<h2>Yogmaya by Neelam Karki Niharika</h2> Neelam Karki Niharika's 2018 Madan Puraskar-winning Yogmaya is a compelling historical fiction on women's rights and freedom of expression. Centred on the figure of pioneer poet and religious leader Yogmaya Neupane, born in 1867 in Bhojpur of eastern Nepal, the novel charts her fight against the autocratic Rana rule of the time. Yogmaya was heavily monitored by the government for her activism and activities, her contributions were censored until the Ranas were overthrown in 1951, even his discontent with the government and the ritual mass suicide, jal samadhi, she and her disciples committed in 1941. Although a fictionalised narrative, Niharika's searing prose explores the themes of sati, child marriage, widowhood, caste- and sex-based discriminations, class struggle from ground-up, with sharp critique of the patriarchy and authoritarianism -- themes that remain pertinent in contemporary times. <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b7c9c7e80680e0c95c2jpeg.jpg" alt=""/>योगमाया | Yogmaya                                             By Nilam Karki NiharikaSangri~la Books, 2018503 pages,  Rs595 <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b7d9c7e80680e0c95c3jpeg.jpg" alt=""><h2>Ramite by Jason Kunwar</h2> The world of multi-instrumentalist and ethnomusicology scholar Jason Kunwar's 2020 novel Ramite is a fictional one. Multiple narrators chart a landscape with names not found any map one is familiar with. Uga, Magadi, Kharka, Hitkot ... the list goes on. Yet, these are names, places and cultures that the reader will immediately connect to. The voices of the characters, their mannerisms, the geography of hills and rivers, all create a riveting universe complete with its own languages, cultures and civilisations. Among the contemporary penchant in Nepali literature for experimental writing, Ramite also ushers in graphic storytelling in the novel form. With themes of nationalism, migration, generational conflict weaved into a delicate thread, Ramite is a remarkable tale of making sense of one's world.रमिते | RamiteBy Jason KunwarRed Panda Books, 2021282 pages, Rs850 <h2>Lichhavi Lipi: A Book on Epigraphy by Nayanath Paudel</h2> Lichhavi inscriptions in Nepal are relatively rarer compared to Malla: and people who can read those inscriptions are even rarer. Now, scholar Narayan Paudel takes a step at correcting that with his astounding tome, Lichhavi Lipi. The detailed book starts with a look into the development of script from hieroglyphs to the Phoenician alphabets, the Brahmi abugida, making way to the Lichhavi script. It explains the writing system with diagrams and inscriptions, even noting where they could be found in the country the, giving an authentic basis for research to an aspirant scholar or archivist in the history of Nepal, the Lichhavi period, linguistics and scripts. <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b7e9c7e80680e0c95c4jpeg.jpg" alt="">लिच्छवि लिपि | Lichhavi Lipi: A Book on EpigraphyBy Nayanath PaudelPublished by Pramila Paudel, 2022686 pages, Rs1200 <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b7f9c7e80680e0c95c5jpeg.jpg" alt=""><h2>Kalpa-Grantha by Kumar Nagarkoti</h2> Setting a novel precedent in Nepali publishing, Kumar Nagarkoti's voluminous 2021 book Kalpa-Grantha was available only by pre-order and delivered directly to readers. Packaged as a ready-made gift in a sleek bag, the royal-sized book weighing 1.5kg at 800 pages fits snugly inside a box, accompanied by a postcard and a bookmark. More than a novel marketing strategy, this packaging marked Nagarkoti’s 10th anniversary as a writer, and also his 10th book. A prime example of ergodic writing, Kalpa-Grantha is quite literally a collection of dreams and imaginations, where Nagarkoti plays with languages, form and content -- from typographical stories to screenplays, from conceptual narratives to gray -- challenging writing and storytelling themselves. While the print-run now has been discontinued, Kalpa-Grantha was indeed a touch of newness in Nepal's literary scene.कल्प-ग्रन्थ | Kalpa-GranthaBy Kumar NagarkotiBook Hill Publication, 2021800 pages <h2>Pather by Shyam Sah</h2> The second collection of stories by Shyam Sah, Pather, continue his exploration into the depths of marginalisation and rebellious consciousness in Madhes. In the style of a confident social realist, these 11 potent stories portray class struggles, exploitation, gender and caste, writing about the people living on the margins, forgotten by the government and often misrepresented. These stories are political at their core, and his aim is to bring Madhes to the forefront, examine exclusionary politics, the justice system, and inspire more such stories to claim their space in the literature of Nepal. The literal definition of 'pather' is a brick-labourer; as a book, there is also an added layer of nuance to this, which points to inequity in societies, distortion and neglect that has repercussions across generations.  <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b819c7e80680e0c95c6jpeg.jpg" alt="">पथेर | PatherBy Shyam SahPhoenix Books, 2021194 pages, Rs350 <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b829c7e80680e0c95c7jpeg.jpg" alt=""><h2>Yambunera by Bina Theeng</h2> Bina Theeng's third book, Yambunera, is a collection of 13 short stories set in and around the Kathmandu Valley, looking into the sense of otherness and displacement in hearts of its inhabitants entangled in the web of structural discrimination based on caste, colour, culture, religion and region. 'Yambu' in Tamang language means Kathmandu, the place where the ruler lives. Theeng's stories and beautiful and clear, written almost economically, about marginalised Indigenous people revolting against oppression and rejection, critiquing the system that refuses to change and politics that finds comfort in wilful blindness.याम्बुनेर | YambuneraBy Bina TheengPhoenix Books, 2020173 pages, Rs300 <h2>Mera Nau Dashak by Surya Bahadur Thapa</h2> Five-time prime minister Surya Bahadur Thapa's life and political career spanned five kings. Born in 1928, Thapa was selected to the national assembly as an independent, and became Chairman of the Advisory Council in 1958. The following year, he was elected to the Upper House, appointed the Minister of Agriculture, Forest and Industry under the newly formed Panchayat system, and drafted King Mahendra's Poush 1 coup speech. During the Maoist insurgency, he initiated talks with the Maoists. After the Second People's Movement, he chaired the second constituent assembly. In his autobiography, Mera Nau Dashak, Thapa's memoir is woven with the political history of modern Nepal, making sense of the possibilities and carving of a sovereign identity. Written by Ganesh Paudel with 310-hours of interviews with Thapa before he died in 2015, the book is as much one man's story as it is a country's biography. <img width="264" height="405" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114131156/63723b829c7e80680e0c95c8jpeg.jpg" alt="">मेरा नौ दशक | Mera Nau DashakBy Surya Bahadur ThapaBook Hill Publications, 2022470 pages, Rs1500

original

Our pick of Nepali books to read over Dasain

<figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209aa9c7e80680e0b5556jpeg.jpg" alt=""/><figcaption></figcaption></figure>A character in Buddhisagar’s bestselling 2010 novel कर्नाली ब्लुज (Karnali Blues) has the habit of adding “हजुरको” (‘hajurko’) at the end of his sentences whenever he speaks. Eventually he runs a teashop which takes its name after the same memorable idiolect: हजुरको चियापसल (‘Hajurko Chiyapasal’). To the reader of Nepali, the nuance clicks immediately – a phrase is used so often that it takes on a character itself. But how does one transpose the same effect into the English medium when translating? Michael Hutt, whose translation of Karnali Blues was published in December by Penguin India to rave reviews, agonised over how to render हजुरको into Nepali, trying to find the perfect turn of phrase without misrepresenting it. “‘For you, sir teashop’ just doesn’t work,” says Hutt, a professor of Nepali and Himalayan studies at the School of Oriental and African Studies (SOAS) in London. “At first mention, I say something like ‘for you, sir’, so that the semantics will be apparent to an English-language reader, but keep the ‘hajurko’ in the later instances.” Hutt’s other translations of Nepali works include <a href="http://archive.nepalitimes.com/news.php?id=3502" target="_blank" rel="noopener noreferrer">Laxmi Prasad Devkota’s मुनामदन Muna Madan</a> in 1996 and Lil Bahadur Chhetri’s  बसाईँ Basain (as Mountains Painted with Turmeric) in 2008. <figure><img width="439" height="650" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209ad9c7e80680e0b5557jpeg.jpg" alt=""><figcaption> </figcaption></figure><figure><img width="350" height="525" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209af9c7e80680e0b5558jpeg.jpg" alt=""><figcaption> </figcaption></figure>Even then, Hutt adds, ‘for you, sir’ may not be the perfect choice, as another reader of Nepali literature may immediately, upon coming across the phrase in the book, quip, “I would have translated that differently.” Nevertheless, Hutt believes that as a translator, he has a serious responsibility to the author and the original text to not distort the intended impact and meaning. For author Buddha Sagar, translation is a joint effort. He says, “The Nepali was mine, but the translation is Michael’s too.” There are no perfect translations of books, and Hutt believes “a sense of compromise must be reached between the original text and the translation”.When <a href="https://archive.nepalitimes.com/regular-columns/On-the-way-up/judiciary-verdict-nepali-english,892" target="_blank" rel="noopener noreferrer">translating from the Nepali language into English</a>, says Hutt, there is a character embedded in the Nepali language that speaks to a Nepali speaker or reader but not to English. The levels of politeness and deference between speaker and interlocutor in conversational context, for example, is difficult to take from Nepali and replicate in English because there are not exact counterparts.But taking excessive liberties in the name of ‘capturing the spirit of the text,’ says Hutt, is an act of violence. “If certain aspects of the original language do not come elegantly in translation, one has to accept it,” he says. “The original must not be changed beyond recognition.” One classic challenge, he recalls, was to choose how much Nepali to put into the translation, especially in the cases of nouns for family roles such as father, mother, sister, uncle. Set in far west Nepal, the narrative of Karnali Blues is informed by its society and dialect, and the use of ba, ama, didi and kaka or mama are ubiquitous. This is true for most Nepali writings. Characters often have different words for different family members depending on whether they are from the father’s side or the mother’s.  <figure><img width="1500" height="900" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209b09c7e80680e0b5559jpeg.jpg" alt=""><figcaption> </figcaption></figure>On top of this, these words do not automatically denote kinship. Many characters are called ama or kaka because they fall in the general category by their age. The effects of these nouns in a text are often impossible to translate into another language, and the meaning may be lost on the reader if they lack a certain familiarity with the culture and society. Quoting Derrida, English language author from Nepal Manjushree Thapa wrote in <a href="http://www.martinchautari.org.np/files/SINHAS-Articles/SINHAS-Vol.4-No.2_Manjushree-Thapa.pdf" target="_blank" rel="noopener noreferrer">a paper in Studies in Nepali History and Society (SINHAS)</a> published in 1999: ‘A translation never succeeds.’  <figure><img width="1000" height="1533" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209b39c7e80680e0b555ajpeg.jpg" alt=""><figcaption> </figcaption></figure>Coupled with the differences in dialects and syntax, the difficulties when translating are often posed by the intangible aspects particular to languages, such as the tone, the cadence, humour and poetic images. A slight mistranslation can unravel and flatten the entire narrative.Thapa adds, ’[T]here is, in each translator, a persistent desire for such successes, a desire often realised, albeit erratically, unpredictably’. She says this often leads the translator to ‘achieve a certain logic and rhetoric during translation’.In case of Hutt’s translation of Karnali Blues, this may refere, among other choices, to the use of the English ‘sister’, ‘mother’ and ‘father’ in the narration. But their Nepali equivalents are used when the characters refer to each other in quote marks. “Sometimes you have to make these rules for yourself as you go,” he says.Even 22 years ago, Thapa wrote that there can be ‘traces of a desire to show an English-reading audience some uniquely Nepali aspect of the original text,’ as the ‘translator acts as a guide into literary Nepal.’Hutt’s aim is to show that there is a vast body of <a href="https://www.nepalitimes.com/here-now/the-story-of-books-in-nepal/" target="_blank" rel="noopener noreferrer">creative, literary voices in Nepal</a>, beyond the exotic image of a trekking paradise. “Nepal is spoken for and about by others so much,” he says. “One thing that has always frustrated me since I started reading Nepali is that many foreigners engage with Nepal but never read Nepali or are aware that there are nuanced and complex voices here, which can enhance their understanding of the world and humanity beyond measure.”He is curious to see what the reviewers say of his translation of Karnali Blues. Will they pick up on the universal themes of filial love in a landscape undergoing radical socio-cultural and political changes, or see it as a book translated from a foreign language as-of-yet underrepresented in the global literary scene? Another case in point is Ajit Baral’s English translation of फातसुङ (Faatsung) by Chuden Kabimo. Titled <a href="https://balestier.com/books/literature/song-of-the-soil/" target="_blank" rel="noopener noreferrer">Song of the Soil</a>, the translation was published in October 2021 by the UK-based Balestier Press which specialises in contemporary world literature. “The story of Faatsung is incredibly poignant,” says Baral, who is with FinePrint publishers and brought out the Nepali original. “The novel was acclaimed and loved by readers of Nepali, and I felt that it had to be translated into English.”The plot line of Faatsung focuses on the <a href="http://archive.nepalitimes.com/regular-columns/del-ktm%20/giving-in-to-gorkhaland-darjeeling,951" target="_blank" rel="noopener noreferrer">Gorkhaland movement</a> in Darjeeling, which Baral felt resonates with Nepal’s armed struggle. In addition, Baral’s idea was not to translate and publish the book in Nepal only. “Many in Nepal who read Nepali always have the option to read the book in its original language,” he says. “My idea was to bring the book to foreign readers as well.” <figure><img width="640" height="982" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209b69c7e80680e0b555bjpeg.jpg" alt=""><figcaption> </figcaption></figure>There is an increasing focus on translation in the world at present, adds Baral, and many publishers are now putting out more translated works than before. This is evidenced by the widespread popularity of authors like Haruki Murakami, Elena Ferrante, Olga Tokarczuk, Han Kang and Mieko Kawakami. Speaking in TonguesBut translation itself is not a new craft. The word ‘translate’ comes from Latin translatus ‘carried over, bear across’ and translators have been integral to cultural and intellectual exchanges since The Epic of Gilgamesh was translated four thousand years ago from Sumerian into Akkadian. Many works of Greek philosophers and mathematicians survived in large part due to their Arabic translations. Even in Nepal, Bhanubhakta Acharya’s रामायण Ramayan, which is considered the first Nepali epic, was itself translated from Sanskrit. And while <a href="https://www.nepalitimes.com/review/20-reviews-in-20-years/" target="_blank" rel="noopener noreferrer">Nepali literature is relatively young</a>, there are also writers who are pioneers in social realism, psychological fiction and experimental writings, and have made unique contributions to understanding the human condition. Michael Hutt says a certain section of readership, for example in the UK, is now used to reading books translated from different languages. In addition to Russian, French and Italian, writings from Czech, Korean and Japanese are also gaining readership. “There is an entire range of different languages, and people are engaging with those books as literature,” he says, “And they are being evaluated as literature that strikes our imagination and our emotions.”Nepali stories being translated into English and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/palpasa-café-translated-in-french,1847" target="_blank" rel="noopener noreferrer">published internationally</a> in this scene provides readers with a unique geographical flavour. Says Baral: “This increases the probability of more authentic and local stories from Nepal being published abroad as readers there will be able to find something new in them.”Chuden Kabimo, author of Faatsung, also sees the English translation of his book as a positive addition to literature and emphasises the role of translations as bridges. He says, “In translation, it’s not just the book that is being transmitted, but identities, cultures and history as well. This helps mediate the apparent separation between communities and peoples of different nationalities, and help us understand each other better.”It is like borders coming down, he explains, as the story travels from one person to the next, one country to the next. And since its translation, Song of the Soil has now also been added to the BA English curriculum at the SRM University in Sikkim where, Kabimo believes, the story and culture will now also be passed from one generation to the next. <figure><img width="640" height="975" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221114101124/637209b99c7e80680e0b555cjpeg.jpg" alt=""><figcaption> </figcaption></figure>But there is still a long way to go, as linguistic limitations are compounded by systemic challenges. Whether a translation is good or not depends on numerous factors that include the quality of the original text, the translator’s command of both languages and the skills of an editor. All of these are largely dependent upon the state of literature and the studies and practice of translation, which are currently lacking in Nepal.“Language is the first barrier. Our command of English is not perfect,” remarks Baral, “and in many cases the flair that should come from an English-language text has been lacking in our translations.” Sometimes the text reads too much like Nepali, and is jarring. This calls to mind the English translation of Narayan Wagle’s 2005 novel पल्पसा क्याफे Palpasa Café, which was not as well-received as <a href="http://archive.nepalitimes.com/news.php?id=572#.YhAboC2B3-Y" target="_blank" rel="noopener noreferrer">the original Nepali</a>. Knowing both languages is not enough either. Buddhisagar, whose pen name itself translates as ‘Ocean of Wisdom’ says: “Even Google can translate. Translators should also be writers themselves, they should have a sense of poetry and creativity. They must be up to date with their society and the world.”Additionally, translation is not a one-time thing. Citing <a href="https://www.amazon.com/Joke-Definitive-Version-Milan-Kundera/dp/006099505X" target="_blank" rel="noopener noreferrer">Milan Kundera’s The Joke</a>, Buddhisagar remarks how it has been translated five different times into English. “Translations need periodic polishing,” he says, “But there is not enough conversation on translating in Nepal at present. Even literature has not been taken that seriously.”There is also a gap between the theoretical approach to translating and the actual practice. “Theory is important for background, surely,” explains Baral, “but we need more hands-on experience on how to translate, and what the different options of translation are. Workshops could be conducted so that writers and translators can meet and work together.”One way to address the limitations is to have a good editor who is equally accomplished in the languages. “A sentence can be translated in many ways,” Baral says, “but to have an editor who can pick out the right one from the mix makes all the difference.”Anurag Basnet, who was previously an editor with Rupa Publications and Penguin Books India in New Delhi, agrees. Himself a translator of Nepali and Hindi books into English, he describes his editorial process as starting with going line-by-line with the translator.“That is where the most fights happen,” he laughs. After that, the editor has to ensure that the text stands independently in English. Basnet believes that literary translation is even more important now, <a href="https://www.nepalitimes.com/review/written-locally-read-globally/" target="_blank" rel="noopener noreferrer">especially in the context of South Asia</a>, where despite having similar languages, culture and history, we do not talk to each other. “There is a lot of writing happening in the various languages,” he adds, “but there is not as much communication between the languages.”He feels that translating is in a way the best recommendation one can give for a book. As a translator you are trying to convey as precisely as possible the emotion you felt when you read the book, he says, but a big challenge is that translation, while an intense and engaging process, is not yet financially rewarding. “There are almost no supporting mechanisms, either from the government or other sources. This needs to be addressed urgently,” he adds: “It cannot always be a labour of love.”

Ashish Dhakal

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Taking Nepali literature to the world

<img width="1750" height="1299" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161152/636d1efd9c7e80680e0af440jpeg.jpg" alt=""/> The sheer size of <a href="https://www.facebook.com/nagarkoti.kumar" target="_blank" rel="noopener noreferrer">Kumar Nagarkoti</a>’s 'कल्प-ग्रन्थ' (Kalpa-Grantha) is staggering: 777 pages and weighing 1.5kg. This is a boulder of a book. Packaged as a ready-made gift in a sleek bag, the royal-sized book fits snugly inside a box, accompanied by a postcard and a bookmark. More than a novel marketing strategy, this packaging marks Nagarkoti’s 10th anniversary as a writer, and also his 10th book. “The book is a celebration of my journey as an author. So, it had to be special,” said Nagarkoti, sporting his distinctive grey goatee, neck and wrists looped in beads. Brought out by <a href="https://www.facebook.com/profile.php?id=100063761794727" target="_blank" rel="noopener noreferrer">Book Hill Publications</a> in March, Kalpa-Grantha is an ergodic rarity in the Nepali literary sphere, and marked a radical departure from the standard book designs. There are 68 surreal stories across genres and typographies, even postcards, as Nagarkoti experiments with format, style and structure.  The book was available only by pre-order and delivered directly to readers, another first in Nepali publishing, but the print-run for this edition has now been discontinued. “It was to be a one-time special edition,” explains publisher Bhupendra Khadka at Book Hill.  <img width="640" height="825" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161152/636d1f009c7e80680e0af441jpeg.jpg" alt=""><img width="1750" height="1367" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161152/636d1f039c7e80680e0af442jpeg.jpg" alt="">Another 2021 book that experiments with language and form to find novel ways of storytelling is <a href="http://www.jasonkunwar.com.np/" target="_blank" rel="noopener noreferrer">Jason Kunwar</a>’s ‘रमिते’ (Ramite) published by Red Panda Books. Set in a fictional landscape, it is the first in a planned cycle of four closely related multimedia projects, which include music, live performance, art installation and film. Kunwar’s <a href="http://www.ramite.com/" target="_blank" rel="noopener noreferrer">polyphonic novel</a> is composed of text, drawings, songs and poetry reflecting his experience as a multi-instrumentalist and ethnomusicologist. Soon to be translated into English, it is a story of civilisation and human instinct, set in an imagined world resembling Nepal’s mountains, valleys, rivers. But what sets it apart is not the treatment of social realism, but the unconventional layout used to enhance content, and impact on readers.    Unconventionality is largely dictated by what the norm is. When the majority of published work follows an established format, books like Kalpa-Grantha and Ramite use shock value to stand out.    This was most likely also the case 119 years ago when hand copied manuscripts of Girish Ballabh Joshi’s <a href="https://archive.himalkhabar.com/121513" target="_blank" rel="noopener noreferrer">Bir Charitra</a> used to be passed around among eager royal readers. This was the earliest Nepali novel, and in 1903 was far ahead of its time with elements of fantasy, even foretelling the genre-bending contemporary fiction of today.   “In early Nepali publishing history there are books that stand out, they tend to be religious ones with elaborate designs, colourful texts, woodblock prints, photographs and reproductions of paintings,” says archivist Deepak Aryal at Madan Puraskar Pustakalaya.    <img width="3024" height="4032" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161152/636d1f079c7e80680e0af443jpeg.jpg" alt=""><img width="4032" height="3024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161152/636d1f0b9c7e80680e0af444jpeg.jpg" alt=""> The earliest book printed in the Nepali language is actually a translation in Darjeeling of the Bible in 1821. Later, the Ramayan and Mahabharat were printed with pictures of deities and depictions of key scenes, and they brought the reader’s imagination to life. Some early prints of Bhanubhakta Acharya’s Ramayan did not have line breaks and space between words because these were part of the oral tradition, and were meant to be read aloud. Diverse typography, illustrations and design elements have always been used in Nepali literature to tell a story, and make books more engaging to readers. Nagarkoti’s use of hand-written comments by the editors on the margins of text in Kalpa-Grantha therefore follows a long tradition of innovation, coupled with the advances in publishing.   Such ‘conceptual stories’ are not trying to confuse us with gimmicks, but get readers to visualise the two sides of writing – the author’s and the editor’s – and imagine a collaborative process without being diegetic. Sindhiya Shrestha, a Nagarkoti fan, describes the process as trying to connect with the author. “It’s a touch of newness,” she says. As Nagarkoti pointed out in an interview, stories are not limited to the written word. “Reading is like dreaming, fuelled by imagination, and comes in many different forms,” he said. “The book is a composition, and reading is an experience.”

The story of books in Nepal

Muna Gurung

Maya Thakuri: Writing between the lines

Architecture can be a powerful agent of change, shaping not just spaces but the way people live, connect, and experience the world.&nbsp; For Nepal, which is <a href="https://nepalitimes.com/banner/natures-fragile-gift-to-nepal">gifted by nature</a> and rich in <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/ambassador-fund-cultural-preservation-nepal,2092">cultural heritage</a>, &nbsp;reviving rural architecture with modern amenities could hold the key to more <a href="https://nepalitimes.com/here-now/what-sustainable-tourism-means-in-practice">sustainable tourism </a>that benefits local people more. “<a href="https://nepalitimes.com/banner/bayalpata-hospital-in-nepal-wins-global-design-award">Design and architecture</a> are amazing tools to create a unique experience for visitors,” says Spanish architect Tomeu Esteva of Esteva i Esteva Architecture Studio. “Difficult destinations have beautiful hotels with design and comfort.” Esteva was in Kathmandu with his colleagues at an event organised by the Spanish Honorary Consulate at Dwarika’s Hotel last week to showcase buildings which Nepali architects can adapt with local material and design inputs.&nbsp; Rural architecture holds a unique significance: it is more than a shelter and must reflect <a href="https://nepalitimes.com/here-now/inking-an-idenity">local identity, culture</a> and <a href="https://nepalitimes.com/here-now/saving-humla-from-heritage-loss">heritage</a>. An area’s natural and cultural harmony can be upset by <a href="https://nepalitimes.com/here-now/protecting-protected-areas-from-infrastructure?fbclid=IwAR1wK0MDFlFST_2EYb3f54LS4-fPt6rYfLG1DJ1JaQsU3w8-ezyXIxGOqzk">poorly planned development</a>, speakers at the event said, but the environment can be improved and revitalised by well-integrated structures.&nbsp; Another Spanish architect, Belen Moneo, has designed hotels at elevations of 3,700m in her home country Spain that supply natural spring water spas. “<a href="https://nepalitimes.com/banner/lost-in-reconstruction">Creativity in construction</a> must be encouraged. Rural architecture always shows possibilities of what we can do better,” Moneo explains, adding that designs must enhance <a href="https://nepalitimes.com/opinion/the-healing-power-of-nature">the beauty of nature</a> and give a natural feel at a time when steel, glass and cement dominate <a href="https://nepalitimes.com/here-now/rebuilding-kathmandu-after-the-1934-quake">urban design</a>.&nbsp; This is why the <a href="https://nepalitimes.com/here-now/weaving-nature-into-craft">use of natural products</a> such as bamboo, local timber, straw and rammed earth are in demand from customers who want a fresh eco-friendly look encouraged in construction of rural architectural structures. The demand for boutique hotels has increased world over, with &nbsp;more and more tourists favouring aesthetics, experience and comfort over price. While creativity is an important part of <a href="https://nepalitimes.com/here-now/architecture-for-mountains">construction and architecture</a>, incentives to build and use <a href="https://archive.nepalitimes.com/article/nation/Building,370">rural construction materials</a> still remain minimal, and Moneo emphasises the significance of design and execution.&nbsp; Esteva helped design the Vana Retreat in Dehradun that kept the natural environment in focus, with the structure giving an elaborate aesthetic experience to visitors. Another example is Hotel Las Mercedes in the Dominican Republic which was designed and constructed by Moneo and the company she co-founded Moneo Brock, respecting and revaluing the traditional architecture of the area. Hotels providing such experience could attract tourists and revenue. The Spanish ambassador to Nepal Juan Antonio March Pujol said, “The role of architecture and architects in developing tourism is crucial, not only in urban areas but rural settings as well.”&nbsp; The concept of rural boutique hotels gained traction in Spain during the 1990s, particularly in regions like Majorca with economic and environmental sustainability as the main focus. In Nepal <a href="https://nepalitimes.com/opinion/12-full-opinion/guiding-nepal-s-tourism-industry">the tourism industry</a> directly employs about 1 million people, and makes up about 8% of the country’s GDP. In Nepal, the stone homes of <a href="https://nepalitimes.com/news/reviving-himalayan-vulture-and-culture">Mustang and Manang</a>, bamboo and mud structures of <a href="https://nepalitimes.com/here-now/the-tarai-s-shrinking-forests">the Tarai</a>, and the Kathmandu Valley’s terra cotta tile skylines, graceful temples, and tranquil bahal courtyards are all examples of <a href="https://nepalitimes.com/here-now/nepal-s-traditional-seismic-resistant-designs">Nepal’s traditional architecture</a>.&nbsp; Nepali architect Sarosh Pradhan has been working for the past eight years on the Brakka Village project in Manang Valley north of <a href="https://nepalitimes.com/banner/municipalities-want-to-manage-annapurna">the Annapurnas</a>. Other examples of this kind of rural architecture for high-end tourism are the Shinta Mani Hotel in Mustang and Khumbu Lodge below <a href="https://nepalitimes.com/news/mt-everest-pvt-ltd">Mt Everest</a>. Says Pradhan, “There are places in Nepal that radiate purity and embrace simplicity. Creating projects in such settings require deep reflection and thoughtful planning.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f.jpg" data-media-id="editor_19" data-image-id="20250421030444_a07a23f6b60fa89c0f35b9dc1aaf19937da4881e6bfb2e1858f3c27dff91729f" data-rendition-name="original" width="4608" height="2184" loading="lazy" alt="A new architecture for Nepal's tourism"> </figure>  Rural architecture is not easy, and sometimes more expensive. Inflation, energy efficiency, <a href="https://nepalitimes.com/here-now/those-who-stay">the climate crisis</a>, and <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">increased costs of living</a> pose obstacles to sustainable rural architecture. Read also: <a href="https://nepalitimes.com/here-now/forgotten-international-starchitects-in-nepal">Forgotten international starchitects in Nepal</a>, Anne Feenstra and Varun S Bapu Esteva says faith and trust between client and architect is necessary for any project to be successful. He adds that architects must practice being humble, the process of designing always involves learning and not imposing their ideas on clients. Nepal is uniquely positioned for the growth of <a href="https://nepalitimes.com/banner/hiking-up-the-benefits-of-tourism">rural tourism</a> because of its stunning countryside as well as its internationally renowned traditions in holistic wellness. Creating infrastructure that is small, thoughtfully planned and that respects both tradition and contemporary hospitality standards is crucial. “Projects in Nepal can be made cost effective by using materials from houses that have been brought down,” says Esteva. “Pilot projects involving <a href="https://nepalitimes.com/banner/local-government-by-the-people-for-the-people-of-the-people">local people </a>and simple designing also helps the process.” <a href="https://nepalitimes.com/banner/vacant-homes-become-homestays-in-nepal">The growth of homestays in Nepal</a> is a step in the right direction, but they are still a bit too rustic for the international traveller who also wants comfort and is willing to pay extra for it. Upgrading the facilities in homestays and ensuring that the <a href="https://nepalitimes.com/here-now/an-archive-of-nepali-heritage">architectural heritage</a> of the locality is preserved using locally sourced building material could allow owners to charge more. Says Sangita Shrestha of Dwarika’s Hotel, “Our effort is to build upon rural architecture by empowering local communities and using what is available locally. We can fine tune and encourage indigenous design and training.” The vision goes beyond just boosting the economy, it is about building a future where tourism helps villages grow in a healthy and lasting way. Instead of using up resources, it gives back to the land and the people. It supports local communities by<a href="https://nepalitimes.com/opinion/staying-in-nepal-to-create-jobs"> creating jobs</a>, improving infrastructure, and protecting natural beauty. When done right, tourism can be a tool for <a href="https://nepalitimes.com/editorial/progress-and-or-preservation">preserving culture and nature</a>, not harming them. Architects must therefore see their work as more than just designing buildings, they also need to care deeply about people and places, especially in rural areas that can benefit the most.&nbsp; With global interest in sustainable and off-the-beaten-path travel increasing, Nepal stands at the cusp of a <a href="https://nepalitimes.com/news/missing-out-on-nepal-s-tourism-potential">tourism transformation</a> that values community-driven, eco-conscious hospitality. A mix of modern ideas and traditional knowledge could transform rural tourism in Nepal. Says Shrestha, “Young architects should spend time with <a href="https://nepalitimes.com/latest/the-unsung-heroes-of-conservation">local and indigenous communities</a>, listen to their stories, and learn from their <a href="https://nepalitimes.com/banner/life-and-livelihood-in-remote-nepal">ways of living</a>. These communities have deep knowledge about the land, materials, and climate. If this wisdom is used in new designs, it can help create tourism spaces that truly benefit everyone.” &nbsp;

A new architecture for Nepal's tourism

Extract from an addendum to Nepal's Two Wars, Chapter 2 in the updated edition of Essays on Nepal: Past and Present by Sam Cowan, a retired British Army general with a long association with the Gurkhas. The book was first published in 2018, and republished earlier this month by FinePrint exclusively on Amazon. The addendum details a one-to-one conversation the author had in the <a href="https://archive.nepalitimes.com/news.php?id=8884">Royal Palace </a>with the <a href="https://archive.nepalitimes.com/news.php?id=8371">King Gyanendra</a> in November 2002 just after he had taken his initial steps on the road that ultimately led to <a href="https://archive.nepalitimes.com/news.php?id=14681">the abolition of the monarchy</a> in Nepal in 2008. In the early evening of September 16, 2002, in my role as Colonel Commandant of the Brigade of Gurkhas, I had my second and last official audience with King Gyanendra to give him an update on the Brigade’s activities over the previous 12 months. I had some 6 or 7 such audiences with <a href="https://nepalitimes.com/here-now/preserving-king-birendra-s-family-home">King Birendra</a>.&nbsp; These were official affairs with the British ambassador of the day present, along with key <a href="https://archive.nepalitimes.com/news.php?id=12233">palace officials</a> and a representative from Nepal's Foreign Ministry. The two monarchs were very different in character and temperament, but both treated me with the utmost civility and made the audiences as relaxed and easy for me as possible.&nbsp; It is, however, worth recording that when the official business had been covered, King Birendra, with a twinkle in his eye, often ended by asking, “Now General, what’s the gossip in London?” The second audience with <a href="https://archive.nepalitimes.com/news.php?id=8026">King Gyanendra </a>was my last official act in uniform. We came back to Kathmandu in the first week of November (after treks) to stay for a few nights with our Defence Attaché before heading back to the UK. Waiting for me was a message from the Palace saying that King Gyanendra would like to meet me informally: <a href="https://archive.nepalitimes.com/news.php?id=6933">no uniform</a> and no ambassador.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750.jpg" data-media-id="editor_7" data-image-id="20250421080420_f9046f9882d4481781d14f2b64f18c7fbbea62562e1d74e3465de6d01fb43750" data-rendition-name="original" width="1750" height="2406" loading="lazy" alt="Gyanendra crowned page 1"> <figcaption>Nepali Times Special Edition of 6-14 June 2001 with enthronement of Gyanendra. </figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2.jpg" data-media-id="editor_8" data-image-id="20250421080424_21333d6ae21828eb47fe3f849438d215fe2804460d47bb2896ef4aee4e895ad2" data-rendition-name="original" width="1500" height="1857" loading="lazy" alt="Royal massacre"> <figcaption>Nepali Times 22-29 June 2001 covering the royal massacre after which Gyanendra became king. </figcaption> </figure>  Although I had no idea what the purpose of the meeting might be, events in Kathmandu since I last saw the king put me on edge. On October 4, 2002, Gyanendra had dismissed Prime Minister Sher Bahadur Deuba, allegedly for failing to hold <a href="https://nepalitimes.com/news/what-goes-on-in-nepal-s-elections">elections</a>. He had put in place a new prime minister and a cabinet personally selected by him. When I heard the news on my travels, the people I met were generally supportive of the king’s actions. There was a general view that something had to be done, the country was going nowhere, and the king deserved his chance, not least to solve<a href="https://nepalitimes.com/latest/14-years-after-conflict-no-closure-in-nepal"> the Maoist </a>problem. Back in Kathmandu, views were not so sanguine. The chosen prime minister, Lokendra Bahadur Chand, was a relic from <a href="https://nepalitimes.com/here-now/mob-movement-and-mayhem">the Panchayat period</a> whose party had failed to win a single seat in the last elections held in 1999. Some of the chosen cabinet ministers had, to put it mildly, dubious reputations, and others had no record of proven competence in any field. There was a fear that the king’s real motive in dismissing <a href="https://nepalitimes.com/editorial/deubas-denouement">Deuba</a> was to start to reverse the democratic gains made since 1990. I informed <a href="https://nepalitimes.com/news/nepal-britain-mark-centenary-of-1923-treaty">the British ambassador</a> about the invitation. He was strongly against accepting it, which was probably the clinching reason for my decision to do the polite thing and accept it. On the evening of November 7, 2002, I presented myself at the royal palace, alone and in civilian attire.&nbsp; As in the past, the Military Secretary, Major General Vivek Shah, met and escorted me into the presence of the monarch. This time, however, he was politely asked to leave the room and shut the door behind him. King Gyanendra greeted me warmly and invited me to sit down.&nbsp; Read also:<a href="https://nepalitimes.com/news/the-ghost-of-monarchy-returns-to-haunt-nepal"> The ghost of monarchy returns to haunt Nepal</a>, Shristi Karki  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558.jpg" data-media-id="editor_15" data-image-id="20250421080424_e382af945d0ad2a04ae41fabe5393f793dd10f54cb1220f111c7c9e7423eb558" data-rendition-name="original" width="1000" height="993" loading="lazy" alt="Gyanendra coup"> <figcaption>Nepali Times 4-10 February 2005 after king Gyanendra's coup imposed media censorship. anendra became king. </figcaption> </figure>  I had wondered, and to be truthful, had worried, not just about the purpose of the meeting, but about how the conversation might start and develop. I reduced my resolve to two points: be polite but speak candidly. The latter resolve was quickly put to the test with the king’s opening words: “Sam, [in previous meetings it had been ‘General’, you walk the highways and byways of this land more than most, tell me what the common man is thinking?” &nbsp;“Your Majesty, I have no idea what they are thinking, but they are waiting.” “Waiting?” “Yes, Your Majesty, they are waiting to see whether what you did some weeks ago in appointing your own prime minister and cabinet ministers is going to make any difference to their lives or whether it is just going to be more Kathmandu hot air.” “Everything is going to be difficult and is going to take time, a lot of time.” “Your Majesty, time is the one thing you don’t have. You must act quickly and decisively to take advantage of the opportunity you have created. Everyone knows that you have appointed these new ministers. Why don’t you get them in here one by one and tell them that they have three months to deliver a programme in their area of responsibility that is going to make a difference to people’s lives? Most will fail to do so. Sack them! It will be a powerful signal of your strong intent to deliver real change.” I can express the opening of our conversation in this way because just about every word is still etched in my mind. The king’s response to my last quoted words was to challenge me to give an example of something that could be delivered quickly. I can give a verbatim record of what I said in response to this unexpected challenge: “Health posts, Your Majesty, there is no shortage of them throughout the country as building them has been one of the sources of local corruption, but very few have any medicine to issue at present or have skilled people to assess and meet medical needs. Your Majesty, children are dying for lack of a few pills. Given the right priority, over a period, say of six months, every health post could be fully stocked with medicine and manned with trained people. This is something I could help to lead for you as I know it would have strong international backing. At last, people would know that you mean business.” As I warmed to the theme, I could see no sign of the king having any enthusiasm for the idea, and I quickly disengaged as it dawned on me, as it had clearly dawned on the king, that the reason for the deficiencies in health posts was to prevent any Maoist combatant from gaining access to any <a href="https://nepalitimes.com/opinion/tech-away/nepal-s-health-tech-industry-is-here-to-stay">medical support</a>, and if this meant people suffering, so be it. The subject of the Maoist insurgency inevitably came up, and I took the opportunity to elaborate on what is written in the final four paragraphs of the article above. I advised King Gyanendra that, self-evidently, since there were three parties in the conflict—him, the Maoists, and the political parties—it was imperative that he form an alliance with one of them, preferably the political parties; otherwise, he would find himself isolated, as the other two parties would inevitably, at some stage, form their own alliance. However, it quickly became apparent that the king’s mind was on a totally different track. On the Maoists, he told me that he had channels open to them, but he was scathing about the political party leaders. He made it clear that they would be waiting for a very long time before he gave any power back to them, and that is a polite way of expressing the actual words he used, but “crawling through the door” is a phrase which has stuck in my mind.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5.jpg" data-media-id="editor_17" data-image-id="20250421080424_5403455ff6168f0d202a96cb53edea69136d74d59b989cfcc7cc4a1d57672cb5" data-rendition-name="original" width="2000" height="1317" loading="lazy" alt="fall of monarchy"> <figcaption>Nepali Times 28 April-3 May 2005 with cover image by Ajay Joshi of jubilant protesters after street demonstrations sidelined king Gyanendra, paving the way for a ceasfire and restoration of democracy. </figcaption> </figure>  As the conversation developed, it became ever clearer that King Gyanendra had decided to go in alone, relying on the misleading assurances he was constantly receiving from <a href="https://archive.nepalitimes.com/news.php?id=14954">the army</a>, and no doubt his close advisers, that the Maoists could and would be quickly defeated militarily, and taken out of the equation. This would obviate the need for him to do any deal with the political parties.&nbsp; Thus, the way would be clear for him to establish a version of his father’s Panchayat system, under a constitution that would be granted to the people by him, their sovereign, as his father and brother had done in 1962 and 1990. As in those constitutions, ultimate power would have remained in the sovereign’s hands. This proposed direction of travel was very clear from what the king said to me. In sum, King Gyanendra was motivated by a desire to emulate his immediate predecessors by granting his people a constitution that would restore his father’s Panchayat system in a modern form and give him a central role in decision-making. What was particularly dispiriting was that beyond this single objective he had no plan worthy of the name, nor demonstrably did he have the people with the skills to implement an appropriate plan even if one had existed. Crucially and depressingly, there was little or no indication from the king that he realised that such a course of action could put Nepal’s monarchy into serious jeopardy, as indeed proved to be the case. <h2>King Twice</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445.jpg" data-media-id="editor_19" data-image-id="20250420110436_315d519fe3d68d2406ebe1480fed54720fbf21b8907a4da5cde751fdc623d445" data-rendition-name="original" width="1302" height="632" loading="lazy" alt="“Tell me what the common man is thinking!”"> </figure>  <a href="https://archive.nepalitimes.com/news.php?id=8371">Gyanendra Bir Bikram Shah has been king twice</a>. In 1950 he was enthroned briefly as a child king (left, above) by the Rana Prime Minister Mohan Shumsher when his grandfather, King Tribhuvan, fled to exile in India. In 2001 he was crowned king again after the massacre in the royal palace in which his brother King Birendra and nine other members of his family were killed by Crown Prince Dipendra.&nbsp; During his second reign, Gyanendra gradually asserted power by sacking Prime Minister Sher Bahadur Deuba in 2002, and then taking full control after the 1 February 2005 coup. He was sidelined after the ceasefire in April 2006, and became a commoner after the Constituent Assembly finally <a href="https://archive.nepalitimes.com/article/from-nepali-press/Ftnp-abolishing,624">abolished the monarchy in 2008</a>. In the past year, Gyanendra has tried to exploit public dissatisfaction with the political parties to restore the monarchy.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788.jpg" data-media-id="editor_22" data-image-id="20250421080432_26ef4a4b0e3cee9fdc6794446702efe16550d293904b4f6dd46fe35d4d10c788" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Essays on Nepal by Sam Cowen"> </figure>

“Tell me what the common man is thinking!”

“It's Kathmandu.” Just as the family was sitting down for one of its extended lunches, that jubilant cry was from François Driard’s grandfather announcing the next posting for his diplomat parents.&nbsp; Driard (pictured) was 18 in the summer of 1996,<a href="https://nepalitimes.com/opinion/suburban-tales/chasing-a-nomad"> a bit of a hippie</a> already, and his life was about to change forever with the magical word “<a href="https://nepalitimes.com/banner/time-capsule-of-kathmandu">Kathmandu</a>”. “I was awed with that information from my grandfather, nothing else mattered … In France <a href="https://nepalitimes.com/here-now/tales-of-courage-and-suffering-cx95f89e">in the 1990s</a>, Kathmandu had a mythical aura,” Driard recalls. He came to Kathmandu for Christmas that year to visit his stepfather, the French Ambassador Michel Lummaux. It was to be the first of many visits during school holidays, before he decided to permanently settle down in Nepal. “Kathmandu, and Nepal, were very different then, it was magical, I liked the nature, the people, civilisation, temples, trees,” says Driard, who explored the country sitting on the top of buses. “Visitors talk about the crazy <a href="https://nepalitimes.com/banner/cost-of-living-in-a-big-city">urbanisation</a>, traffic jams today, and all that is true. But Kathmandu has not <a href="https://nepalitimes.com/here-now/loss-of-soul-and-soil">lost its soul</a>.” After his stepfather’s tenure in Nepal ended, Driard worked as a business reporter for international publications but decided he did not want to be anyone’s employee anymore. In 2007 he landed in Kathmandu with €20,000 in savings to invest.&nbsp; He knew a few crucial things about himself: he liked food and nature, which is very much tied up with his upbringing--full of lively conversations during lunch and dinner at the family table between <a href="https://nepalitimes.com/here-now/nepals-yak-cheese-is-on-world-map">abundant cheese, wine and cigars</a>. So he decided it would be cheese, and registered Himalayan French Cheese and went to the French Alps for a month to learn how to make Tomme de Savoie. “<a href="https://nepalitimes.com/banner/the-story-of-langtang-cheese">Cheese making is such an ancient craft </a>and so I thought I won’t need much money or studying which I hated and indeed, if you have a tamako bhado and fire you are set,” explains Driard. But Nepal’s temperature and humidity were not ideal, even at higher altitudes. The first customers for his cheese were the Hyatt Regency and Nina and Hager. But he needed to create a market for cheese in a country which only knew hard churpi in the north and soft paneer in the south. He started selling his cheeses at the Summit Hotel weekend market, expanding to his own 1905 Farmer’s Market which later moved to Le Sherpa in Maharajganj, where it is now, and also a market at Labim Mall in Pulchok. He had cow dairies in Nuwakot and Dhulikhel, and finally a yak cheese unit at 3,379m in Ramechhap. It was the yak blue cheese from here that went on to win a Gold Medal in France, putting Nepal’s French cheese on the world map. “People come and try our cheese at the market, they ask questions. There is a lot of education to be done about cheese,” adds Driard, who also has three cheese shops in the Valley. Driard now makes 25 types of cheese. The products are being noticed and every year he has French students coming to Nepal to learn the art of yak cheese making. “In France, one family or company makes one kind of cheese for generations. In that I’m very unique as a cheese artisan,” he says. “The students come in to learn but I tell them to also teach us something too, add another cheese to my collection.” Read also: <a href="https://nepalitimes.com/here-now/langtang-after-10-years">Langtang after 10 years</a>, Sonia Awale Being a foodie, Driard is now also dabbling in meat with his own charcuterie at Meatini with bacon, ham, sausage and pâtés. All of this is now served at his Emilio’s Pizza, a leafy hideaway in Lazimpat. His South Side in Moksh is probably the smallest wine bar in the world. “I call the process sublime,” says Driard of his ventures, which have grown organically. “You need the same temperature and humidity of 12°C and 80% for cheese, meat and wine.” Emilio’s speciality is the eight-cheese pizza (which has eight types of cheeses), and a pizza with bhutan topping (not the country but fried intestines and organs Nepali-style). He has opened a small branch at Courtyard in Pokhara.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3.jpg" data-media-id="editor_8" data-image-id="20250426070456_bacae302c040dc18eeecdeafda72ddf06a6d2cec138ea9be7e45fe94cdf8b5b3" data-rendition-name="original" width="1500" height="1125" loading="lazy" alt="8 cheese pizza"> <figcaption>Eight-cheese pizza</figcaption> </figure>  With two artisanal cheese units, two farmers’ markets, a <a href="https://nepalitimes.com/here-now/the-meat-of-the-story">meat processing unit</a>, a bakery, and wine bar he now envisions a vineyard so he can add Nepali wine to his repertoire. Another future plan is to start up an agri-tourism business where customers can drink, eat and work in peace. In the past 20 years in Nepal, Driard has not always succeeded in his ventures but this hasn’t curbed his enthusiasm. He is learning as he goes, and like an old wine, Nepal is growing on him. Its slowness suits his French art de vivre with eating slowly outdoors, having conversation, importing less.&nbsp; “I have proven that with even a little money you can do a lot of things in Nepal,” adds Driard. “In the West, they easily invest half a million euros on a cheese factory, I invested 10 times less.”&nbsp;

Fromage, vin et charcuterie Népalais

Bhuthan भुठान starts with Bishnu Bahadur KC played by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/dhuwa-smoke-telefilm,2671">Hari Bansha Acharya</a> on a call, requesting to speak to the visa officer. By this point, he had <a href="https://nepalitimes.com/here-now/nepal-should-now-allow-visa-on-arrival">applied for a visa </a>to Bhutan 10 times, but was denied each time. KC was a <a href="https://nepalitimes.com/here-now/nepal-s-women-excel-in-sports-in-2024-z9ramyct">national football player </a>in Bhutan in 1988 before he and other Nepali-speaking Lhotsampa people were forced out of the country in the 1990s as part of the Druk regime’s ‘One Nation One People’ campaign. Over 100,000 Bhutanese Nepalis were forced out, driven across India and dumped in Nepal where they lived in seven<a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp"> refugee camps</a> supervised by the United Nations and other charities until they were resettled in the United States, Australia, New Zealand and some European countries starting in 2007. In the fictional movie with the satirical English title The World’s Happiest Man, KC has resettled in the state of Ohio in the US but wishes to visit his home country once before he dies. Between flashbacks, we learn KC has died without having fulfilled his wish. &nbsp; The drama then focuses on KC’s two families from two marriages as they debate whether to cremate him as per <a href="https://archive.nepalitimes.com/article/from-nepali-press/muslim-hindu,2996">Hindu rites </a>or give him a Christian burial. A mediator played by Hollywood actor Bruce Dern urges them to take a firm decision before it is too long.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3.jpg" data-media-id="editor_5" data-image-id="20250430140420_b398a08091b866da2b0b8f6c1e6e26781609749aba896bfd2c68a10a519295c3" data-rendition-name="original" width="945" height="945" loading="lazy" alt="Bhutan, the movie"> </figure>  There are drawn out scenes of KC being baptised and when he is confronted by his first wife from Darjeeling played by Anuradha Majumdar, he says he changed his religion in the hope that he will be <a href="https://nepalitimes.com/opinion/comment/bhutan-s-refugees-between-hope-and-despair">allowed back in Bhutan</a>.&nbsp; We find out KC has a second wife, a Christian Nepali played by Puja Chand. Dayahang Rai as the younger son doesn’t have much screen time to flex his acting chops. &nbsp; Acharya competently portrays a man that is equal parts haunted by the memories of and longing for his home country. KC’s pain and loss is acute when he is teaching football to Gungun but between mid-scene, he freezes, perhaps lost in memories of being in Bhutan’s national team. &nbsp; In another scene, KC recalls his mother singing a lullaby in Dzongkha. He also has a box filled with medals, photographs and a football which he deflates with a knife in a powerful depiction of his <a href="https://nepalitimes.com/here-now/searching-for-a-homeland-away-from-home?fb_comment_id=1506516030025634">complicated emotions about his homeland</a>. KC keeps checking his mailbox in the hopes that his <a href="https://archive.nepalitimes.com/news.php?id=4977">visa application</a> has been accepted. He says in Nepali: “If a tree that has already struck roots in one place is shifted to another, it will not survive.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34.jpg" data-media-id="editor_9" data-image-id="20250430140420_4a9c27410326489576c04dedf40016bda3825e8f9663317f54fbfec4cbda6d34" data-rendition-name="original" width="1422" height="2048" loading="lazy" alt="Bhutan, the movie"> </figure>  Dern’s character says that the <a href="https://nepalitimes.com/opinion/comment/nepal-s-transitional-justice-and-the-west-s-recalibration">western world</a> has become “lonely in pursuit of happiness”, another reference to Bhutan’s obsession with its Gross National Happiness index. Scenes shift quickly throughout making the story difficult to follow at times. The use of symbolism is a trite overdone. Nonetheless, भुठान is a nuanced depiction of raw pain and agony of losing one’s homeland. But one cannot help but leave the theatre feeling deflated. KC dies without having visited <a href="https://nepalitimes.com/here-now/small-bhutan-dreams-big">Bhutan</a>, but perhaps he does in his afterlife. It is up to the audience to create its own ending to this sad story of exile. भुठान Mad Monkey Films, 2025 Directed by Binod Paudel 102 minutes In cinemas in Nepal

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