ee85850f71c67515ea9" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="NPL 2"> </figure>  This capped off an incredible run from the Lions who had finished dead last in NPL Season 1, and had only one win and three losses after four games. They won the remaining three, finishing fourth, barely qualifying.&nbsp; This meant that they had to play an eliminator last week against the Kathmandu Gorkhas and then a qualifier against the popular Biratnagar Kings, whose squad included Sandeep Lamichhane, Faf du Plessis, and Martin Guptill. They won both in style. For the Royals, however, this was the second disappointing final in a row after being the best team in the group stage in both seasons of the NPL. National team batsman Binod Bhandari had had an excellent tournament for the Royals, but was in tears at having come this far again and fallen short.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213141228_a90fd0afaeec366416efe314464d6b1152bd9cca011346b77914c2037b6b156e.jpg" data-media-id="editor_3" data-image-id="20251213141228_a90fd0afaeec366416efe314464d6b1152bd9cca011346b77914c2037b6b156e" data-rendition-name="original" width="2048" height="1366" loading="lazy" alt="NPL 2"> </figure>  Despite the final being disappointingly less action-packed for the neutral viewer, the final marked the second successful execution of the NPL. The addition of seats and floodlights at the TU Cricket Stadium overlooking Kathmandu made evening games possible and improved the experience for fans.&nbsp; The floodlights also made for some gorgeous photography as the sun set behind Chandragiri, illuminating the Himalaya to the north in gradually fading shades of orange.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251205041256_280bea0db1d097c88d478f5ba7197b5e2faa05623ebf9c0438af46d85bdb891e.jpg" data-media-id="editor_4" data-image-id="20251205041256_280bea0db1d097c88d478f5ba7197b5e2faa05623ebf9c0438af46d85bdb891e" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Cricket carnival NT"> <figcaption>Photo: SUMAN NEPALI</figcaption> </figure>  Adam Rossington’s 323 runs, including a century, and Sandeep Lamichhane’s 17 wickets were the standout individual performances across the tournament in the past month.&nbsp; The tournament brought out characters much loved by the vociferous crowd, including ‘Taklu’ Irish commentator Andrew Leonard who worked in a Dhaka Topi, British presenter Jess Crowe who donned a Sari for the final, and Chitwan Rhinos’ charismatic mascot Mr Gaida who entertained the crowd with enthusiastic nonstop dancing.&nbsp; The tournament was such a draw that the university grounds looked like a carnival with food and merchandise stalls. The capacity 10,000 stadium drew such a crowd that Kathmandu streets were relatively quiet on Saturday with people also watching the game live on tv at home.&nbsp; Kathmandu’s residents were genuinely delighted at being able to talk about <a href="https://nepalitimes.com/here-now/cricket-carnival">a Nepali cricket tournament</a>, and not about the Indian or English Premier Leagues. And while everyone appreciated the cricket no matter who was playing, fans showed up for their provinces in loud numbers.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251205041256_e96211da042ec3043940f2feca4cd59dd00351af41a4ca029169871f69f51957.jpg" data-media-id="editor_6" data-image-id="20251205041256_e96211da042ec3043940f2feca4cd59dd00351af41a4ca029169871f69f51957" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Cricket carnival NT"> <figcaption>Photo: SUMAN NEPALI</figcaption> </figure>  The organisers having proven themselves, future NPLs may need more stadiums in other provinces, even better overseas players.&nbsp; Sambhav Sirohiya of the Kathmandu Media Group ambitiously tweeted that he believes that the league could already become the second most valuable franchise cricket league NEXT SEASON, especially if the government would loosen up its regulations of advertising, especially that of alcohol. Nepali cricketers and fans are now better prepared for the T20 World Cup in India and Sri Lanka in February, with the experience of playing in the NPL and with the access to world-class cricket talent and seeing how they go about excelling at the sport.&nbsp;

Lumbini gets the lion’s share

International Mountain Day on 11 December should inspire celebration, not cynicism. It follows &nbsp;a small but rare diplomatic win: the agreement at COP30 in Belém to hold a dedicated global dialogue on mountains in 2026, and to include mountain-specific indicators in the new climate adaptation framework.&nbsp;
A welcome shift, certainly. But the old narrative lingers — mountains are fragile, disaster-prone, eternally vulnerable. But the uncomfortable truth is that safe and environment-friendly development in the mountains is simply too expensive than anyone wants to admit.
To build a kilometre of two-lane highway in the Tarai costs Rs200 million. That same kilometre on a Himalayan slope with retaining walls, drainage, bioengineering, and landslide protection costs more than Rs1 billion. Add tunnels, viaducts or highways designed for minimum 80km/h speeds and that figure can easily triple.
This pattern repeats across all sectors. A 50MW run-of-river hydropower plant that costs $80 million in low-ling valleys costs four times more in the mountains. The headrace tunnels have to be longer, desanding basins must trap the silt, the access roads cost more than the entire project. And there is no way to prevent the scheme from being washed away by a glacial collapse flood.
Nepal's annual road budget is only Rs150 billion. It is scattered thinly across 753 municipalities, most of them perched on steep, unstable slopes. When resources are inadequate and political cycles are short, the incentives for corruption are predictable &nbsp;— shaving a mountain flank at 70 degrees instead of 45, taking a shortcut on drainage canals, skimping on asphalt thickness, or skipping the Gabion.
In high Nepal, the bulldozer is the engineer. We hang on the prayer that the monsoon will be merciful. July arrives, and reality returns. Mountains fall on roads, flash floods wash away swathes of expensive highways.
The entrance to the Siddhababa Tunnel in Palpa collapses yet again. The Nagdhunga Tunnel faces another landslide delay. The Melamchi headworks go under — again. Each failure costs more to repair than proper engineering would have cost when that infrastructure was built.
We are not just paying once. We the taxpayers are signing up for a subscription to disaster. The real fragility of Nepal’s mountains is of governance, not geology.
This is what the international climate conversation habitually misses. Mountain communities are repeatedly told to ‘respect nature’ and avoid linear infrastructure, often by the same countries proudly announcing new expressways and airports in their own countries.
Mountain people are not anti-development. They want what everyone else wants: electricity that does not flicker, roads that survive the monsoon, schools their children can reach in winter. What they lack is not aspiration, it is the budget required to build things safely that is not stolen by politicians and their crony contractors.
If the world truly wants to protect the Himalaya, Andes or Alps, and the billions who rely on them for water, the answer is not more romantic slogans about fragility of the mountains. It is concessional, patient financing that narrows the gap between cheap and dangerous versus expensive and resilient. And it is transparent government that spends that money wisely.
This means money for tunnels instead of unstable surface cuts. Money for bioengineered slopes instead of naked bulldozer scars. Money for hydropower built for 1-in-100-year floods, not 1-in-25-year budgets.&nbsp;
This is not charity. Mountain infrastructure safeguards global water, carbon, energy and biodiversity systems. It is a global public good, and should be financed as such.&nbsp;
In Syangja, small investments under the Climate Adaptive Equitable Water Management Practices have restored nine community ponds, protected recharge zones and increased dry-season spring flow by about a third. All of this for less than the cost of repairing a single kilometre of poorly built hillside road after the next landslide.
Our experience from the Subnational Governance Programme (SNGP) in some districts of mountains and plains show that when municipalities receive practical guidance backed by scientific research, they can scale these solutions with modest, targeted budgets. Local governments are not the problem — they are the missing link. &nbsp;
The tragedy is not technical incapacity; it is chronic under-financing of the most cost-intensive terrain on earth. Lets stop romanticising mountain poverty on 11 December, International Mountain Day. Let us retire the language of fragility that excuses inaction.
Mountains are not pleading for sympathy. They are demanding fairness: that the true cost of safe development in the world’s steepest geographies be acknowledged and shared. Until that bill is paid, the monsoon will continue to do the accounting, one landslide, one road, one abandoned promise at a time.
Ngamindra Dahal is a water and climate adaptation practitioner based at the Nepal Water Conservation Foundation, Kathmandu.

The Himalaya is not fragile

This is the 76th episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab providing a platform to share experiences of living, working and studying abroad. We did not have a whole lot, but did not grow up in scarcity either. When I was in Grade 7, my father migrated to Malaysia but returned just after 18 days and was heavily in debt. It is the interest and not the principal from loan sharks that ruins borrowers. As we grew up, family expenses rose and my father migrated again to Qatar, determined to make it work this time. I used to watch him via IMO in buildings under construction eating rice out of plastic bags. There was no AC, no oven, no shade. Those images are etched into my memory.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081244_3f46ccdd1fab8f85ccce9fc8bec677cb7466a1b9556f36d0f92d19c6478369b6.jpg" data-media-id="editor_0" data-image-id="20251208081244_3f46ccdd1fab8f85ccce9fc8bec677cb7466a1b9556f36d0f92d19c6478369b6" data-rendition-name="original" width="600" height="800" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Family picture from 2014 sent to Anil's father who was working in Qatar.</figcaption> </figure>  After Grade 10, I was encouraged to take up computers in +2 as I was a bright student. I did not have access to a computer, and the 30 minutes we got weekly at the computer lab was just not enough. My parents could not afford to buy a computer, but a friend had both a desktop and laptop at home.&nbsp; I did his homework in exchange for using his computer. When my father in Qatar, found out he bought me a laptop. Today, a decade later, I am still using it. Maybe I valued the computer more because it was bought with my father’s sweat. The laptop reminds me of how he toiled overseas.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_2b3dc0b903d0b01caf875b5f50c22053aa28097b405cf14f36c6324a93f5dfef.jpg" data-media-id="editor_1" data-image-id="20251208081240_2b3dc0b903d0b01caf875b5f50c22053aa28097b405cf14f36c6324a93f5dfef" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil still uses the laptop his father bought him ten years ago.</figcaption> </figure>  The money he sent home did help with household expenses. My mother did tailoring, although the income was not stable. After my father returned from Qatar, we he bought a three-wheeler which he still uses in Makwanpur. After completing Grade 12, I came to college in Kathmandu to study IT. It cost Rs20,000 a month in tuition, rent and food just to survive. I could not complete my bachelor’s. Although my father kept saying, “Don’t worry, I am here,” he just did not have the money to pay for me. So, I took up a data entry job which helped cover living expenses. The pandemic meant my father could not earn money from his auto-rickshaw. We had no savings and had outstanding loans. Migration was the only way to get us out of the rut. I told my father that both of us should go abroad to earn some money. He could return earlier and I would stay on.&nbsp; My father agreed, and I visited recruiting agencies with both our passports. After reviewing our CVs, they said it was easy to find jobs for my father but not for me, given my educational background and my experience in software. “How can we send you for jobs as a cleaner or security guard?” they asked. I finally found a job in Romania, and decided to have my father stay back because going to Europe would have doubled the cost. My mother and sister came to see me off at Kathmandu airport. It felt just like my father leaving for Qatar many years ago. Perhaps some day, my brother would also leave in a similar manner, I thought.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_c1a00b70223f048e994e1cab7c0e6cd6944c4a2f3f7740b0a8e76921da9d23f0.jpg" data-media-id="editor_2" data-image-id="20251208081240_c1a00b70223f048e994e1cab7c0e6cd6944c4a2f3f7740b0a8e76921da9d23f0" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil's sister hugging him at the airport before he left for Romania.</figcaption> </figure>  In Romania, I work in a factory making car seat belts. It is not physically demanding and it is indoors. Even though I did not share it with my family, the initial period was difficult as I had no experience standing and working for so many hours at a time. Once, when I was tired at work, I wondered how my father managed in Qatar in a much more physically taxing job. Here I was not carrying heavy loads, my work was not outdoors. I was so emotional, I wrote a ghazal in my head. The words “खाडीको तातो घाम” kept repeating in my head. After work, I jotted down the verse in my diary:&nbsp; बुवा, तपाई जस्तो बन्न म सक्दै सक्दिनँ Father, I cannot become like you कति गाह्रो छ, म भन्नै सक्दिनँ I cannot imagine how hard it is म मान्छे हेर्दा मात्रै ठूलो I only look like a grown man बानी अझै बच्चै छ But I am still childish किनकि जता त्यतै जान मन लाग्छ I feel like roaming around जे देख्यो त्यो खान मन लाग्छ Eat whatever I see. न पैसा बच्छ I cannot save. न खाएको कुरा सबै पच्छ The food doesn’t agree with me&nbsp; कहिले काहीँ त मलाई म्याकडोनाल्डको बर्गर पनि पच्दैन Not even a burger at McDonalds तर प्लास्टिकमा पोको परेको त्यो चिसो भात But how did my father eat that cold rice खाडीको त्यो तातो घाममा सेक्दै खाँदा मेरो बुवालाई कसरी पच्छ? Under the hot Gulf sun? मेरो पेटले यस्तो पचाउन सक्दै सक्दैन I would not be able to eat that. बुवा, तपाई जस्तो बन्न म सक्दै सक्दिनँ Father, I cannot be like you. कति गाह्रो छ, म भन्नै सक्दिनँ I cannot say how difficult it is.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_51eb68a130750f1c79ab1046406a5b940c780ebd87cfff5ff6861d3287bd69c0.jpg" data-media-id="editor_3" data-image-id="20251208081240_51eb68a130750f1c79ab1046406a5b940c780ebd87cfff5ff6861d3287bd69c0" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil Gole's diary entry of his ghazal compares his migration with his father’s journey.</figcaption> </figure>  I posted it online, and it went viral. But more importantly, people found the words relatable and engaging. My sister first saw it on Tiktok and shared it with my mother. It moved them to tears while my father kept watching it on repeat, deep in thought. Even though my birth father decided to leave my mother when I was less than a year old, my step father never made me feel the absence of anything. My friend from Grade 6 in Makwanpur, Sharan, introduced me to ghazal. He was six years older because he had to pause his studies during the Maoist conflict. He worked in a brick factory in Kathmandu, saved money, and returned to school. He was very talented and we became friends through the school children’s club.&nbsp; Sharan and I spent most of our time together, sharing meals to save money and even skipping classes. One day, in Grade 9 when our teacher was absent, he wrote a ghazal on the spot and explained the form, the rhyme, the meter. I listened half-heartedly as it was not of interest. We left it at that. Shortly after, Sharan was diagnosed with leukemia and he could not finish exam. Because he was a sharp student, the teachers decided to not hold him back. He died just before Grade 10. I cried. I do not have any pictures of Sharan. He had small ears, and I used to tease him that people with small ears do not live long. That still haunts me. <div class="embed-block"><div style="max-width: 56vh;"><div style="left: 0; width: 100%; height: 0; position: relative; padding-bottom: 177.7778%;"><iframe src="https://cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fyoutube.com%2Fshorts%2FLpizGQWTbMs%3Ffeature%3Dshare&key=87ca3314a9fa775b5c3a7726100694b0" style="top: 0; left: 0; width: 100%; height: 100%; position: absolute; border: 0;" allowfullscreen scrolling="no" allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div></div></div> At the school assembly at the start of the new year, we were asked to share a talent. I did not know what to do, but I wrote a ghazal just as Sharan had taught me and dedicated it to him. Halfway through, I started crying and the principal took me to his office and calmed me down.&nbsp; I do not write much poetry except a few posts on social media here and there. But a video of me reciting went viral on TikTok and that encouraged me to write more. That made me feel validated, and I began writing more about real life experiences. It has been three years in Romania. My brother will also be joining me soon. Things have improved for us financially, but we are not where we want to be. We will get there. When we do, I will resume my studies. I’m interested in programming, especially back-end development and working with databases. It is on hold right now.&nbsp; I do not have big dreams, I just want to make sure my parents get what they deserve. It is okay if I get delayed if my parents are able to access what they had scarified for us when they were of my age. For now, my family is my priority.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_9e8d3cad3b505d3ec5adcea94ed05b2ea9de1d2cd8507335eec86c2659a11b34.jpg" data-media-id="editor_5" data-image-id="20251208081240_9e8d3cad3b505d3ec5adcea94ed05b2ea9de1d2cd8507335eec86c2659a11b34" data-rendition-name="original" width="2016" height="1512" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil's family.</figcaption> </figure>

My father’s son

People like myself were too young during the decade of the Maoist War to remember its horrors. We often wonder what life was truly like back then. Perhaps the closest we have come to experiencing a national crisis of that scale – with the protests, violence, curfews, and political maneuvering – was the GenZ movement in September. How did people cope? What did they fear? What was it like in the cities and &nbsp;villages? How was it that the king still held so much power? What motivated the guerrillas? And, how did &nbsp;ordinary people adjust and endure the war? My curiosity about the war that ended 20 years ago &nbsp;was met with a rollercoaster of emotions with Monica Rana’s debut novel, The Paths We Choose. The novel is not a retelling of events from the vantage of leaders, rebels. It is not about the violence, but a carefully curated perspective of ordinary people caught up in it. It is a glimpse into how the war altered or defined their paths. This is the 'People’s War' from the people’s own perspective. Readers are immediately invested into the lives of two central characters, the sister duo, Sumnima and Rita. The elder radiating from the beginning with her brave and cunning aura, and the latter, more timid and obedient, much of her time absorbed in awe of her sister. The writer’s language flows as effortlessly as the sisters’ strides up the hills to steal mangoes from Dhire Dai’s trees, only to race back down to Rato Mato, carrying us through their journey into adolescence. Amidst the rolling hills, mango trees, life is filled with laughter, adventures, and everyday banter, scenes so serene that they carry an unsettling calm that hints at what lies ahead. Village life is not all painted in romantic hues. The stark reality of poverty, subsistence, and contrast with the comfort of city living are never far away. Amidst these reminders, there runs a humbling truth: happiness once rested on small things, not on the material excess that define urban life. As the pages turn, the title begins to resonate: two sisters, once bound by the same bloodline, shared dreams, and the same roof, are caught in the crosshairs of war and forced onto separate paths. One by choice, and the other by necessity. The story unfolds with the seasons: the relentless monsoon rains, the scorching heat of summer, and a liberating winter that carries bittersweet truths. The year is 2001, as the insurgency intensifies. Against this backdrop, the cousins’ lives diverge. Sumnima is drawn into the rebels’ ranks to 'fight for equality and freedom', while Rita is uprooted, carried across distances, and placed in Seto Bangala as a helping hand among the higher-ups, in her family’s desperate attempt to secure her a better life after their village is reduced to a 'ghost city' by violent attacks. There are betrayals and beginnings, high palaces and humble hills, royals and rurals, identity and ideology, loss and lament, distance and discovery. Through upheavals, tears, and struggles, one thing remains constant: both sisters wonder about the other. They care. They long to reconnect. They hold fast to the dream they once shared to open a guesthouse in their village someday. A dream to simply live with no fear. To be free. To be happy. And, to be together. The writing illuminates vital themes: innocent people caught up in strife, the vast chasm of class from royals dining on silver plates to villagers back home hiding their last grain to save it from looters. And discrimination so stark it was as if people carried labels on their foreheads, marked by caste, skin colour, and gender. The sisters eventually reunite, but their journey is not an easy one, and what lies ahead is far from the future either of them once imagined. One might romanticise it as fate, or might recoil at the harsh reality Monica Rana lays bare: it is often the innocent who bear the heaviest burdens of war. Civilians are trapped between warring sides, enduring hunger, displacement, and violence through no fault of their own. Wars continue to rage across the world. Though the novel does not particularly focus on exposing the horrifying depths of war crimes, it remains a timeless reminder of what the Palestinian poet Mahmoud Darwish once said: “The war will end, and leaders will shake hands. The old woman will keep waiting for her martyred son. And those children will keep waiting for their hero father. I don’t know who sold our homeland, but I saw who paid the price.” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213031240_2f7c62e392a430082c1627719e014f82b857118e226299e1590d74503387ae93.jpg" data-media-id="editor_0" data-image-id="20251213031240_2f7c62e392a430082c1627719e014f82b857118e226299e1590d74503387ae93" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The paths we choose book review"> </figure>

art-gallery

Nepali art finds a new home

Leaving an imprint

Lumbini gets the lion’s share

The Himalaya is not fragile

My father’s son

The war between people