<a href="https://www.ranjanadiga.com/">Ranjan Adiga</a>’s debut short story collection, <a href="https://www.penguin.co.in/book/leech-and-other-stories/">‘Leech and Other Stories’,</a> is a bold and honest exploration of a wide variety of modern experiences of Nepalis home and abroad. A million Nepalis leave the country every year, mostly for work, and about 90,000 to permanently resettle abroad. The ten stories in this slim volume revolve around characters who have migrated and are dealing with issue of identity in their adopted homes.&nbsp; Four of the stories involve Nepalis in the United States navigating success, divorce, cash jobs in Indian restaurants, diversity committee politics, and the Broncos. America is where Adiga himself is based currently, teaching Creative Writing and English at <a href="https://westminsteru.edu/campus-directory/directory-profiles/adiga-ranjan.html">Westminster College in North Salt Lake, Utah</a>. After publishing a <a href="https://archive.nepalitimes.com/news.php?id=17263">few articles for this newspaper</a> in 2010, and a brief internship at The Kathmandu Post, he spent some well-paying years in advertising in Kathmandu and Bahrain.&nbsp; Fascinated by fiction, he did an MFA in creative writing at <a href="https://uncw.edu/">University of North Carolina Wilmington</a>, before completing a PhD at the University of Hawaiʻi at Mānoa. Observing Nepalis struggling with identity and acclimatising to American culture gave the fiction writer in Adiga plenty of plot material to work on.&nbsp; Adigais often mistaken for <a href="http://www.aravindadiga.com/">Aravind Adiga</a>, author of the Booker-prize winning author of the 2008 book, <a href="https://kenyonreview.org/kr-online-issue/2009-winter/selections/review-of-aravind-adigas-the-white-tiger/">The White Tiger</a> that was made into <a href="https://www.netflix.com/np/title/80202877">a Netflix movie</a> starring Priyanka Chopra. “When you introduce yourself in Nepal, it’s never just your first name. If I just say ‘Ranjan,’ the next question is automatically ‘Ranjan ke?” Adiga tells us during a recent visit to Nepali Times. “People are often intrigued, and some harbour preconceptions about who I am.”&nbsp; And if it is not being mistaken for Aravind, it is to be taken for an Indian. But Ranjan’s pedigree is even more exotic: his grandfather was a <a href="https://www.telegraphindia.com/india/kathmandu-ripples-in-karnataka/cid/507815">high priest of Pashupati Temple</a> in Kathmandu, whose predecessors have been traditionally sourced from <a href="https://www.thehindu.com/news/national/andhra-pradesh/coastal-karnatakas-bond-with-nepal/article7144615.ece">Udupi of the Karnataka-Kerala border</a> in south India for the past 300 years. Both his parents are Nepali. Like many people who straddle multiple cultures, Adiga does not feel completely accepted in either place. In fact, the uprootedness of being at home everywhere and nowhere helps him in his writing, and that is also reflected in many of the characters in his stories.&nbsp; They too feel alienated in new cultures with various values and different requirements for getting by: whether a Madhesi in Kathmandu, a newly-Christian Dalit woman, or a homocurious uncle. One of the ten stories is titled Leech, and seems to be inspired by the experience of author and former American Peace Corps volunteer Broughton Coburn, whom <a href="https://archive.nepalitimes.com/news.php?id=11933">Nepali Times profiled in 2006</a>. Says Adiga: “A lot of my characters feel like parasites in the system, they feel alienated in the places they find themselves, often facing dilemmas between morality and survival.” Indeed, the protagonists in Adiga’s stories are mostly morally ambiguous. They may steal, lie, cheat and drink, but ultimately own up to their mistakes. “Most of my stories tell themselves as I write. It’s a process of discovery, of observing what the characters do and how they interact,” Adiga explains, adding that in only one of the stories did he start with the plot completely outlined beforehand.&nbsp; That story is ‘Student Visa’ about a Nepali youngster named Sanjay on whom his parents have great expectations: he will go to America and eventually bring Mom and Dad, too. Sanjay completely bombs the interview but lies to his parents (and to a neighbour uncle who has a brother in the States, and is naturally an expert) that he got the visa. The author seems interested in how Nepalis deal with relationship norms abroad. Adiga writes about couples in the US where the wife has a ‘better’ job and earns more than the husband, and a visiting father of a divorced son who looks past all of his successes in tech and only talks to him about his failed marriage. This is a story titled ‘A Short Visit’and has a strong plot with real writing. Nirmal is the son who works in tech and has a fancy house and a Tesla. His Baba is an electrical engineer turned alcoholic. Father and son bond over alcohol as a poignant, vulnerable story unfolds. Baba is not supposed to drink at all, and when Nirmal’s sister in Nepal finds out, she berates Nirmal. Brother and sister also have an interesting dynamic. Nirmal is rich and divorced in Denver, while Binita lives in Nepal with a stable joint family and children. The question looms: who has made the bigger sacrifice?As the booze flows, son and father process their different understandings of the divorce, get into arguments, and head to a party where Baba gets on stage and tells the crowd that he loves his son. “That was the story that I had to write quickly, as a replacement for one that fell through,” Adiga explains. “I wrote it in about three weeks, while usually take several months on each one.”&nbsp; Adiga’s stories are observant, uncomfortable and true. Like when he talks about Nirmal texting his ex-wife occasionally and liking each other’s photos on Instagram. Or when he writes: ‘Baba looked like someone’s driver at a wedding in Nepal, cowering in a corner, scrounging on leftovers.’ In ‘A Haircut and a Massage’ a middle-aged man named Krishna is in a sad sexless marriage and teeters on the edge of homosexuality. When his wife sends him out to buy veggies, he starts frequenting Iqbal’s salon for full body massage. Krishna’s marriage had started out well but deteriorated after his wife had their first child. Most of Adiga’s stories feature strong, pragmatic female characters who are in charge, with weaker and often embarrassing male counterparts. Adiga writes bravely about issues that we usually skirt around. ‘High Heels’ looks at a Dalit woman who converts to Christianity and works at a bank, doing better than if she did what her caste identity dictated. <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/sermon-on-the-mountain,3911">Prosletysation may have its problems</a>, but the Church treats her as an equal.&nbsp; The story ‘Diversity Committee’ is about the tension between a professor and his white female student after he follows an awkward hug with an iffy text. Soon there is rumour spreading around school that the prof has a staring problem. The student has heavily bought into diversity brainwashing and is a star student, and now does not know what to do that her Professor-Of-Colour has hugged her and stroked her back. Meanwhile an interesting interaction is taking place between the Nepali professor and a Black lesbian professor in the same department. They are good friends in lily-white rural Idaho, but also compete for leadership and inclusion grants from the diversity committee. Adiga admits that one his inspirations is fellow-Nepali writer in America, <a href="https://nepalitimes.com/news/writing-about-nepal-from-afar">Samrat Upadhyay</a> (<a href="https://archive.nepalitimes.com/news.php?id=4483">The Guru of Love</a>, <a href="https://archive.nepalitimes.com/news.php?id=9235">Arresting God in Kathmandu</a>, <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Kathmandu-wont-let-go-of-me-samrat-upadhyay,3649">Mad Country</a>) who is also a Kathmandu St Xavierite. The short, clipped sentences, sparse prose and simple plot lines involving Nepalis are indeed vintage Samrat. And like Subcontinental authors who write in English, Adiga also grapples with making the vernacular dialogue sound authentic. The stories are set where the author lives and works, and it is about fictional fellow-Nepalis, so it is natural to wonder how autobiographical they are. Ranjan Adiga leaves us guessing.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024070411070_c4a190ab73e414a17b257fe459d8845b2615b9dbcd3eff06e202fafbe7f902d5.jpg" data-media-id="editor_16" data-image-id="2024070411070_c4a190ab73e414a17b257fe459d8845b2615b9dbcd3eff06e202fafbe7f902d5" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Leech and other stories NT"> </figure>

Vishad Raj Onta

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Feeling at home nowhere and everywhere

Theresa Rebeck’s 1992 script What We’re Up Against has been translated by Priyankar and directed by Akanchha Karki of Katha Ghera as Play द सिस्टम . The play shows a not uncommon experience of female employees in offices in Nepal.Namita is a young talented architect newly hired at a prestigious firm who is exasperated by lazy colleagues who hide their incompetence behind workplace politics.&nbsp; Played with panache by Ranjana Bhattarai, Namita is eager to work on projects, but her boss Sailesh (Eelum Dixit) is a scotch-swigging manipulative control freak who does not assign her anything because he is threatened by her competence.&nbsp; Namita is consigned to a converted storage room, while Pankaj Basyal (Rishikesh Basyal) has a much better location for his desk despite being even newer than Namita. Basyal is a sloppy grifter who makes pompous, long-winded presentations and curries favour with Sailesh by keeping the whiskey flowing.&nbsp; The office is involved in a big project to restore a mall in Lalitpur. Basyal is on the project, as is Biswas (Suraj Malla). Biswas understands what is going on behind the scenes between fellow staffers and is concerned about a piping problem that is delaying the project.&nbsp; The fifth person in the office is Chahana (Roshani Syangbo) who is not much of an architect but keeps her job by playing a ditzy simpering damsel who seconds anything the men say.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240626120620_60a615435151b3721e96bacb1bef4063596bbfc5203dc65a9c4298877f89fca0.jpg" data-media-id="editor_0" data-image-id="20240626120620_60a615435151b3721e96bacb1bef4063596bbfc5203dc65a9c4298877f89fca0" data-rendition-name="original" width="5516" height="3677" loading="lazy" alt="Play the system"> </figure>  The deadline for the mall is looming and the only person with the solution is Namita. Sick of being underestimated and overlooked, she brings a design supposedly by Basyal to Sailesh, who initially okays it. But after finding out it was hers, he trashes it.&nbsp; Sailesh is incensed at Namita’s trick, and throws her out before putting Chahana on the project instead. Yet Namita is following Sailesh’s advice: to get work, you must show initiative.&nbsp; So Namita takes up a project Chahana has just about abandoned to modify a court building. Her pitch to the team is imaginative and focused on meeting the client’s demands.&nbsp; Sailesh uses his status and corporate doublespeak to dominate the meeting, and bully Namita. Humiliated, Namita confronts Chahana who sided with Sailesh in the meeting and the two have a row. Brilliantly acted, the scenes are a realistic portrayal of office hierarchy with gender politics also thrown in that gets in the way of getting work done. People want credit but do not want to work for it.&nbsp; The men cannot stand Namita because they all know she is a better architect. They describe her as difficult to work with and whiney. But they are fine with docile, unthreatening Chahana. However, she too is scared of the notion that she might soon have to play sidekick to Namita. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240626120624_a694966f0f4ff4a53c36f81ee7b646078720234812a86a1232e6b95edcec4a86.jpg" data-media-id="editor_1" data-image-id="20240626120624_a694966f0f4ff4a53c36f81ee7b646078720234812a86a1232e6b95edcec4a86" data-rendition-name="original" width="2048" height="1431" loading="lazy" alt="Play the system"> <figcaption>Photo: TUPHAN JUNG THAPA</figcaption> </figure>  In a final act of rebellion, Namita ‘plays the system’ of egos to push a flawed design through Chahana to Sailesh, letting Chahana take credit. As Sailesh presents the imperfect plan to the firm’s founder, Biswas has found out what happened and comes to Namita’s office to talk, only to find her packing up, expecting to soon be fired. The two agree to talk about the piping problem over dinner.&nbsp; The play ends abruptly right here, leaving us guessing what happens to Namita. Bristling with swear-words, this is a tense, angry play, but has a light-hearted tone. The message seems to be that women can either be like Chahana, not getting in anyone’s way to keep her job. They will keep her, but have to squander her talent and self respect. Maybe Chahana was once competent too, but is now too jaded and resigned to her fate. Or, they can be like Namita. Confident and competent, and hence perceived as a threat. Many men do not like admitting that another man is better in their profession. But when it comes to women, their ego is hurt and they seek petty ways to get their own back.&nbsp; Sailesh refers to Namita as a “ball-crusher” (the word sounds pithier in Nepali). But if they looked around it would be clear why they are getting left behind: they drink too much, are easily flattered, and have too much time to backbite. They engage in many of the same behaviours that they may jeer at as feminine, such as gossip and hysteria.&nbsp; One scene in particular demonstrates this hypocrisy. Sailesh and Basyal are drinking in Sailesh’s office, a den of toxic masculinity. They make abusive remarks about Namita, but not once in the play do the two actually do any work.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240626120624_3349985b6341a7913c6030f1f8b5c142e39e86420ee429a3eeed2126e54e9ef2.jpg" data-media-id="editor_2" data-image-id="20240626120624_3349985b6341a7913c6030f1f8b5c142e39e86420ee429a3eeed2126e54e9ef2" data-rendition-name="original" width="4166" height="2777" loading="lazy" alt="Play the system"> </figure>  Suddenly Namita invades the scene and Basyal cowers pathetically in his chair, not meeting her eye. Namita pours herself some of the whiskey (gasp) and downs it straight before threatening to go to the founder. &nbsp; While Biswas is smart enough to figure out what is going on, he does not &nbsp;have the courage to stand up to Sailesh, or ask Namita for the solution, or “do the right thing”.&nbsp; Rebeck’s script came out in 1992, and 32 years later it still transcends time and space, and is a relatable and realistic depiction of the workplace anywhere. This a universal, perennial issue, and the play can also be taken as a call to maturity in gender relations. &nbsp; The play runs smooth as it uses one big set throughout, lighting up where the action takes place. In the centre is the presentation table and to the left and right are Chahana and Namita’s offices. Overlooking everything up a staircase is Sailesh’s office. The original script is in English, and it adapts well to a sort of Nepali-English hybrid dialogue that would feel natural to the Nepali Times readership. Rebeck curses quite liberally in the original English script, but the adaptation is a bit too generously sprinkled with colloquial Nepali swear words. It certainly has shock value and brings laughs.&nbsp; Kausi Theater, Lagan Every day except Tuesday till 15 July Time: &nbsp;5:15PM, &nbsp;Matinee show on Saturdays at 1PM Front row: Rs1,000&nbsp; General tickets: Rs500 Contact: 9861078876

Hate the game, not the player

In the black and white photograph, General Wangdu smiles broadly in front of the dusty cactus garden in Kathmandu’s Annapurna Hotel. With an ill-fitting jacket and shaggy hair he looks benign enough, but this was the last leader of the Tibetan freedom fighters who led the resistance against the Chinese from their remote mountain hideouts in <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a>. Five months later, Wangdu was dead. Snapped in March 1974, I had only recently arrived in Nepal. How did I meet this legendary fighter? Possibly with his devoted camp follower, Lynne Klapecki, and probably in the Om Restaurant near Freak Street which was the preferred <a href="https://nepalitimes.com/banner/hippie-trail-nostalgia-in-kathmandu">hippie hang-out</a>. Om Lobsang and his brother Yeshe were <a href="https://archive.nepalitimes.com/page/earthquake-brings-back-memories-of-camps-for-tibetan-refugees">refugees from East Tibet </a>whose cafe offered a friendly welcome and<a href="https://nepalitimes.com/multimedia/momo-loco"> the best momos</a> - they became my in-laws after I married their eldest brother Tenzin, but that was a decade later.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1.jpg" data-media-id="editor_4" data-image-id="2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1" data-rendition-name="original" width="1000" height="1583" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Photo: LISA CHOEGYAL</figcaption> </figure>  Wangdu’s English was enthusiastically rudimentary, but even riding around town with him on the back of an aging <a href="https://nepalitimes.com/here-now/kathmandu-s-new-motorbike-museum">motorbike</a>, he was a commanding presence. Always flanked by armed outriders, impressive scars marked his forearms and a pistol hung from the cord around his neck. A charismatic guerrilla leader, Wangdu was celebrated by his followers for his tough commitment and respected for his measured pragmatism. He seemed so young to have shouldered such a responsibility of command, leading hundreds of hardened <a href="https://archive.nepalitimes.com/article/nation/50-years-after-the%20raid-into-Tibet,1012#google_vignette">Khampa combatants </a>through what had been a particularly <a href="https://nepalitimes.com/news/heavy-snowfall-over-nepal-himalaya">brutal winter in Mustang</a>, the last bastion to hold out against the Chinese invasion of their Tibetan homeland.&nbsp; The freedom fighters of Tibet, known as the Chushi-Gangdruk, had emerged to resist the <a href="https://nepalitimes.com/editorial/territorialism">Chinese takeover</a> of Tibet during the 1950s. Estimated to be 80,000-strong at the time of <a href="https://nepalitimes.com/here-now/what-or-who-after-the-dalai-lama">the Dalai Lama</a>’s final escape to India in 1959, the sheer number of Chinese deployed into Tibet eventually forced the Chushi-Gangdruk to retreat to Mustang, From this high Himalayan stronghold, they continued cross-border raids on the Chinese People’s Liberation Army (PLA) throughout the 1960s.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd.jpg" data-media-id="editor_10" data-image-id="2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd" data-rendition-name="original" width="1114" height="676" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Guerrillas known as the Chushi-Gangdruk emerged to resist the Chinese annexation of Tibet during the 1950s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>  Their Kathmandu base was a small discreet lodge in a back lane near Rani Pokhari. Sipping sweet tea from a blue mug with a chipped lid, I sat bemused in a corner of the Mustang Hotel room whilst Wangdu and his cohorts received a battered brown suitcase from their CIA connection, a tousle-haired American in a leather jacket. Heaved onto the dingy bedspread that covered the thin mattress, it was clicked open to reveal piles of neatly stacked dollar bills.&nbsp; I cannot think why Wangdu allowed me to witness this handover but I was clearly no threat, a newly arrived world traveller with no understanding of the stakes nor any Nepali or <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan language</a>. Despite armed guards in the corridor,Wangdu radiated confidence and bravado, and there was a practiced familiarity to the tense transaction. This deadly dance for many years had been funded by the Americans, tolerated by <a href="https://nepalitimes.com/here-now/the-kingdom-within-a-republic">Mustang’s residents</a>, and permitted by King Mahendra and the Nepali authorities who it suited to turn a blind eye.&nbsp; But Mahendra died in 1972, and times were changing. Richard Nixon’s ping-pong diplomacy thawed the cold war and signalled a fresh entente with China. Nepal’s yet-to-be-crowned <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">King Birendra </a>was under pressure to curb the irritating incursions against the PLA launched from the Nepali territory of Mustang. Keen to appease his northern neighbour, on several occasions the King summoned Wangdu for peace talks but, despite increasingly overwhelming odds, Wangdu refused to surrender.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb.jpg" data-media-id="editor_14" data-image-id="2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb" data-rendition-name="original" width="1055" height="885" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>General Wangdu flanked by two Tibetan resistance fighters in Mustang in the 1970s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31.jpg" data-media-id="editor_15" data-image-id="2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31" data-rendition-name="original" width="1044" height="792" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>King Birendra with General Wangdu (right in dark glasses) taken in 1974 possibly in Mustang after one of their few attempts at negotiation. Photo courtesy: RAJRNDRA KUNWAR</figcaption> </figure>  While I naively rode pillion around Kathmandu in the spring sunshine, Wangdu was in the midst of what turned out to be his final round of negotiations with the Nepal government. Refusing to cease hostilities with the Chinese, Wangdu must have suspected the cost of his decision, making his cheerful smile in the photograph all the more poignant and brave. It was only much later that I appreciated the significance of the moment. Wangdu had been sent to replace the first resistance leader in Mustang, Baba Gen Yeshe, a much derided corrupt character who stole money meant for his troops and exploited fleeing refugees by seizing their treasures. Baba Gen Yeshe never forgave Wangdu,and sought revenge in May 1974 by betraying him and his commanders to the Nepal authorities. Renewed Chinese incursions from the north, active PLA collusion with the Nepali forces under the new King, and treachery from within the Chushi-Gangdrukranks combined to seal their fate.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0.jpg" data-media-id="editor_16" data-image-id="2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0" data-rendition-name="original" width="1400" height="769" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>British television journalists George Patterson and Adrian Cowell embedded themselves with Khampa guerrillas and accompanied them from Tsum Valley on a cross border raid on a Chinese Army convoy in 1964. Photo: ESSAYS ON NEPAL / SAM COWAN</figcaption> </figure>  Mikel Dunham, renowned author of Buddha’s Warriors, writes: ‘It is possible that Wangdu was waiting for some cue from the Dalai Lama’s government-in-exile in Dharamsala, India. It is equally possible – during that last, <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush?fbclid=IwZXh0bgNhZW0CMTEAAR31-Cqw8oyIwMPzf_35e4Skr0ululJvLf3_vDkzHn-AYG2h8uPw2rqqErg_aem_tGVn5coY1-jA7fze_xqhew">desolate winter </a>– that he made the decision to go out in glory rather than admit defeat. Over the last fifteen years, Wangdu had experienced Tibet’s organized resistance being squeezed and shoved around by every conceivable outside force.&nbsp; First they had been pushed out of their own country by the PLA; then they had been refused sanction while on <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds?fbclid=IwAR0PpJ5zUEbwdug3g_U3ar6FUugngRY0S8Tl2v_7wqzrsHmXWcXsKjvL4t4">Indian soil</a>; then they were abandoned by the Americans because, apparently, Nixon wanted to make friends with Wangdu’s mortal enemies, the communists; then they had been betrayed by the vampiric Baba Gen Yeshe – a Tibetan and, even worse, a fellow Khampa; and now, finally Wangdu’s army was being evicted by the Nepalis. One thing was certain: Wangdu was a warrior. To imagine Wangdu simply giving up and settling down in the pacific squalor of a <a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp">refugee camp </a>was unthinkable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49.jpg" data-media-id="editor_20" data-image-id="2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49" data-rendition-name="original" width="500" height="746" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>The much derided Baba Gen Yeshe, the first Tibetan resistance leader in Mustang, who betrayed Wangdu for personal gain. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3.jpg" data-media-id="editor_21" data-image-id="2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3" data-rendition-name="original" width="500" height="656" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Aditya SJB Rana of the Royal Nepal Army whose team ambushed Wangdu and his cohorts at the top of Tinker Pass in Darchula, West Nepal. Photo courtesy: GAUTAM SJB RANA</figcaption> </figure>  By August 1974 the game was up. Wangdu and six of his exhausted party were killed on their horses by <a href="https://archive.nepalitimes.com/news.php?id=7270">the Royal Nepal Army</a> on the brink of escape. The officer in charge, Aditya SJB Rana, cleverly predicted their route into India after they failed to silence a police radio in Yari. A carefully laid ambush trapped them near the summit of the Tinker Pass in Darchula,at 5,000 meters the highest military operation of its time. Wangdu’s body was helicoptered to Kathmandu, and a big show made of the royal Nepal victory.&nbsp; The Tibetan armed insurgency against China had reached its end.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4.jpg" data-media-id="editor_23" data-image-id="20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The last days of the Khampa NT"> </figure>

The Last Days of the Khampa

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;

Being Prabal Gurung by design

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;

nepali-times-review

Feeling at home nowhere and everywhere

Hate the game, not the player

The Last Days of the Khampa

Digital protection for Nepal’s art

Being Prabal Gurung by design

Turkish to Seville