<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151112/636bb61c9c7e80680e07bc42jpeg.jpg" alt="" width="1228" height="850"/><figcaption>Bagmati River in the 1950s.</figcaption></figure>“As far as I know, there is no one conducting the ritual these days,” began Ganesh Maya Khadgi as she gazed out from her home on the banks of <a href="https://archive.nepalitimes.com/page/encounter-with-bagmati-river" target="_blank" rel="noopener noreferrer">the Bagmati River</a> to the grey, slow-moving water just outside her door.She is referring to Naworatri, a ritual practiced by the Newas of Kathmandu during first nine days of <a href="https://www.nepalitimes.com/editorial/dasain-once-more/" target="_blank" rel="noopener noreferrer">the Dasain festival</a>, which this year fall in end-October. When she was young, she would join crowds of worshippers at two or three in the morning and they would walk together to the tirtha, holy sites on the banks of the river.On each day of the nine-day festival, they would travel to a different tirtha to cleanse themselves with holy water and offer puja to the river in the form of flowers placed on chaitya, small mounds of riverbank sand.“Why would anyone participate in this ritual anymore?” Ganesh Maya’s friendly, open face clouded over as she further poured out her disappointment.The communal pilgrimage along the rivers facilitated contact with the sacredness of <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-ecology-of-worship-bagmati,3380" target="_blank" rel="noopener noreferrer">the holy river</a>, she says, but due to the highly degraded quality of the water, even the most devout worshippers no longer want to make that connection. In some places, worship is not possible due to the accumulation of solid waste on the banks.Even if people are willing to make the holy ablutions with <a href="http://archive.nepalitimes.com/blogs/thebrief/page/15/" target="_blank" rel="noopener noreferrer">the polluted water</a>, Ganesh Maya says that there is not enough sand left in the riverbanks to construct the chaitya. She speaks fondly of her memories of conducting the rituals despite the pain she feels from their loss.Neither her children nor her grandchildren have visited the tirtha for Naworatri, but she understands their reasoning for changing their ritual practice. Due to river pollution, the entire purpose of the ritual has been lost.***<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151112/636bb61f9c7e80680e07bc43jpeg.jpg" alt="" width="1362" height="1322"><figcaption> </figcaption></figure>Across South Asia, rivers are regarded as sacred and are often worshipped as gods and goddesses, revered for the way they link heaven and earth. Some believe the rivers are homes to the divine, while others pray to the life-giving power inherent in the water. Because of this, rivers have historically played an essential role in the daily functioning of the communities built upon their banks.This is especially true in Kathmandu where the history of life in the valley is intimately connected with the rivers that define the landscape, so much so that its residents have often been referred to as members of the ‘<a href="https://archive.nepalitimes.com/page/resurrecting-bagmati-the-river" target="_blank" rel="noopener noreferrer">Bagmati Civilisation</a>’.Early settlements within the valley were clustered on <a href="https://www.nepalitimes.com/banner/time-capsule-of-kathmandu/" target="_blank" rel="noopener noreferrer">hilltops with farmland below on the river floodplains</a> to utilise the natural flow fluctuations of the monsoon. Despite the way that the rivers served agricultural functions, they were perceived as more than as natural economic assets.Instead, people saw themselves as living a balanced life with the environment, a belief that was reinforced by the traditional rites and rituals that have historically been tied to the rivers. Therefore, a harmony that emphasised co-existence and regeneration existed in the name of culture and religion.Now, however, those ties are being severed due to pollution and ideas about modernisation that relies upon the <a href="https://archive.nepalitimes.com/regular-columns/Comment/rivers-fighting-back,993" target="_blank" rel="noopener noreferrer">exploitation of natural resources and spaces</a>. But what happens to the Bagmati Civilisation when its people can no longer bear to stand on the banks of their sacred river?***<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb6239c7e80680e07bc44jpeg.jpg" alt="" width="2048" height="1365"><figcaption> </figcaption></figure>Tej Maya Maharjan also grew up going to the rivers for ritual events, watched this change occur throughout her life. She was elderly at the time of this interview, and has since passed away. Tej Maya visited the Kankeshwori Temple almost every morning for 70 years, and said the time she spent there was the highlight of her days.These visits were essential parts of both her religious and social life. She was widowed at a young age without children, and spent most of her life as a single woman. Instead, she found a family and a sense of community at Kankeshwori Temple. Tej Maya and her friends would gather along the river at the temple and whether they were singing songs, performing puja, or gossiping about their daughters-in-law, these morning trips for religious and social connection brought her joy throughout her entire life.Tej Maya emphasised the importance of conducting rituals at the temple for their role in childhood development. From a very young age, she would join her friends at the Bishnumati River every day during the Newa month of Yalaato collect Nil La:, sacred water, and make chaitya.“We would collect leaves from the pipal tree which had fallen on the ground. We would put some rice grain, tika power, and flowers on the leaf and twist the top and bottom ends, light a wick on the leaf then put it on the flowing water and watch it flow down the river. Then we would all walk to the temple with Nil La: to offer it to all the shrines present in the temple and offer puja,” Tej Maya said.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb6269c7e80680e07bc45jpeg.jpg" alt="" width="640" height="853"><figcaption> </figcaption></figure>For Tej Maya, conducting this ritual was the first time she and her friends had done puja or gone to the temple unaccompanied by adults, and therefore, they learned the procedures of the rites and how to take responsibility for the rituals on their own. Because children are no longer spending time at the rivers and riverside temples, with or without family members, Tej Maya and many others say that the youth of Kathmandu does not have the same understanding of the rituals or how to conduct puja.Although religious activity continues, increasingly, people say that the rituals are often conducted simply because they are tradition but there is less consideration for, or knowledge of, the meaning behind the actions being performed. This has a fundamental impact on the practice of religion and some of the most foundational tenets of the Bagmati Civilisation.One example of this is the way that the practice of bara (gufa halne in Nepali) is shifting. In a Newa girl’s life, the bara has traditionally been one of the most important and celebrated milestones. In this marriage to the sun, girls who are approaching puberty are kept in a dark room for eleven days, during which they cannot be exposed to the sun, nor see any men. This is not a period of isolation though, and instead, the days are filled with visits by female friends and relatives.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb62a9c7e80680e07bc46jpeg.jpg" alt="" width="2048" height="1365"><figcaption> </figcaption></figure>In the past, parents would bring pebbles from the nearby river to the room for the girl to play with. But these days, since there are no pebbles in the river, people use construction gravel instead. After the marriage to the sun was completed on 12th day of the ritual period, the girl would return the pebbles to the river on 13th day and perform puja on the banks, using her newfound knowledge to give thanks to the river for all that it provides.Increasingly though, families are sending their daughters to monasteries for a few days where they are taught the rituals by religious practitioners. In this changing practice, there is no connection with the river, and many say that a key component of bara is lost. Instead of being a coming-of-age period for elders to teach young girls about womanhood and religious practice that culminates with puja on the riverbank, the ritual is now frequently celebrated in banquet halls and party palaces staged for Instagram-worthy spectacles.Just as elements of bara are changing partially out of convenience and partially to distance the ritual from the polluted riverbanks, residents of Kathmandu, both religious practitioners and lay people, have observed a gradual shift in conceptions of the water that can be considered jal, or holy water.Chudamani, a Bajracharya priest, explains that river water is the purest of all forms and sources of water and has therefore traditionally been considered the only source of jal. “But instead of trying to preserve and restore river water, which is so essential for religious purposes, people are making changes in their cultural rituals due to the pollution,” he continued. In practice, this means that the definition of what counts as sacred water has expanded as an adaptation to changing environmental conditions.Macha Bhai Maharjan is a Niti Puja Pujari meaning he performs puja daily to the deity of the Kankeshwori Temple. He has spent innumerable hours at the temple and on the banks of the river, collecting sacred water for cleansing the temple. The river was a source of life for him but after he saw human feces floating in the water when collecting jal for a ritual, he says he has never returned to the banks of the Bishnumati.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb62d9c7e80680e07bc47jpeg.jpg" alt="" width="640" height="853"><figcaption> </figcaption></figure>https://www.youtube.com/watch?v=GCnPUqlrZJcMacha Bhai’s experience is not an anomaly. As <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/when-it-comes-to-water-pollution,3196" target="_blank" rel="noopener noreferrer">the rivers became more polluted</a>, people began sourcing jal from wells bored near the river, their proximity affording the water extracted from them the same ritual significance as the river water once held. However, due to the rapidly depleting groundwater table, many of those wells have gone dry, or have become just as contaminated as the rivers that worshippers were trying to avoid. Once again, the devout were forced to search for alternative sources.***In the Hindu belief system, while river water is considered the most sacred, all water that is moving is pure. Under this definition, people could interpret the water coming out of the taps and dhunge dhara also as jal. Initially, water stored in tanks was not considered to be suitable for ritual purpose, but for many, this has changed once again. Now every temple has a tank that is filled by the municipality and there is no longer a need to visit the river.Macha Bhai’s experience with contamination in the Bishnumati was the moment he says he realised the sacred river no longer held its religious significance. He too uses water sourced from a tank at Kankeshwori Temple for his daily puja. While changes like this are upsetting to Chudamani, he says that despite his role as a priest, he and the others in his lineage profession “cannot do anything about it” and that he too limits his exposure to the once sacred water.The dissociation from the rivers, which have historically been considered the lifeblood of the city, happened gradually over a couple of generations. Just 30 years ago, many residents of Kathmandu remember swimming in the rivers and creeks that cross the valley. The rivers were wide and shallow with sandy bottoms that they could wade across. But a population growth rate that places Kathmandu among the fastest-growing cities in South Asia, coupled with the widespread adoption of water-intensive household and commercial amenities including flush toilets, washing machines, and solar water heaters without the construction of adequate wastewater treatment infrastructure has resulted in vast amounts of grey and black water end up in the riverways. Additionally, direct solid waste dumping, encroachment, and illegal and uncontrolled <a href="https://archive.nepalitimes.com/page/crushing-tale-of-Chure" target="_blank" rel="noopener noreferrer">sand mining have all contributed to the degradation of the riverscapes</a>.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb6309c7e80680e07bc48jpeg.jpg" alt="" width="2048" height="1365"><figcaption> </figcaption></figure>When this period of urban development first began in the 1980s, sewer and stormwater lines were directed to the Bagmati River intentionally with the idea that all pollutants would be washed away. Although the Bagmati naturally experiences wide fluctuations in flow rates because it is a seasonal, monsoon-fed river, now regardless of the season, the dilution capacity of the river is so low, and the level of contamination is so great, that the flow is predominately wastewater. In many places in Kathmandu Valley, the river is considered dead, meaning it can no longer support biodiversity. Many say that with the death of the Bagmati, the Bagmati Civilisation has also been lost.Despite the biological and spiritual death of the Bagmati and its tributaries, the rivers have become points of focus for infrastructure development in the name of modernisation. Currently, the construction of walled river corridors, managed by the Kathmandu Valley Development Authority (KVDA), is used as the primary intervention to address <a href="http://archive.nepalitimes.com/article/editorial/deep-water,3883" target="_blank" rel="noopener noreferrer">flooding in the urban core</a>. These corridors are also meant to help improve the flow of traffic and to reduce congestion in other parts of the city.Now almost every stream and river in the valley has been straightened and confined by concrete walls, the widths of which are set as per the 20-year flood provisions. But due to changing monsoon rainfall patterns and the concretisation of the valley, 20-year floods are occurring every five years or less.The riverbeds have also long since been depleted of sand, mined for concrete to fuel the construction boom of the metropolis. Now that the rivers contain few natural resources, some have gone as far as to advocate that they are covered completely in concrete. In some places, they already have been.***<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb6339c7e80680e07bc49jpeg.jpg" alt="" width="2048" height="1365"><figcaption> </figcaption></figure>Shiv Kumar Basnet, the Executive Director of the Water Resource, Research, and Development Center at the Ministry of Energy, Water Resources and Irrigation says that encroachment on the rivers and settlement in the rivers’ right-of-way has made it so that normal flooding events now cause property damage and seem even more devastating.“Constraining the rivers is like putting a bird in a cage,” Basnet says. He thinks that from an ecological standpoint, as well as when considering what is best for urban development, the rivers ought to flow freely.Many agree with him, including <a href="https://archive.nepalitimes.com/article/nation/Hutaram-Baidya-passes-away-at-93,994">the late Huta Ram Baidya</a>, a prominent social activist who spoke extensively on the need to save the Bagmati to save its civilisation. Baidya used to say: “The river is our nature, we should never destroy with nature, but live side by side with it. Instead of controlling its rivers, Kathmandu must work to conserve them.”When Huta Ram Baidya looked out across the Bagmati from his home near its banks at Thapathali, he wondered about one thing: “Can modernisation exist without culture?” For truly sustainable development of cities such as Kathmandu, the centuries-old cultural rites and rituals associated with the rivers, which incorporate knowledge of both spiritual beliefs and sustainable land-use practices accumulated over thousands of years, must be preserved to help the city grow in harmony with natural ecological systems.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109151116/636bb6369c7e80680e07bc4ajpeg.jpg" alt="" width="2048" height="1365"><figcaption> </figcaption></figure>Rajani Maharjan is an environmental anthropologist affiliated with the Small Earth Nepal (SEN), an environmental research group.Madison Wrobley is a 2019-2020 Fulbright-National Geographic Storytelling Fellow who studies water insecurity, primarily in Kathmandu Valley, and is now based in Colorado.

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How the Bagmati Civilisation is becoming uncivilised

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70569c7e80680e060072jpeg.jpg" alt="" width="2088" height="1474"/><figcaption>Aerial view of Baudha</figcaption></figure>Swiss geologist <a href="http://nepalitimes.com/news.php?id=2692#.VRzIePmUdQ4" target="_blank" rel="noopener">Toni Hagen</a> first came to Nepal in 1950, crisscrossed the mountains and plains on foot to find out the kind of rocks the country was made of. His detailed stratigraphic cross sections of Nepal for the first time gave us an idea of what lay beneath our feet.Along the way he also took thousands of photographs and film which have been carefully archived by his family in Switzerland. <a href="http://archive.nepalitimes.com/news.php?id=2692#.XhlEIy2Q0Wo" target="_blank" rel="noopener">Toni Hagen died in 2003</a>, but the images represent a time capsule of the land and people, and show us the way we were.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70599c7e80680e060073jpeg.jpg" alt="" width="2000" height="1327"><figcaption> </figcaption></figure>Some of these photographs were included in the multiple editions of <a href="http://nepalitimes.com/news.php?id=19173" target="_blank" rel="noopener">Nepal</a>, the classic book about the country first published in 1962 which <a href="http://archive.nepalitimes.com/regular-columns/So-far-so-good/a-serious-swiss-toni-hagen-nepal,888" target="_blank" rel="noopener">introduced Nepal to the world</a>, and through its Nepali language edition, to Nepalis themselves.Now, the Nepal Heritage Society has published another collection of Toni Hagen’s photographs of Kathmandu Valley, some of which were included in <a href="https://archive.nepalitimes.com/page/kathmandu-valley-then" target="_blank" rel="noopener">an exhibition at the Nepal Art Council</a> in 2015 on the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/tony-hagen-kathmandu-exhibition,3946" target="_blank" rel="noopener">centennial of Toni Hagen’s birth.</a><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b705c9c7e80680e060074jpeg.jpg" alt="" width="640" height="423"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70609c7e80680e060075jpeg.jpg" alt="" width="640" height="423">Vishnumati flowing clean and blue with Langtang peering over Shivapuri ridge. The Bagmati at Thapathali with a monsoon cumulus looming above Pulchoki.Toni Hagen: Photos of Kathmandu Valley 1950-1960 is edited by his physician daughter, Katrin, with extended captions by history professor Poonam Rajya Laxmi Rana. The book contains photographs that have not yet been published combined with accompanying historical text. This is an important work that shows us Kathmandu in aerial photography 70 years ago, neighbourhoods and street scenes that have long gone, but there are also plenty of reminders of how the inner city bahals and squares have not changed much in the six decades since the photographs were taken.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70639c7e80680e060076jpeg.jpg" alt="" width="2638" height="1778"><figcaption> </figcaption></figure>‘The photos and films by my father have immense value not only for the archives but for the studies of glaciers, as many of them have changed due to climate change,’ write Katrin Hagen in her preface. ‘The pictures of the old days are somehow a cultural heritage … there was no water supply, no sanitation facilities. But the water of the Bagmati was clean, there was no plastic waste.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70669c7e80680e060077jpeg.jpg" alt="" width="2000" height="1267"><figcaption> </figcaption></figure>Indeed, the book allows us to travel back in time to a Kathmandu where the Bagmati reflects the deep-blue monsoon sky, dark rain-heavy monsoon clouds draping the familiar outline of Pulchoki, the green paddy terraces  encircling towns with earthy brown sloping tile roofs. And, possibly because he was from Switzerland, almost all of Hagen’s photographs have as their backdrop snow mountains in the background.Buffaloes wallowing in Chapagain have Dorje Lakpa in the background. Oxen pull a plough with Ganesh Himal glistening on the horizon. Women in Not Danda carry firewood, with the entire panorama of the Central Himalaya on the horizon. In one photograph from Sanga on a clear day, you can see clear across Nepal to the Annapurnas.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b706a9c7e80680e060078jpeg.jpg" alt="" width="2000" height="1301"><figcaption> </figcaption></figure>Hagen chartered a six-seater Haviland biplane in Patna and flew it into Gauchar to take the first ever aerial photographs of Kathmandu Valley in 1950. One black-and-white photograph from above Hanuman Dhoka looking east towards Tundikhel shows just how much the city has changed and how much of it remains the same. There is Tundikhel with the khari tree in the middle, the temples of Kathmandu Darbar Square, Bhugol Park, the open space around Dharara and the two-storey buildings of Khichapokhari.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b706d9c7e80680e060079jpeg.jpg" alt="" width="2000" height="1347"><figcaption> </figcaption></figure>Ambica Shrestha, President of the Nepal Heritage Society that published the book, says in an introduction: ‘Sharing these photos reminds those who witnessed Kathmandu’s past, and those who did not have the good fortune to do so, to see and experience the scenes and atmosphere of the time.’Rana’s explanatory text provide the background to the images, giving he historical context. The words accompanying the rare aerial photograph of Singha Darbar, for instance, traces the history of neo-classical Rana architecture. There is one anecdote about Jung Bahadur being asked by a foreign visitor why his palace did not have an indoor toilet. His answer: “We do not go to the toilet, the toilet comes to us.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70709c7e80680e06007ajpeg.jpg" alt="" width="2000" height="1318"><figcaption> </figcaption></figure>Toni Hagen: Photos of Kathmandu Valley 1950-1960Edited by Katrin Hagen, Text by Poonam Rajya Laxmi RanaNepal Heritage SocietyVajra Books, 2019176 pages     Rs4,000<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b70739c7e80680e06007bjpeg.jpg" alt="" width="640" height="451">For more photographs from the book <a href="https://archive.nepalitimes.com/page/kathmandu-valley-then" target="_blank" rel="noopener">click this link to the 2015 exhibition</a> of Toni Hagen’s photographs.

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When Winston Churchill addressed the Canadian Parliament in December 1941, he recalled that generals of Nazi-occupied France had said that England would “have her neck wrung like a chicken”. Churchill went on to quip: “Some chicken.” As the laughter and applause subsided, he added: “Some neck.” (Even longer laughter and applause) We do not know who first started calling the narrow corridor that joins India to its northeastern states a 'Chicken’s Neck', but there also was the hint of a Churcillian connotation. Akhilesh Upadhayay in his new book In the Margins of the Empires: A History of the Chicken’s Neck, uses this strip as an entry point to explore a region adjoining Nepal, Bhutan, China, Sikkim, Darjeeling, India’s northeast and the tectonics that shaped its geo-strategic terrain.&nbsp; Upadhyay’s Chicken Neck is an organic whole, connected through centuries by transboundary traders, travellers, monks, spies, missionaries, mountaineers, and more. And as infrastructure and connectivity improves, smaller countries like Nepal and Bhutan (and earlier Sikkim) are caught up in the region’s rivalries. The tri-junction of the Chicken’s Neck is a potential flashpoint that has obsessed India’s military strategists ever since Partition in 1947 and the formation of East Pakistan, and the Chinese annexation of Tibet. India found itself squeezed between Chumbi Valley in China to the north and Pakistan to the south. So, when Sikkim started acting too independent for its own good 50 years ago, India engineered its annexation and turned it into its 22nd state. The 1962 Sino-Indian war elevated its strategic importance even more. Alarm bells ring in New Delhi each time there is trouble around the Chicken’s Neck: the Naxalite uprising had to be swiftly crushed, the Indian military moved in to liberate Bangladesh, Gorkhaland and ULFA activities were dangerously nearby, Bhutan had to be appeased. Every once in a while things would flare up between India and China, as in the 2017 Doklam standoff.&nbsp; And last year’s regime change in Bangladesh has rattled New Delhi enough to deploy its Rafael fighters and BrahMos cruise missiles in the Chicken’s Neck. It is now the most densely militarised strip of real estate in this part of the world. &nbsp; As a journalist and former editor of Kathmandu Post, Upadhyay also peers at the Chicken’s Neck through Nepal’s perspective. After all, Jhapa (where the author is originally from) sits right there astride India’s strategic lifeline.&nbsp; Geopolitics is at the front and centre of the book that takes readers back to the time Nepal was a closed Himalayan kingdom.&nbsp; Nepal may be a yam between two boulders, but it may just as well be a thicker Chicken’s Neck as far as New Delhi and Beijing are concerned. Nepal’s rulers have always had to walk the tightrope between China and India. Khampa guerrillas, covertly helped by American and Indian intelligence, raided Chinese military convoys from bases in Nepal, and King Mahendra had to do some intricate diplomatic footwork. India is often described as Nepal’s closest friend, but our relations with China go back as long in terms of the Lhasa trade, Bhrikuti and Arniko, religious exchanges and people-to-people relations. While Nepali researchers are wary of touching on Chinese, Indian or American sensitivities, Upadhyay’s journalistic background means he has no qualms about tackling the subject head-on, and objectively. He spent more than a year researching the book, sniffing around Siliguri, Bagdogra, Naxalbari, Darjeeling and the villages on the Jhapa side. Then he travelled to Olangchung Gola to listen to ordinary people of the Himalayan rimlands. Despite the perception about rigid frontiers between nation states, the book hints at how absurd the notion is. The Chicken’s Neck is also a wild elephant migration corridor, disturbed by the India-Bangladesh border fence, new expressway embankments, airport runways, and expanding cities. Similarly, the people on the Nepal-tibet border used to cross over to graze yaks — this expanded the gene pools of not just the yaks but also the nomadic humans who moved with the herds.&nbsp; Despite the hard borders, trade flourishes. Upadhyay marvels that a shop in Phungling in Taplejung has embroidered saris from Siliguri and fluffy jackets from China. he finds that residents in the northeastern and southeastern tips of Nepal have more in common with kin across the border in Tibet or India than with someone from Kathmandu. Nepal was once one of the biggest trade hubs in ancient times, and our products were treated as equals in Indian border cities. People too, could move freely, especially if they were and are from bordering Tarai cities.&nbsp; Nepal’s rich history and culture was shaped by the proximity to neighbours, and despite borders it is still cemented by marriages and trade — especially in the Nepali-speaking lands to the east. Its geographical positioning makes Nepal not landlocked but land-linked, adjacent to the largest emerging economies of the world. Nepal needs to deploy its soft power with effective diplomacy to take advantage of these two empires, and not be choked by their rivalry. The book was going to press when the GenZ protests ignited in September, but Upadhyay nevertheless managed to insert the current political transition into the pages with deft editing. &nbsp;The final section of the book examines at least three possible scenarios that may unfold as South Asia continues to be shaped by great power rivalries and imperial contests that have weakened the unilateral influence of the west.&nbsp; Akhilesh Upadhyay extrapolates from the Chicken’s Neck, zooming out for a wider perspective on the Subcontinent. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025121912124_0ae772e7736a65f53a99599b5724ca133a64fdea0e61c7170ea81f9dd95c7af0.jpg" data-media-id="editor_0" data-image-id="2025121912124_0ae772e7736a65f53a99599b5724ca133a64fdea0e61c7170ea81f9dd95c7af0" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="In the Margins of Empires: A History of the Chicken’s Neck NT"> </figure>

Some chicken, some neck

‘Get out of my house.’ ‘All my sickness is because of you.’ ‘You’re a millstone around my neck.’ Arundhati Roy heard these admonitions from her mother over and over throughout her life.&nbsp; This must be a singular, yet universal experience. There must be very few daughters who make it through life unscathed by their mothers. And vice-versa.&nbsp; How many of our mothers look at us and see in us the potential of all of the lives they could have lived? How many resent us for it, or want us to live those lives in their stead? And how many of us look back at our mothers and imagine what they would have achieved had they not been expected and assigned to play the role of wife, daughter-in-law, mother — had we never existed in their lives? How many mothers project their experiences onto their own daughters and continue the cycle? No daughter seems to escape it — no matter how well-behaved, docile, unruly, or rebellious. Certainly not the child who would go on to become a Booker prize-winning author. Arundhati Roy’s memoir Mother Mary Comes To Me chronicles her complex relationship with her mother Mary, or Mrs Roy, as her educator mother had her two children refer to her. In December, Arundhati Roy was in Kathmandu to sign books and briefly interact with readers at two bookshops in the city. She describes a childhood overshadowed by her mother’s volatility towards her and her brother. Mary herself was raised by an abusive father to escape whom she married the first man who proposed — Arundhati’s father who in her mother’s words turned out to be an alcoholic ‘Nothing Man’.&nbsp; Mary left her husband in Assam and eventually wound up with her two children in her town of Aymanam in Kerala, encountering other family members along the way who did not treat her, or her children with respect. The trauma and cruelty her mother endured could not be contained in her body, and spilled out onto her two children, towards whom she was physically, verbally, and emotionally abusive.&nbsp; While she treated her children with disregard, she would build a school in the nearby town of Kottayam from the ground up, educate thousands of children, take up a legal fight that led to the Supreme Court granting Syrian Christian women in India equal inheritance rights, and uplift many orphaned children and women in Kerala.&nbsp; Arundhati lived with both her mother’s brutality and brilliance. And like her daughter, readers must reconcile the indefensible parts of Mary Roy’s personality — the cruelty of calling her nine-year-old daughter a bitch, or shooting the family dog that mated with a stray — with her unyielding drive to educate thousands, fight for equal rights, and challenge the way her world viewed women.&nbsp; Mrs Roy had little kindness for her own children, but plenty for the students, children, and women whose lives she shaped, and made better. And her kindness was not rooted in empathy, but in anger at the hand she had been dealt in life. Eventually, Arundhati decided to temporarily cut all contact with Mrs Roy — not because she did not love her, she writes, but so that she could continue to love her. Her desire to get away from her abusive mother, and her fascination with the ideas inspired by the architect who built her mother’s school, would lead her to the Delhi School of Architecture at age 16. In Delhi, Arundhati became roommates with Hisila Yami before she and her Maoist ideologue husband Baburam Bhattarai went underground to lead Nepal’s decade-long armed struggle. &nbsp; But architecture was not her calling. In Delhi, the heart of India’s statecraft, Arundhati came into young adulthood against a backdrop of the country’s changing socio-politics, which began to take a turn for the hyper-nationalist, Hindu supremacist community that it has now largely become. The winds of those changes have now blown into Nepal. In the city, far from her mother, Arundhati met the man who would become her partner of many years, collaborating with him on several films and screenplays before finding the language (‘I needed to hunt [language] down like prey,’ she writes) she needed to become the writer she is now.&nbsp; She went on to write her Booker prize-winning novel The God of Small Things, but the wealth and status the book brought her did not sit comfortably. So she smashed her newly-built gilded cage, as she describes it, and became more political. Contrary to norm, she published several works of non-fiction, and would only publish her second novel, The Ministry of Utmost Happiness, in 2017, 20 years after The God of Small Things. &nbsp;&nbsp; Her fierce opposition to India’s nuclear policies, to a dam that would displace millions of indigenous people and ecologically damage the Narmada Valley, her championing of Kashmiri self-determination, and her time spent with Maoist rebels in the forests of Chhattisgarh as they took up arms to defend their land and resources against corporate interests made her an enemy of the state.&nbsp; Meanwhile, being raised by a single mother had never sat well within her Syrian Christian community. ‘I wasn't Christian enough. I wasn't Hindu enough. I wasn't communist enough. I wasn't enough,’ Roy writes in her memoir. For all her love for India, the nation did not seem to reciprocate. The circumstances might be different, but it might strike a chord with readers in Nepal, many of whom marched on the streets in September hoping for a better tomorrow, but were gunned down by the very institutions meant to protect them. It might resonate with those who are not seen as citizens of this nation simply because they might not fit into an imagined idea of Nepali nationhood.&nbsp; Arundhati’s relationship with her mother, who was simultaneously proud and disdainful of her daughter’s accomplishments, continued to be tumultuous until the end of Mary Roy’s life.&nbsp; One of Mrs Roy’s last messages to her daughter before she passed was: ‘There is no one in the world whom I have loved more than you.’ Arundhati muses that her lifelong refusal to stop loving her mother must have finally breached her barriers. One wonders if that final declaration of love was solace enough, apology enough, for all the pain caused.&nbsp; But for Arundhati Roy, her love for her mother and her motherland outweighs the cruelty both have shown her. This, too, must be a singular, yet universal experience.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122208128_32b171acb09df2184495367b74efd91fe2896b0f5ba75b276e1533276268761c.jpg" data-media-id="editor_0" data-image-id="2025122208128_32b171acb09df2184495367b74efd91fe2896b0f5ba75b276e1533276268761c" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Mother Mary Comes to Me review"> </figure>

The sins of our mothers

Sha Bahadur Gurung was 30 years old when he was arrested for participating in a peaceful protest. He died aged 65 last week in Bhutan’s Chamgang Central Prison. He was among 31 prisoners of conscience in Bhutan, many of whom are serving long sentences for opposing the regime’s forcible expulsion of 100,000 of its Lhotsampa people in the early 1990s. ‘Mr Gurung died on 15 December in his prison cell under circumstances that raise serious concerns about custodial negligence and long-term abuse,” said a statement by the Global Campaign for the Release of Political Prisoners in Bhutan (GCRPPB) based in The Hague which demanded an external probe, justice and release of remaining political prisoners. Gurung was from Chirang and was arrested in 1990 while serving in the Royal Bhutan Army, and accused of having sympathies for the Lhotsampa people. He was mostly held at the notorious Rabuna Prison in Wangdi Phodrang District.&nbsp; Gurung’s relatives in the United States said he had endured prolonged physical and psychological abuse during his imprisonment, and repeatedly subjected to torture and inhumane treatment. They believe the decades of ill-treatment had damaged his health, ultimately leading to his death. Earlier this month, Gurung was transferred from Rabuna to Chamgang Central Prison. On 14 December. He had gone to bed after dinner without any visible sign of distress. He was found unconscious in his cell the next morning.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251224151248_5fc8305ecd320d89b9e343c04a1a897dc1353353da55b6d277f5398034b265ea.jpg" data-media-id="editor_0" data-image-id="20251224151248_5fc8305ecd320d89b9e343c04a1a897dc1353353da55b6d277f5398034b265ea" data-rendition-name="original" width="902" height="1103" loading="lazy" alt="Sha Bahadur Gurung NT"> <figcaption>Sha Bahadur Gurung, who died at age 65 in prison in Bhutan after serving 30 years for expressing political opinion.</figcaption> </figure>  He was referred to a hospital in Thimphu, suggesting that he was still alive during transfer to a local health post. But it appears that he had already died before being taken from prison. Gurung’s death occurred two days before Bhutan’s National Day on 17 December, when families, supporters, and human rights advocates worldwide had hoped for the release of political prisoners through a royal amnesty. Instead, the death of one of the longest-serving political prisoners has caused grief and anger in the Bhutanese diaspora.&nbsp; “We strongly condemn the treatment and death of Gurung, a peaceful and justice-loving Bhutanese citizen,” the V statement said. ‘This tragedy raises serious questions about the treatment of political prisoners in Bhutan and stands in stark contrast to the country’s international image under the principles of Gross National Happiness, compassion, and mindfulness.’ Earlier this year, The <a href="https://www.ohchr.org/en/special-procedures/wg-arbitrary-detention/opinions-adopted-working-group-arbitrary-detention/opinions-adopted-working-group-arbitrary-detention-its-101st-session" target="_blank">United Nations Working Group on Arbitrary Detention</a> said the Bhutan government was detaining citizens without parole for <a href="https://nepalitimes.com/news/detainees-in-dire-straits-in-bhutan-s-prisons" target="_blank">expressing political opinion</a>. The New York-based Human Rights Watch (HRW) said in 2023 that there were least 37 <a href="https://www.hrw.org/news/2023/03/13/bhutan-free-long-term-political-prisoners" target="_blank">political prisoners</a> in Bhutan’s jails. Of them, 32 belong to the Nepali-speaking Lhotshampa community, which has faced <a href="https://www.hrw.org/news/2003/06/18/nepal-bhutanese-refugees-rendered-stateless" target="_blank">decades of discrimination and abuse</a> and eviction. Most of them were convicted because of prohibited political activity between 1990 and 2008. One political prisoner, <a href="https://nepalitimes.com/news/no-country-for-dissent?fbclid=IwAR07lpitMBWAYSkny_3d_smQBlmoxAOQm1OxdNtl-27h8mV0RNO9IxVY2qs" target="_blank">Madhukar Monger</a>, who was released in 2023 after serving 29 years described brutal conditions in <a href="https://www.hrw.org/asia/bhutan" target="_blank">Bhutan</a>'s jails. Political prisoners were not given enough food, and medical care, he said, urging the internaitoonal community to press for the release of prisoners of conscience.&nbsp; In March, <a href="https://www.hrw.org/about/people/meenakshi-ganguly" target="_blank">Meenakshi Ganguly</a>, Deputy Asia director at Human Rights Watch, urged Bhutan’s international partners to call on the Bhutan government to release all remaining political prisoners immediately.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251224161216_9d11a78ed5490091c595341900e4c26f5c0dd0328718f6930ef19c1e9b7f95a6.jpg" data-media-id="editor_8" data-image-id="20251224161216_9d11a78ed5490091c595341900e4c26f5c0dd0328718f6930ef19c1e9b7f95a6" data-rendition-name="original" width="1000" height="1422" loading="lazy" alt="Bhutan political prisoners NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251224161216_176855f3d3df42d24ac7e77372bbf49115695b732a6c094a66267e969111dfca.jpg" data-media-id="editor_9" data-image-id="20251224161216_176855f3d3df42d24ac7e77372bbf49115695b732a6c094a66267e969111dfca" data-rendition-name="original" width="1000" height="1420" loading="lazy" alt="Bhutan political prisoners NT"> </figure>  &nbsp;

Bhutan political prisoner dies in detention

Samrat Upadhyay’s newest novel <a href="https://www.nytimes.com/2025/01/10/books/review/darkmotherland-samrat-upadhyay.html" target="_blank">Darkmotherland</a> imagines a Kathmandu in political turmoil after a large earthquake. In the aftermath, Home Minister Giridharilal Bhagirath Kumar stages a ‘koo’, and has convinced people that he is the answer to the crisis.&nbsp; He is now known as ‘PM Papa’, and picks up classic dictatorial ways — propaganda, statue-making, history-revising, and a gang of Shiva-worshipping ‘Fundys’.&nbsp; We are introduced to two complicated protagonists. The first is Kranti, a fetching young woman and ‘Madam Mao’, her Communist professor mother. The chef father loved classic rock and died by gas cylinder suicide. Kranti hates her mother, and the Communist group which congregates at her home to plot against PM Papa, although they seem to take forever to get anything done.&nbsp; Kranti has a complicated relationship with the handsome Bhaskar, the middle son of the Ghimirey family oligarchy that is aligned with the dictator. She loves him, but as Bhaskar gets more and more involved with her mother and the Communist group, finds herself heading out to the ‘Bhurey’ (Bhu-kampa Rey-fugee) tents, to spend time with poet Kabiraj.&nbsp; Kranti is also given to delusions, paranoia, and psychosis, convinced that Bhaskar’s family is spying on her, and that one in the Communist group has supernatural powers of suggestion that led to her father’s suicide. Despite mental issues, she marries Bhaskar and into the Ghimirey clan, and the complex nexus between business and politics.&nbsp; The second is Rozy, initially the genderqueer lover of PM Papa who he discovered in the streets, and is described as a ‘gorgeous homosexual’. She turns heads due to her sexuality and beauty, and gets more and more politically powerful as the story moves along.&nbsp; Upadhyay tells us Nepali writers writing in English often feel a pressure to create an “all-embracing world” (interview), but that is what he seems to be getting at with the monumental plot of his novel. Unlike the realism in his previous novels, this one drifts off into magical realism. His narrative blends the ever-present risk of a big earthquake and the actuality of political tremors. The speed of political upheaval seems a little unrealistic for anyone who lived through the 2015 earthquake, although the GenZ protests showed just how quickly a regime can be reduced to a heap of rubble. The age-old question: oppression can be overcome, but what comes after? The PM Papa character is a Gyanendra-Oli-Deuba-Prachanda-Modi-Trump-Papa Doc composite who is good friends with the not even thinly veiled President Corn Hair.&nbsp; Through the character of Kranti, Upadhyay conveys the dynamic between a parent and a child who is now a full adult, on relationships in Kathmandu as marriage looms, on pervasive corruption which one might denounce but have to take advantage of to get things done.&nbsp; Through Rozy, Upadhyay brings attention to the non-binary identity, one that has existed forever in Nepal, and although is discussed a lot in the West lately but not so much here. Upadhyay explores the origins, the present, and the various advantages and disadvantages of the queer.&nbsp; Storytelling in the early parts of the book oscillates between the real and absurd fantasy amidst the physical and political backdrop that does not have to be Nepal -- it could be Modi's India or Trump's America.&nbsp; The reader sees the world through Kranti’s psychosis, or PM Papa’s displays of power, such as when a ‘Sweej’ wrestler is beaten to death with a mace in a wrestling spectacle.&nbsp; These elements <a href="https://www.publishersweekly.com/pw/by-topic/authors/profiles/article/96329-samrat-upadhyay-wants-you-to-expect-the-unexpected.html" target="_blank">coagulate in the novel</a>, and Upadhyay has all the pages at his disposal to prod and push them against one another to see what happens. The novel is still at its best and most engaging when describing vulnerable scenes, of Kranti and her mister, or of Rozy’s messed-up childhood.&nbsp; Any Nepali reading his weighty novel can recognise the allusions and nudges such as the Tourist Area: Thamel, Open Stage: Khula Manch, Tri-Moon: Tri-Chandra etc. But anyone not from these parts may have a tough time keeping track. Keeping a notebook handy may be useful.&nbsp; Ultimately, the novel does work, it provokes and entertains. For best results, serialise the reading over 30 days, not 3 like this reviewer.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025122005124_88d92d9a2c5718436354d9c1ce6a2576931ef3242a37f6b90d84da15fe96dd8d.jpg" data-media-id="editor_2" data-image-id="2025122005124_88d92d9a2c5718436354d9c1ce6a2576931ef3242a37f6b90d84da15fe96dd8d" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Darkmotherland NT"> </figure>  <h2>More things change, more they remain the same</h2> First US-published Nepali Samrat Upadhyay is the award-winning author of novels and short story collections like Arresting God in Kathmandu, The City Son, Mad Country, and Buddha’s Orphans. Upadhyay is also the Martha C. Kraft Professor of Humanities at Indiana University, where he teaches Creative Writing.&nbsp; Recently in Kathmandu, he talked to the Nepali Times over coffee in Boudha about his writing, his teaching, and his newest novel, DARKMOTHERLAND.&nbsp; Nepali Times: Darkmotherland is 732 pages long. What was it like writing a much longer book? Samrat Upadhyay: Torturous Ha ha ha. Around 2014 I started a story. I knew it was going to be a novel. It was about this woman who is accused of being a Mangalik. Then the big earthquake happened in 2015. I was in the US but my parents were still here, they were living in tents. Then I started thinking, what would happen if a dictator came to power. That’s how PM Papa was born. I think mostly because of his character the novel exploded. I had never written a character like him before. I don’t do any plot outlines when I write. Let’s see where it goes. I like the process of writing to lead to discoveries. If I knew everything then I’d get bored. Not knowing where the storyline might go is very exciting. All these different threads started coming in, the character of Kranti started taking on a big role. Her mother, a Communist-leaning professor, started taking shape. Kranti also had a love-interest from an oligarchical family. The novel just took off and I just continued writing. A novel is as long as it needs to be. The initial draft was 1,700 pages. I was writing pretty fast. I don’t pause to see if the sentences are pretty. I whittled it down, and by the time I sent it to my agent it was 1,100 pages. He was able to sell it to Soho Press. I worked with an editor who suggested some further cuts and expansions. The editing part was even harder than the initial writing, because by that time I was tired of looking at the novel. There was a bit of a delay because of Covid, then we got back on track. What’s your daily process of getting the words on paper? I am a morning writer. I get up in the morning and start writing. You can have all kinds of theories but there is this saying, Shut Up and Write. The writing is where the meat is. You encounter difficulties in writing that you may not encounter when thinking about it. I see this in my students. I knew this was a big project so I knew that if I wanted to get it out I would need to write a lot per day. I got a couple fellowships in the university that gave me a few semesters off teaching. I would write for about 4 or 5 hours. Sometimes I would give myself a 1,000 word deadline, but I’m flexible with it if I don’t get there. You have to be kind and patient. What is your inspiration behind the gender-queer character, Rozy? I’ve always been a strong supporter of LGBT. I would say that at this point half of my students are non-binary or on the gender spectrum. Some of them are going through transitions. In some ways Nepal has become more accepting, but in other ways not. I did a workshop with Blue Diamond Society, and heard pretty harrowing stories. I didn’t intend to create a gender-queer character, but it seemed like the novel was demanding that. Especially in terms of the tyrannical stronghold that PM Papa has over the entire country, it made sense that there would be a counterpart, I wanted to put these things in motion and see how they interact. As I was writing Rozy, her character became very formidable. How much do you draw from Nepali politics? Do you form characters off people you know? Not in a very concrete sense, but I’m always drawing from them. I grew up in the Panchayat System, and lived in Lainchaur. The palace was there. The monarchy was such an institution. But then I was in the US, so I wasn’t here when the pro-democracy movement happened. In some ways it felt like things had changed, but were the same in other ways. I feel the same way now. I do draw upon people. I think my father makes an appearance in my work in various forms, I disguise him, of course. You’ve taught creative writing for a while now, how is literature changing?&nbsp; My students are also writing non-binary characters, because they want to be reflected in the stories. This is something new that we didn’t have. White authors, characters were the default. People of Color on the margins. African American and then Hispanic, South Asian authors were always pushing back on this status quo. When I was growing up in the classroom we were reading a lot of white male authors, but in my own life I was reading Salman Rushdie, African, South African friends and writers. My students have a lot more interest in fantasy, many are writing dystopian. One student is writing a novel where the characters start playing a game, and then they enter the game, and an entire new world opens up. On the one hand there are complaints that students aren’t reading enough, which is true, but my students are producing smarter work. Writing that is a lot more insightful. The calibre of discussion in my graduate-level novel writing classes is mind-boggling to me, and makes me want to keep on teaching. Do Nepali writers who write in English feel a certain pressure, from the market or self-imposed, to make their stories more Nepali? My experience for a long time was that there was a pressure, I felt it true in my case, I was supposed to be the representative of every Nepali. But Nepali writers writing in Nepali are not asked, how are you representing Nepal. At that time there was a lot of pressure to write a novel that is all-embracing, that is supposed to speak on all aspects of the country. Politics felt like an integral part of it, that these novels had to make big political statements. I always felt like this was wrong. I mean, people have to write what they want to write. &nbsp;You write what you want to write, and if it resonates with readers, that’s great. If it doesn’t, that’s fine too. Art isn’t going to speak to everyone. We do a competition every couple of years called Writing Nepal. We make a call for stories, and we decide the best ones. I find it refreshing now that the writing isn’t all about Nepal. The best stories are quite varied. What are Nepalis writing about?&nbsp; Several of the stories are about the role of women in our society, done with a lot of nuance, about the sort of multitasking they have to do. Some of it was deeply historical, some dystopian, the coming of AI. Some of them have an old-timey type of feel, and some of them are very modern, contemporary. The general level of art in movies, TV shows, and novels seems to have regressed compared to say the 90s.&nbsp; I don’t think that’s entirely true. Publishing has been harder, for sure, but there are a lot of novels being published every year. My writing workshop had always been a good vehicle for short stories, but a lot of my students now—even undergraduates—are working on novels. I haven’t formulated my thoughts on AI, it is so new and has hit us so hard. Many of my students are using AI, especially when writing response papers to works of literature or peers, which I find appalling. That’s going to be a struggle. I tell my students, who are you fooling? If you feel that you want to be an artist, or a writer, then what’s the point of using AI? AI-generated stories are also just not that good. They’re almost too perfect, too well put-together, making moves that are easy to detect. There is something about human-written stories that are messy and exciting. But there are also plenty of students who want to do original work and don’t want anything to do with AI.

bagmati

How the Bagmati Civilisation is becoming uncivilised

Time capsule of Kathmandu

Some chicken, some neck

The sins of our mothers

Bhutan political prisoner dies in detention

A dystopian motherland