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.

Vishad Raj Onta

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A dystopian motherland

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937829c7e80680e03fe3ejpeg.jpg" alt="" width="1400" height="933"/><figcaption>Bikram Rai</figcaption></figure>The struggle with kerosene stoves, the relief when you move up to propane. The steady stream of uninvited guests from remote parts of the country, who live for months as they try to get a foothold in the capital. The graduation from outdoor squatting toilets to indoor commodes.Shradha Ghale’s novel The Wayward Daughter portrays a world familiar to many first generation migrants into Kathmandu, and much of it is autobiographical.“I took a lot of material from the experiences of my near and dear ones, however, none of the characters exist in real life as they do in the book,” she says.Read also: <a href="https://www.nepalitimes.com/wp-admin/post.php?post=18384&amp;action=elementor" target="_blank" rel="noopener">Manisha Koirala’s new life</a>, Rupa Joshi The Wayward Daughter offers aspects of life in a Janjati family that make it unique from most other Nepali writings in English. The Tamule family celebrates Udhauli and Ubhauli, takes offerings of millet liquor, dried fish and a rupee coin for a marriage proposal. Ghale admits she knew her story had to be about a family from an indigenous community, because she herself had read very few such stories.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937859c7e80680e03fe3fjpeg.jpg" alt="" width="200" height="174"><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937869c7e80680e03fe40jpeg.jpg" alt="" width="500" height="640"><figcaption> </figcaption></figure>A smart Tamule child is complimented with “as clever as a Bahun’s son”. Some Tamules adopt Brahmin gods and traditions, bow down to priests, and look down upon other communities. The looking down is mutual because other communities also despise the “chimse bahun.” These nuggets from Ghale’s book are revelations even for Nepalis, and a reminder to readers about just how diverse Nepal is.The greatest strength of Ghale’s debut novel is this no-nonsense, lean, almost journalistic prose.But who exactly are the Tamule? Ghale gives an enigmatic smile to reveal that she made up the Tamule: “Creating an entirely new indigenous community gave me the freedom to explore my ideas, free of established stereotypes about particular communities.”The Wayward Daughter succeeds in her deliberate attempt to portray a rich cross-section of Nepali society, showing how caste, class, and gender influence everyday life in Kathmandu. The story is about growing up in a multifarious, almost dystopian world that Nepal has become. Youngsters abandon traditions for modernity, as they prepare to go abroad for higher studies.Read also: <a href="https://www.nepalitimes.com/?p=18456&amp;preview=true" target="_blank" rel="noopener">A hostage situation</a>, Prakriti KandelAt the Rhododendron High School that the protagonist Sumnima attends, students are fined for speaking in Nepali. Some readers will remember ‘boarding’ schools in the 80s, the rise of FM radios and the craze for celebrity RJs that Sumnima adores. She confesses (only to herself) that she eats dal-bhat twice every day, and yet in friends’ auto books she writes that her favourite food is ‘pizza’. Youngsters these days do the same: leave behind rustic roots, pretend they were never there, and head out for sophisticated western horizons.The meandering story does not necessarily have a plot, even though every little sub-plot about the extended Tamule family offers fascinating nuggets of life. Ghale confesses that she did not start out with a clear plot in mind, but accumulated sections she wrote at different times, and had to cut out many parts that did not fit.The stories are a continuation of the bits of fiction Ghale penned in her college days, imagining herself to be in league with great writers. “I loved Gustave Flaubert and Virginia Woolf, I did not just want to write like them, but sound as good as them. Writing this book became an exercise in humility for me, when I realised my own limitations. Every day you wonder where your work is going, if you will ever finish it, and if it will ever be any good,” says Ghale.Hopefully, acclaim for her first novel will motivate Ghale to write a sequel, which many have already advised her to do. The novel ends just when things are getting more interesting, with the country about to plunge into a civil war. Ghale ends it there with a riveting epilogue that leaves you yearning for more.Read also:<a href="https://www.nepalitimes.com/here-now/shared-stories-shattered-dreams/" target="_blank" rel="noopener"> Shared stories, shattered dreams</a>, Sonia Awalehttps://www.youtube.com/watch?v=oqipZqqPFuU&amp;t=4s

Shradha Ghale, the prodigal daughter

The dawn air in Muktikot is dewy as the sun sets over the horizon in the mountains of western Nepal. A sad farewell song drifts across the village from a mud plastered house.&nbsp; Rani BK sings a half melody, half lament: “I feel like my own hands are being cut off as you leave.” She is bidding farewell to her youngest brother, 37-year-old Ranne, his wife Akashe. They are going to Bangalore in India to find work. Neighbours gather quietly in the gathering light, some wiping their eyes, others joining in song. “Please, don’t cry,” Ranne says softly. “These tears will haunt us on the journey.” Migration is not new to Muktikot, but the tears are. For decades, nearly every household here has sent its men to India every winter to work. They return in spring to plant their crops.&nbsp; What is new is that women like Akashe BK are now also going, and for longer periods. The couple is leaving their two of their children behind, and will be away for at least five years.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130224_f8d2d5980da1f3c1e22944003969d64cffd10f280c523ab207f983ef42b4cb9b.jpg" data-media-id="editor_0" data-image-id="20260203130224_f8d2d5980da1f3c1e22944003969d64cffd10f280c523ab207f983ef42b4cb9b" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Daughter and son left behind with Rani BK after departure.</figcaption> </figure>  Ranne has been a daily wage labourer since he was 17, moving across Nepal and different parts of northern India. This journey is different — it will be to southern India.&nbsp; He had borrowed Rs50,000 from a local lender to cover the travel cost, hoping to recoup it from his earnings as a security guard. Aakashe plans to work as a household helper.&nbsp; “We would not go if we have a choice,” Aakase says quietly, her eyes fixed on “We are forced to leave our children. We cannot afford to educate them, there is little to eat here, no water, no work, no electricity.” Their daughter Sitala, 12, and son Dipson, 10, put auspicious red tika on their parents’ foreheads. Aakase sobs as she asks relatives to look after their children and their house.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130224_a6316df8ff8a7f95d963396f2a01a7549dca3dcc1ac0364763eecd9f29b7bed7.jpg" data-media-id="editor_1" data-image-id="20260203130224_a6316df8ff8a7f95d963396f2a01a7549dca3dcc1ac0364763eecd9f29b7bed7" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Departure of Ranne BK.</figcaption> </figure>  “We may return by the time you finish school,” Ranne tells Sitala, who is in Grade 6. Sitala stands forlorn by herself, not saying anything. Across Muktikot, women who once stayed back to raise children and manage households now join their husbands in India to support families in these remote mountains of western Nepal.&nbsp; Unnati BK, 30, and her husband Barune BK decided to migrate to India after their home was damaged by landslides in 2021 and the family was nearly killed. The arid farms did not produce enough food as rains failed. “Nothing grows here,” says Unnati, who is also leaving for Bangalore with her husband, along with Ranne and Akashe.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130228_50db0f2d1827584bc9aa6d19d7d79b385ea1211192ccfc1f1147b245c941912e.jpg" data-media-id="editor_2" data-image-id="20260203130228_50db0f2d1827584bc9aa6d19d7d79b385ea1211192ccfc1f1147b245c941912e" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Unnati BK</figcaption> </figure>  After 54 families lost their homes in landslides four years ago, the district administration has set aside Rs500,000 for families including Unnati and Barune. But although nearly complete, they have received only Rs175,000 each. Unnati had realised and told her husband that if they stayed in the village, their sorrows would multiply. So they planned to leave, hoping that a little extra hardship in India would allow them to pay for the education of their three children, who are 11, eight, and six years old. “We chose Bangalore because relatives told us it is easy to find jobs there for both men and women,” Barune says. They plan to leave their children with Unnati’s parents for now, and later send them 250km away to Kailali to attend school.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130228_3ee37136e936fe7dba7d1320452c83a17f08805663a7cbb4b6efa986c79147ed.jpg" data-media-id="editor_3" data-image-id="20260203130228_3ee37136e936fe7dba7d1320452c83a17f08805663a7cbb4b6efa986c79147ed" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Landslide four years ago caused 54 families to lose their homes.</figcaption> </figure>  More than 75 couples from 350 households in Muktikot have left for cities like Mumbai and Bangalore in the past three years alone, leaving behind their children either with their in-laws or in the Tarai cities where they go to school. Ajay Kumar BK, chair of the rural municipality of Muktikot says, “There is a clear intention to leave the village altogether.” &nbsp; Diksha BK, 25, has three sons aged six, three, and one. Her husband Dhirjan works in Surkhet. She and her husband have given up on Muktikot, saying they see no future there. DISASTER-PRONE Muktikot is populated mostly by Dalit families, and used to be named Dumkot after a derogatory term used by higher caste people for Dalits. During the Maoist conflict, many Dalit boys joined the guerrillas and the rebels renamed it Muktikot, meaning ‘freedom’.&nbsp; The village clings to a steep mountain flank wrinkled with rain-fed farm terraces. Many of the men who have left for India have never come back, and now even the women are leaving. The 2020 Disaster Preparedness and Response Plan of Bajura identifies Muktikot as a disaster-prone area, making its rain-fed agriculture vulnerable to droughts. The denuded slopes above are at risk of landslides.&nbsp; The 2021 International Migration in Nepal report counted 13,482 people migrating to India from Bajura alone that year. There are an estimated 3.5 million Nepalis living and working in Nepal — mostly from the western mountains.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130228_df4f333c7a5bc0b0a7fd75ae6c2e9f02444a097fc5b13c24dc61a276ea6ac3ff.jpg" data-media-id="editor_4" data-image-id="20260203130228_df4f333c7a5bc0b0a7fd75ae6c2e9f02444a097fc5b13c24dc61a276ea6ac3ff" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Houses being built under resettlement plan.</figcaption> </figure>  National Environment and Equity Development Society (NEEDS) Nepal found that 70% of households in Sudhurpaschim Province have had at least one member migrating to India at some point in their lives. “Female migration used to be low, but there is now an observable trend of women migrating for work from Sudhurpaschim,” says Prakash Madai of NEEDS Nepal. However, anthropologist Jeevan R Sharma says female migration is not new, what is different is the scale and duration of women migrants. Increasing demand for part-time household help in India makes it a pull-factor for Nepali women from the rural west to enter the informal workforce. “Women used to go only when opportunities arose, working for half a year to maximum two years, and frequently going back and forth,” says Sharma. “The potential rise is likely due to the need for greater income driven by rising cash-based expenses for health, education, food, and purchase of consumer goods.” COST OF LEAVING “Previously people struggled for basic needs, and we did not have the money or the roads to travel to Kathmandu, which is why most people went to India for manual work,” says Kartik Kami, 60, of the rural municipality. “Migration trends have changed because both men and women can make money washing, cooking, and cleaning in cities. Soon, there will be no one to conduct weddings or funerals, only children will remain.” While women from other parts of Nepal began participating in foreign employment three decades ago, women from traditional Sudurpaschim families are only now venturing into the Indian labour market. “This surge is filling a labour vacuum in India created when its domestic migrants shifted their focus to Gulf countries,” explains historian Yadab Devkota. Yet, research paints a social cost. A 2020 study found that children of migrant parents suffer loneliness and neglect due to the absence of parental care and love. Children fall back in studies, and girl children are burdened with excessive workload managing the household and siblings.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130232_e1e02cd082e7cbb77243103b2197fd1dfca75531bb9d6f518763afccb9ed452c.jpg" data-media-id="editor_5" data-image-id="20260203130232_e1e02cd082e7cbb77243103b2197fd1dfca75531bb9d6f518763afccb9ed452c" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Sitala BK, daughter of Ranne and Aakashe.</figcaption> </figure>  The emotional toll is manifested in anxiety, stress, depression, and in some cases, suicide, especially for those whose mothers have migrated.&nbsp; “The significant shift towards couple migration is driven by families making difficult and high-cost decisions in the hopes of breaking the cycle of poverty,” says Arjun Kharel at the Centre for the Study of Labour and Mobility (CESLAM ). “Migration remains primarily a strategy for subsistence rather than development, it is a calculated family decision made in the absence of local opportunities.” Migration to India remains largely invisible to the Nepal government. The country’s foreign employment framework does not extend to migrants going to India. And because they travel through the open border, they are not regulated by formal systems.&nbsp; There is no accurate count of how many Nepalis are working in India, or of Indians in Nepal. According to the Indian Population and Housing Census, there are 600,000 Nepalis working in India, but this is a gross underestimation.&nbsp; A study by Aapti Institute describes Nepali migrants in India as ‘liminal’ neither fully protected as citizens nor recognised as foreigners there, exposing them to exploitation and risk.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260203130232_14a613729f6ebb1db0bec63032cc78abe3087341680b2f88bc0ab4456621b012.jpg" data-media-id="editor_6" data-image-id="20260203130232_14a613729f6ebb1db0bec63032cc78abe3087341680b2f88bc0ab4456621b012" data-rendition-name="original" width="1600" height="1067" loading="lazy" alt="women migrating"> <figcaption>Ranne and Aakashe's last night at home.</figcaption> </figure>  “Nepali migrants in India are not covered by compensation if they fall sick and or if die, unlike migrants to other overseas destinations who can receive compensation of up to Rs700,000,” notes labour migration expert Saru Joshi. The recent draft National Labour Migration Policy 2025 of the Ministry of Labour, Employment, and Social Security offers a flicker of hope for migrants to India with provisions for welfare, social security, and mental health support for families left behind. The draft also mandates better data collection of the movement of people.&nbsp; It is unlikely that these initiatives will make any difference to the people who remain in Muktikot. Many like Ranne and Akashe are likely to go to India for work. “If I had only two or three children, I would take my wife to India too,” says Jaya BK, 46. But he has seven children, including newborn twins, whom he has stayed behind to help his wife look after this time, rather than leaving for Uttarakhand in winter like he usually does.&nbsp; With the support of Internews' Earth Journalism Network.

Mass migration from Muktikot

The car’s trunk was crammed with boxes and suitcases, almost to the roof, and I was just waiting for the inevitable heart-wrenching screech or thud from underneath as I feathered on the accelerator, trying to cross through the infamous Daunne uphill section of the East-West Highway in an MPV.&nbsp; But to my surprise, the ground clearance of 170mm did not fail. Daunne, roughly 15km long, is the landslide prone ridge between Narayanghat and Butwal section, which is perennially affected by traffic jams, thanks to ongoing (and never ending) road expansion. Traffic jams here can be tens of kilometres long. On a November 2025 trip to Bhairawa it was dry enough to wade through the dreaded Daunne where the choice on the ‘road’ is either mud or dust (or both).&nbsp; The BYD M6 MPV EV borrowed for the journey claimed a range of 440km and 580L of space at the back in an almost 4.7m long form factor.&nbsp; On board were two family members and my five-year-old dog, Kulfi (pictured) who needed frequent stretch breaks for his paws. Stopping to charge the car was most certainly not on my to-do list. Within the first 20km from Koteswor, there were already multiple DC chargers along the roadside. They were fast chargers usually between 30 to 60kWs capacities, meaning a charge to 80% would take on average less than an hour. Nepal now boasts over 1,200 charging stations, each station is often equipped with multiple charging guns. This was a stark contrast to the harsh reality of charger anxiety I faced a couple of years in our family car, the Hyundai Kona. Back then, on the way back from Pokhara there was only a single charging gun at River Side Resort in Kurintar.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013104014_d36a1ed529caa0b67424699407da8b42b51f4a4b63dd6dbeb662b0ab513b77a8.jpg" data-media-id="editor_0" data-image-id="2026013104014_d36a1ed529caa0b67424699407da8b42b51f4a4b63dd6dbeb662b0ab513b77a8" data-rendition-name="original" width="2652" height="984" loading="lazy" alt="Page 5 map"> </figure>  These were only fast AC chargers of speeds up to 6kWs, unlike today’s much faster DC chargers. This meant the car would take multiple hours to hit the 80% mark -- and the charger would sometimes (shockingly, and without explanation) be out of operation. No one to ask questions, and no one to answer either. While I never needed to charge my EV on the way to Pokhara from Kathmandu, my precautionary nature never allowed me to climb into the Valley via Naubise without a charge. One bad accident, some sort of natural disaster, and you knew the roads would be clogged with traffic and shut down for at least a couple of hours.&nbsp; Fast forward to the present. My mind was at ease. Even if one of the charging stations was crowded, there was conveniently another one 15 minutes away. But the BYD M6 did not require any of that anyway.&nbsp; Not only did it traverse the rough highway from Kathmandu to Mugling, and then onward over the Daunne pass with ease but because the car was heavy and low, it handled high speeds and corners like a champ.&nbsp; Foot down on the accelerator and it climbed to triple digit speeds without breaking a sweat. Put your foot relatively harder on the brakes and it would equally shed its momentum, all the while being economical. After multiple quick stretch stops for Kulfi, and a proper one hour lunch break, I had arrived at Bhairawa before nightfall, still with around 100km of range left in the car and most importantly, with all the luggage intact.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013104018_1cc05d858d14f0b83fcf586c7270be003f462d60cd19934218e271d59fef3496.png" data-media-id="editor_1" data-image-id="2026013104018_1cc05d858d14f0b83fcf586c7270be003f462d60cd19934218e271d59fef3496" data-rendition-name="original" width="1384" height="808" loading="lazy" alt="Bye-bye range anxiety NT"> </figure>  ROUNDTRIP A week later, my return trip to Kathmandu saw an additional passenger and even more luggage – but once again, I arrived back in Kathmandu with ease: both the M6 and Nepal’s charger infrastructure had exceeded my expectations and needs.&nbsp; This 600km drive to and from Bhairawa from the mountains around Kathmandu to the Tarai plains, with not-so-smooth hilly terrain in between, highlighted not only how far electric vehicles have evolved but also showed how far the charging infrastructure (once a major irritant during the Covid years) had come.&nbsp; EVs in Nepal are no longer niche products; they are available across budgets and segments, ranging in form factor from micro city commuters and family hatchbacks to compact SUVs, pickups, and even full-size MPVs.&nbsp; One noticeable improvement on the highways is that the charging infrastructure has grown from a scattered and company-installed. NEA units along major routes have now converted into full-fledged, round-the-clock networks that allow flexibility and convenience to those of us who like to enjoy our times on the road.&nbsp; What once felt like a gamble, now feels like momentum — and the road ahead for electric mobility in Nepal looks smoother. &nbsp;&nbsp; Arnav Upadhyay reviews automobiles and promotes road safety under the handle Casually Annoyed Driver on Youtube, Tiktok and IG and this monthly column Drive Line in Nepali Times.

Bye-bye range anxiety

On full-moon nights in October and the Nepali New Year in April, hundreds gather to worship at the sacred pond of Mai Pokhari in Ilam. According to legend, the pond was born thousands of years ago from the union of the holy Mai and Tamur rivers in eastern Nepal. Another story tells of an elderly couple whose death gave rise to a life-giving pond meant to quench human thirst. The nine corners of the pond are each believed to house a goddess capable of granting health, fertility, good harvests, and protection from landslides and storms. In every version, one message is constant: when people polluted the water, the goddess moved away. Fear of losing her protection still shapes how people treat the sacred water body today. Besides ponds, wetlands are areas that are saturated with water, permanently or seasonally, including marshes, swamps, and bogs – representing some of the world’s most biologically diverse ecosystems, with distinctive soil, plants and animals. In 2008, Mai Pokhari earned the status of a Ramsar site – a wetland of global importance – for its ecological significance.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260202020236_5fdcca89b06fcc0a2f2a7620931bc7fa1e932c72a5c1f5e083d4fd06287218b7.jpg" data-media-id="editor_0" data-image-id="20260202020236_5fdcca89b06fcc0a2f2a7620931bc7fa1e932c72a5c1f5e083d4fd06287218b7" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="Mai Pokhari"> <figcaption>Mai Pokhari in Ilam. Photo: JITENDRA RAJ BAJRACHARYA / ICIMOD</figcaption> </figure>  Its mid-elevation broadleaved forests provide habitat for many epiphytic orchids that grow without soil, attaching themselves to trees, and protected species such as the white-rumped vulture (Gyps bengalensis), leopard cat (Prionailurus bengalensis) and Eurasian Otter (Lutra lutra). For the people of the area, this is more than a wetland. It is a living mother, an ancestral guardian, and at the heart of their cultural identity. But long before it was recognised internationally, it was already being protected through belief, respect, and traditional knowledge passed quietly from one generation to the next. This pattern of faith-based stewardship is repeated across the Himalaya. Spirituality has shaped conservation in ways no law ever could. Fishing, hunting, and polluting wetlands and rivers are strictly forbidden, not by force but by faith. When erosion threatened the pond in the 1930s, villagers planted pine trees along its edges. As forest degradation increased, the community organised itself, establishing community forests in 1992 and 2001. In 2004, the area surrounding the pond was formally recognised as a religious forest –- a recognition based on local devotion rather than outside instruction.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260202020236_18ec88be3dadf3573074796decb255e3b536893d5778735cf6e7dc3184330017.jpg" data-media-id="editor_1" data-image-id="20260202020236_18ec88be3dadf3573074796decb255e3b536893d5778735cf6e7dc3184330017" data-rendition-name="original" width="919" height="540" loading="lazy" alt="Map of wetlands in Hindu Kush"> <figcaption>Map showing four wetlands in the Hindu Kush Himalaya. Source: RAMESH KATHARIYA / ICIMOD</figcaption> </figure>  In the lowland forests of western Nepal, lies Ghodaghodi, a wetland complex consisting of large and shallow oxbow lake with 13 associated marshes and meadows surrounded by tropical deciduous forest on the lower slopes of the Siwalik range along the southern edge of the Himalaya. These wetlands and forests serve as a critical wildlife corridor between the lowlands and the Siwalik, supporting several globally threatened species of plants and animals, and rare wild rice. To the people who live around it, especially the Indigenous Tharu, Ghodaghodi is alive – a sacred presence shaped by gods, ancestors, and centuries of belief. The name Ghodaghodi, which means horse and mare, carries ancient memories. Elders tell stories of divine beings who once moved through the landscape in animal form, leaving behind a lake infused with spiritual powers. The waters are believed to be the dwelling place of gods and goddesses, particularly Lord Shiva. This belief has shaped how the wetland is viewed: not as property to be owned, but as a holy space to be respected. Each year during the festival of Agan Panchami, thousands of pilgrims gather at Ghodaghodi, walking barefoot along forest paths with offerings of flowers, fruits, milk, and water. Polluting the water or harming its creatures is believed to invite misfortune. These unwritten cultural rules have conserved the wetland for generations, long before it was declared a wetland of global importance. In the central highlands of Bhutan lies the Gangtey-Phobji in a wide glacial valley. The Ramsar site is the prime wintering habitat for the globally vulnerable, black-necked crane (Grus nigricollis).  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260202020236_7a8c7215ecc6928e7160e8057c761095e7021e711e1290f6d8b2c8a50879be64.jpg" data-media-id="editor_2" data-image-id="20260202020236_7a8c7215ecc6928e7160e8057c761095e7021e711e1290f6d8b2c8a50879be64" data-rendition-name="original" width="1500" height="998" loading="lazy" alt="Black necked crane"> <figcaption>Black-necked crane in Phobji. ALEX TREADWAY / ICIMOD</figcaption> </figure>  An annual festival at the Gangtey monastery welcomes the arrival of the cranes in November. Locals revere the birds as sacred messengers, and they are believed to bring blessings and prosperity. It is these beliefs that have helped preserve Bhutan’s flagship Ramsar site. In West Sikkim, the Khachoedpalri wetland was declared a Ramsar site in 2025. This Himalayan high-altitude wetland ecosystem and its surrounding temperate forests provide critical habitat for many species of flora and fauna, and the wetland serves as an important habitat and stopover site for migratory birds. But more importantly, it has religious significance as a pilgrimage site and is revered by both Buddhists and Hindus as a wish-fulfilling lake. It is these values that have supported its conservation from time immemorial. These wetlands are recognised internationally as Ramsar sites for their ecological and other attributes. However, the very cultural practices that preserved these wetlands, along with new external pressures, now threaten them. Many are now increasingly under threat due to growing human intervention – including misplaced practices such as the ritual release of exotic fish by the faithful. Some religious bodies now advise against these practices. Many others are drying out, silting up, or polluted by upstream activity. As these changes intensify, there is concern that not only biodiversity, but also the cultural practices and spiritual values tied to the wetlands may begin to fade. As we mark this year’s World Wetlands Day on 2 February with the theme ‘Wetlands and Traditional Knowledge: Celebrating Cultural Heritage’ it is a reminder that wetlands are not only ecosystems – they are rich cultural spaces. Traditional knowledge and belief systems have quietly conserved these wetlands for centuries, showing that when people revere nature, protection becomes a way of life. It is this profound connection, where culture nurtures ecology that we must safeguard to ensure neither wetlands nor the heritage they hold fade away. Sunita Chaudhary is the Biodiversity Lead at the International Centre for Integrated Mountain Development (ICIMOD).

Where culture meets ecology

Balendra (Balen) Shah’s <a href="https://www.facebook.com/balenOfficial/posts/pfbid0zAnJsVzFZPPLquqBoV414Mq8mBtMRbSpqoLGpEVYdgwNfGeksnLSkT4VWyLe5Afpl">first Facebook post in 2012</a> was a rap song about his school days. In many other YouTube videos, a younger beardless Shah raps in expletives-ridden X-rated perfornances.
Fourteen years later, <a href="https://nepalitimes.com/news/snowbalen">Shah was elected mayor of Kathmandu</a>, resigned, and is now challenging a former prime minister in K P Oli’s home turf of Jhapa-5. This battle is not just about one constituency, but Nepal’s future political trajectory post-September.
But who is this man? <a href="https://www.youtube.com/@BalenShah">Shah rapped</a> about social issues and injustices ridiculing the establishment with profane lyrics. He crossed all boundaries, emerging as an iconoclast who has gone from critiquing the government to governance.
After announcing his candidacy for mayor of Kathmandu in 2022, people began digging into his<a href="https://www.youtube.com/watch?v=zek-Cgr8Mg4"> rap battle</a> against Litl Grizl on YouTube called Raw Barz, pioneered by the legendary rappers Yama Budhha and Kolin Rana.
Started in 2010, in its five-year run, Raw Barz worked to give underground voices a stage to turn wordplay into reputation and rhythm into recognition. Sacar and Uniq Poet were the first to partake in the rap battle.&nbsp;
Stinging lyrics and verses fired like friendly warnings were the ingredients that gave early Raw Barz its restless energy. Every line felt like a challenge, every performance like a small arena, where lyrics and delivery decided who held the floor. The crowd was lively and responsive.
“When I saw Balen, it was love at first sight,” recalls Girish Khatiwada, one half of the duo Girish Pranil (GP) who is regarded as <a href="https://archive.nepalitimes.com/news.php?id=2788">Nepal’s first rapper</a>. “Balen is lyrically versatile, with a sharp ear for language and a strong command of the technical elements of rap.”&nbsp;
Girish used to judge alongside Shah and Lay Zy on Nepal’s first rap reality show, Nephop ko Shreepech. The mentors for the show were Mr D, Easi 12, Kavi G, Dayjen and Vyoma, all rooted in Raw Barz.&nbsp;
This legacy was shaped by Yama Buddha in the 2010s, of a space that nurtured Nephop as an emancipatory culture, allowing young voices to break free from social silence, rigid norms, and limited platforms for expression.
Shah’s debut single, <a href="https://www.youtube.com/watch?v=cV5pgrkDkY4&amp;list=RDcV5pgrkDkY4&amp;start_radio=1">Sadak Balak</a>, released in 2012, became a foundational underground track on his official YouTube channel. In it he sings about the system that neglects a street kid facing social adversity, and demonstrates his knack for seamlessly combining music and art with social commentary.
The same year, he released Tathya, about media manipulation, corruption, and representation. In another <a href="https://www.facebook.com/balenOfficial/posts/pfbid02s9Y6MmKc5GKHJReuu4Hgq6XKNEuVtVpXQZXz8uH7kHAKXPAdTS8xDRumoNBsxFsAl">Facebook post in 2013</a>, he wrote a rap-like verse:
‘Balen mero nam, kaapi kalam le ladchhu mah,
Hatiyar ko kaam, sahitya le nai garchhu mah,
hamro desh ko shaan, ghatera achama parchu ma,
aam Nepali bavana ko pratinidhitwa garchu mah.’
Rough translation: I fight with pen and paper, weaponise literature and art to glorify Nepal, representing the aspirations of the Nepali people.&nbsp;
Also in 2013, Balen strove for political awareness and launched <a href="https://www.youtube.com/watch?v=aqUlEi6uV3c&amp;list=RDaqUlEi6uV3c&amp;start_radio=1">Prahari Pratikaar </a>featuring Nibhaal, a ‘lyrical protest’ against police brutality. It was his response to a rule that forbade young men from letting their hair grow.&nbsp;
<a href="https://www.youtube.com/watch?v=VZfKqojCmeg">Balidan</a> released in 2019 became a hit on its re-release on YouTube a year later with 12 million views. It was a call to truth, accountability, and a criticism of corruption.
CRITICAL LYRICS
Shah’s socially critical lyrics took direct aim at an apathetic state and resonated with millennial youth at the time. Propelled by the social media reach of RONB, Balendra Shah was elected mayor of Kathmandu, beating candidates from powerful established parties.
<a href="https://www.youtube.com/watch?v=lCJRnlXy6SM&amp;list=RDlCJRnlXy6SM&amp;start_radio=1">Nepal Haseko </a>with 10 million views on YouTube became the anthem of the September GenZ protest, propelling 35-year-old Shah himself the torchbearer of youth aspirations.
“We used to hang out. It was around the time when Raw Barz came out,” remembers Manish Sharma, a close friend of Shah. “We later worked together on the campaign ‘We for Constitution,’ which was about urging the government to issue the Constitution of Nepal.”&nbsp;
He adds: “One might call him a rapper, but I prefer to call him a poet. His lyrics were a strong part of his art.”&nbsp;
Rapping is built on a set of skills that closely resemble those required in politics: timing, improvisation, argumentation and rhetoric, audience awareness, and sarcasm. A rapper must know when to strike a line, how far to push an argument, how to read the mood of listeners, and how to frame words so they leave an impact.&nbsp;
Shah’s first address in Maithili at Janakpur last week on his campaign trail for the March election had all of these skills combined.&nbsp;
This is not unlike New York City mayor Zohran Mamdani whose early life as a rapper under the name Young Cardamom helped shape his political instincts and debate performances.
Rap is not a bedtime story, it is a document of contemporary society. It is often debased for its &nbsp;foul language, something even Shah has been accused of in his older songs. But rap does not simply talk about violence or rage, but <a href="https://nepalitimes.com/here-now/hip-hop-as-a-way-of-life">it is a reflection of our society</a> and what exists within: conflict, corruption, ambition, survival.
“Shielding children from rap lyrics might protect innocence, but engaging with it critically can build awareness,” says Girish Khatiwada. “Rap is simply an art form like any other.”&nbsp;
The rap culture is getting stronger. ST MAN’s Cinema featuring Somea is already closing in on the five-million-view mark on YouTube, while Purple’s Bhatbhatey Ma featuring Gwala hit five million in a month.&nbsp;
If anything, Nepali hip-hop is not slowing down, it is accelerating, fully aware that people are tuning in, and Shah’s legacy looms large in all this.&nbsp;
Shah was asked <a href="https://www.youtube.com/watch?v=YxI-8DVWIQQ">in an interview</a> at the World Association of the Major Metropolises in Brazil last year on how he would want to be remembered as a mayor, to which he replied: “I would love to be remembered as an honest guy, rather than a musician or an engineer or a mayor.” &nbsp;
 
म नेपाल हासेको हेर्न चाहन्छु
नेपाली को मन नाचेको हेर्न चाहन्छु
म नेपाल हासेको हेर्न चाहन्छु
नेपाली खुसिले बाचेको हेर्न चाहन्छु
[Verse 1]&nbsp;
अत्याचार, आक्रमण, अपराध, असमझदारी
विकल्प बिहिन, बिदेशी बैंक भन्छ भिखारी
शिकारी नेता, अभिनेता बन्छ क्रान्तिकारी
बिगारी केटाकेटी, भोको पेट रेटि सिपाही
अविवाहित चेलीबेटी, बोकि पेट खेपी पिटाइ
बिताइ रात, कुटाइ घात खाएर शरीर बिकाइ
देशको माटो नै मिठाई ठानी मैदान त्यो युद्ध को
गिद्ध थियो जो देशको लागि, भक्त झै प्रसिद्ध भो&nbsp;
निशब्द भो अवशेष बाकी, चोखो बोली जो सित थियो&nbsp;
सिरजफ्त भो देशब्यापी आत्मघाती जो पबित्र थियो&nbsp;
आफ्नो प्राण को आहुती, आफ्नै ज्यान को बिभुती&nbsp;
लाई हिडेका सहिद को केवल नामावली बिभुसित&nbsp;
कुण्ठित पिडामा डुबेकी आमालाइ के काम बिदुसी&nbsp;
गरिब लाई दुई छाक नै खुसी, सरिफ लाई चाहिन्छ कुर्सी&nbsp;
आमा कै सारी बेचेर धनाढ्य संगै छ पुजी&nbsp;
गोजि भरी भारु, भरौ भरेर भारती को रोजि म
[Chorus]&nbsp;
म नेपाल हासेको हेर्न चाहन्छु...
[Verse 2]
देश एउटा सुन्दर बगैंचा होस, रंगिचंगी फुलहरु
हरेक लाई समान गलैचा होस, सादर हरेक मुलहरु
अनुकुल, प्रतिकुल हरु चिन्ता गर्ने भावना होस
सामुहिक खुसी बिनाको के फाइदा त्यो चाहना को
औचित्य के त्यो कामना को एउटा हासो फुट्न लाई
उद्धेश्य लेउ, एक हौ हरेक हात हरु जुट्न लाई
गरेर अब देखाउ, कालो अतीत लाई मेटाउ
पालो हाम्रो हो भेटाउ, कल्पना गर शान्ती को
सपना देख्ने कै पूरा हुन्छ, जागृति नै क्रान्ति हो
विपना मा बाटो खुल्ला हुन्छ आकृतिको सालिक को
नसोच्नु तिमी मालिक हौ र मिहिनेत गर्ने नोकर हो
तिमिले ठोक्कर खानेछौ मानव मानवता बेगर को
एकपटक कारण बनी हेर अरुको सानो हासो को
उसको मुस्कान मा रमाइ हेर निस्वार्थ प्रेम साचो हो
यो खाचो हो मायाको, पूरा भए नेपाल हास्नेछ
एक आपस मर्म बुझिदिए हरेक क्षणमा बाच्नेछौ
&nbsp;[Chorus]&nbsp;
म नेपाल हासेको हेर्न चाहन्छु...
English translation:
I want to see Nepal smile.
I want to see the hearts of Nepalis dance.
I want to see Nepal smile.
I want to see Nepalis living happily.
[Verse 1]
Oppression, attacks, crime, and confusion,
No alternatives, foreign banks calling us beggars.
Predatory leaders turn into actors, posing as revolutionaries.
Corrupted children, hungry stomachs, wounded soldiers.
Unmarried daughters, carrying pain, beaten and burdened,
Nights spent enduring violence, bodies sold after suffering.
The nation’s soil treated as sweet sacrifice, a battlefield of war,
Those who devoured the country were praised like saints.
Silence remains, truth buried, purity erased,
Suicide glorified, martyrdom commercialised.
Sacrifices reduced to lists of names,
What comfort is that to a mother drowning in grief?
For the poor, two meals are happiness; for the elite, power is the goal.
Selling a mother’s sari to build wealth,
Pockets full of Indian currency, living off others’ labour.
[Chorus]&nbsp;
I want to see Nepal smile…
[Verse 2]
Let the country be a beautiful garden with colorful flowers,
Let there be equality, respect for every face.
What is desire without shared happiness?
What is hope if no one smiles?
Come together, erase the dark past,
Our turn has come, imagine peace.
Dreams come true when awakening becomes revolution.
Do not think you are the master and others your servants,
Without humanity, power collapses.
Create smiles for others, that is true love.
If we understand each other, Nepal will smile.
[Chorus]&nbsp;
I want to see Nepal smile…

nepali-dystopian-fiction

A dystopian motherland

Shradha Ghale, the prodigal daughter

Mass migration from Muktikot

Bye-bye range anxiety

Where culture meets ecology

Political Rap