<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101112/636b6fce9c7e80680e060043jpeg.jpg" alt="" width="2481" height="1656"/><figcaption>Amitabha Bagchi reeives the DSC prize 2019 from Pradeep Kumar Gyawali, Minister for Foreign Affairs, at Nepal Literature Festival in Pokhara in December 2019</figcaption></figure>There is not much to add about Amitabha Bagchi’s Half  The Night Is Gone that has not already been said. The winner of this year’s <a href="https://www.nepalitimes.com/latest/2019-shortlist-announced-for-dsc-prize/">DSC Prize for South Asian Literature</a>, awarded at the <a href="https://www.nepalitimes.com/latest/nepal-and-international-literature-festival/">Nepal Literature Festival in Pokhara</a> last month, the book has been readily deemed the ‘Great Indian Novel’ of our time.Bagchi sets most of his novel in Delhi, with parts in Agra and Banaras. Writing in pre-independence times, Dilli’s rich lore and the old ganga jamuni tehzeeb of North India is woven beautifully into the novel – with intercuts of a harder, less forgiving modern-day shown in letters between chapters.Bagchi carefully constructs his plot – a long winded ambitious tale that tells the story of two families and their men sprawling across generations. This story is told by the fictional, award-winning Hindi novelist, Vishwanath, who takes breaks to pen letters to his brother, his dead son’s girlfriend and his estranged wife.Goswami Tulsidas’s Ramcharitmanas (an Awadhi retelling of Ramayana) undercuts the novel being written within the novel, with additional Sanskrit sloka, Hindi-Urdu couplets, and Qur’anic hadith referenced throughout, each with an English translation. Bagchi’s greatest feat is the way the quoted verses always add to the narrative, never distracting or pulling a reader away. As <a href="https://www.thehindu.com/books/waiting-for-the-monkeys-return-review-of-amitabha-bagchis-half-the-night-is-gone-by-shreevatsa-nevatia/article24714584.ece">The Hindu</a> put it, this is not an ‘Indian novel in English’, it is an Indian novel.The men Vishwanath writes about are deeply flawed and violent – they beat, rape and abandon their wives (stylistically depicted as ‘claiming their conjugal rights’) and yet, somehow, they are always portrayed as layered and interesting individuals. The writing is confusing, it is unclear if the framing of women as always youthful, inherently lustful and scheming is meant to highlight the predicament of women in Indian society or if Vishwanath is just a bad writer.Whatever the motivation, it is the novel's glaring fault. It is difficult to read  Omvati (She manages to get a name – something not every female character in the novel is granted) who is molested by her father in law, and as she stabs and wounds him in a ‘… a coruscating sweep that left her quivering. She felt arousal’.Later in the novel, her husband reaches for her and Omvati throws up again and again. In response, her husband beats and bribes her and ‘takes to visiting prostitutes’. There is never an effort to depict her inner feelings and trauma – only his frustration.Bagchi is a gifted storyteller, creating varied and interesting relationships between his characters both within their families and across them. Diwanchand, the younger son of Lala Motichand, is so devoted to Tulsida Ramcharitmanas, he leaves his inheritance, wife and child to dedicate his life to the work.Makhan Lal, Lala Motichand’s illegitimate child, is a Marx-loving schoolteacher who resents his father. Vishwanath is devastated by his son’s death in a road accident, and only in his grief does he begin to try and repair his relationships. It is only the caricatures of women that leave an unfortunate stain on the novel, a book that otherwise speaks to nostalgia, of interfaith harmony and complex family dynamics.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221109101116/636b6fd19c7e80680e060044jpeg.jpg" alt="" width="640" height="643">Half The Night Is GoneBy Amitabha BagchiJuggernaut, New Delhi, 2018320 pages    550 INRISBN:978-9386228703

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A nostalgic Hindustani novel

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110815110/636a61599c7e80680e056ecbjpeg.jpg" alt="" width="1162" height="638"/><figcaption>Laxmi Prasad Devkota’s 110th birth anniversary is being marked on Sunday 27 October. Photo: KAMAL DIXIT</figcaption></figure>Kalidasa’s Sanskrit masterpiece Abhijnanasakuntalam based on the story of Shakuntala in the Mahabharata was written nearly 1,500 years ago. It was first translated into English in 1789 and later into 12 European languages. But among the many translations into South Asian languages, the one that stands out is its adaptation into Nepali by Laxmi Prasad Devkota, whose 110th birth anniversary falls on Sunday, 27 October.Devkota’s Shākuntal Mahākāvya (1945) is the most accurate in retaining the original shrigara ras classical poetic style in Nepali. Experts have said Devkota’s Shākuntal is neither a translation nor an adaptation, but a ‘transcreation’.Devkota’s Shakuntal is one of the three versions he undertook -- a smaller work called Dushyanta Shakuntala Bhet and an English Shakuntala. It is extraordinary that a poet creates three distinct renditions of the same work in two languages. Devkota, who died in 1959, is also the only poet to write an English Shakuntala with a poetic structure and style totally different from Kalidasa’ dramatic form.Read also: <a href="http://archive.nepalitimes.com/news.php?id=17114#.XbUEiOgzY2w" target="_blank" rel="noopener">Reaching America</a>, Rabi ThapaThe ancient epic has been translated into Persian, Arabic, classical Tamil, and modern translations in Urdu in both poetry and prose, and other regional Indian languages. In Nepali, there are eight other translations of Abhijnanasakuntalam besides Devkota’s three versions.Reading Devkota’s Shakuntal Mahakavya gives the sense that there is two-way communication going on between two great poets of two distinct, but related cultural and poetic traditions, separated by many centuries.Devkota and Kalidasa engage in a spiritual and poetic dialogue when they bring out the meaning of ‘re-cognition’ (abhijnana) of Shakuntala. The mystical symbolism and poetic rhythms of Kalidasa are perceptible only through suggestion (dhvani) and Devkota’s text captures this subtly but surely.Kalidasa’s epic describes Shakuntala’s birth as the abandoned daughter of the sage Vishwamitra and the celestial singer Menaka. The king of Hastinapur meets her in the forest, and leaves her with his ring to be presented when she comes to his palace. Vishwamitra is made to forget the pregnant Shakuntala, and she loses the ring enroute to the palace.Read also: <a href="https://www.nepalitimes.com/review/written-locally-read-globally/" target="_blank" rel="noopener">Written locally, read globally,</a> Sewa BhattaraiThe opening lines of Devkota’s Shakuntal take the reader closer to Kalidasa’s Kumarasambhavam where the erotic tension between Shiva and Parvati is the cause of celebration and creation of the world.Kalidasa’s text has multiple symbols of Shaivism which Devkota did not just recreate it Nepali, but also imbued it with the symbolism of the original epic. The closing lines of Devkota’s rendition comes a full circle with the idea of ‘kalyan’ as Shakuntala’s happiness.Even though Devkota does not recreate the dramatic form, he retains the sense and purpose of the original with his invocation to the Shiva/Shakti principle that forms the basis of the cosmos. As in Kalidasa, Devkota’s Shakuntala ceases to be a person or a character but becomes an embodiment of Shakti and her happiness is the fulfillment of the universe.Devkota’s Shakuntal Mahakavya is infused with the power of the shringara style with its various elements coming together in explosions of creativity. The long and elaborate description of the process of Menaka seducing Vishwamitra is poetically stunning in its deployment of the visual and aural sensual imagery.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110815110/636a615c9c7e80680e056eccjpeg.jpg" alt="" width="440" height="662">While in all the other translations of Kalidasa, the episode of the seduction is either obliquely referred to or assumed to be understood, it is only Devkota who focuses on both the poetic and symbolic significance of the scene.The birth of Shakuntala is seen as an extraordinary cosmic event as it is the result of the Vishwamitra’s incomplete tapas. It was Rabindranath Tagore who referred to Shakuntala’s suffering as her own attempt to gain full knowledge of love by continuing her father’s interrupted meditation.From the male to the female tapasvi, the meditation reaches its climax. While Vishwamitra was seduced by not being aware of Indra’s plan, Shakuntala’s suffering is a result of her being in the dark about Durvasa’s visit to the ashram. While Menaka abandons her child and leaves Vishwamaitra, it is Dushyanta who abandons his child (in the womb) and temporarily leaves Shakuntala. It is only in Devkota’s Nepali version that this sense of continuity and poetic symmetry become clear.Read also: <a href="http://archive.nepalitimes.com/news.php?id=4100#.XbUEougzY2w" target="_blank" rel="noopener">We all make each other</a>, Manjushree ThapaDevkota’s genius lies in his careful delineation of different chhanda for each section which actually has more variety and detail than Kalidasa’s original. Devkota declares in the introduction that his intent is to bring Nepali mahakavya to a higher level of excellence, and he succeeds in doing this.Devkota’s English Shakuntala is a long poem in nine cantos with each marked with a theme: from ‘Vishwamitra: the Terror of Heaven’ to ‘Strife and Unity’. In this work, Devkota keeps his focus on Shakuntala in the manner of the Romantic theme of hero and the quest for self.Devkota is a major South Asian poet for many reasons, but it is his version of Shakuntala that testify to his genius. He actually completes Kalidasa’s masterpiece with the use of extensive meters, both classical and folk, the detailed refinement of shringara rasa, spectacular descriptions of events and subtle use of symbolism make Shakuntal Mahakavya a classic in modern times.Namrata Chaturvedi, PhD, teaches English in SRM University in Sikkim, India and is editor of a forthcoming volume of critical essays on Abhijnanasakuntalam.

The genius of Shakuntalā in Nepali

<figure><img width="1400" height="934" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141116/636a56d39c7e80680e0547a8jpeg.jpg" alt=""/><figcaption>Photo: MONIKA DEUPALA</figcaption></figure>R ight before by-elections for a seat in the Parliament, the corpse of a man called Bishweshwar or ‘Bishu’ is found below a bridge in Sitapur. Educated and aware young dalit farmers raise their voices for this man. That is how the drama Mahabhoj starts.Bishu has been murdered, but parties politicise his death. Journalists try to take advantage of the situation. Police are complicit with the political parties. Bishu’s friend Binod knows the murderer, but the police conspire to frame Binod himself to hide the culprit.Leaders are merrily enjoying a feast, sharing the stage with the dead Bishu. This is a stark scene depicting how leaders make pawns of ordinary people, and entrenched injustice. The crux of the story is how powerful people make fun of the dreams of the poor and innocent.Read also: <a href="https://www.nepalitimes.com/review/private-is-political/" target="_blank" rel="noopener">Private is political</a>, Sewa BhattaraiThe drama is based on a novel of the same name by Indian writer Mannu Bhandari. Written in 1979, it begins with the murder of a dalit youth just when local and central-level elections are approaching. Bhandari herself converted the novel into a play, and poet Viplob Pratik translated it into Nepali. Pratik says the novel, written 40 years ago, is still relevant in Nepal. “This drama shows the impact on society when the 3P’s — politics, press and police — are corrupt,” he says.“Vultures are circling a corpse, dancing as they devour it,” says the first paragraph of the novel. Critic Pooja Madan says that writer Mannu Bhandari has evoked vultures as politicians benefitting from  murder. The play is also a satire on an opportunistic bureaucracy. Says director Anup Baral: “A drama should not just give a message, but also portray reality correctly. It should be able to communicate to the audience and raise questions and curiosities."The performance, which is playing to packed halls, shows how ordinary people become hostages and playthings of the media, politics and police. Director Baral says the play is idea-centric, rather than revolving around characters or events like most dramas, while presenting a realistic story in a poetic way.Actor Ramesh Budhathoki plays central character politician Ramesh Bikram. “My character shows how a clever politician can turn the situation to his advantage,” he notes. Actress Sirjana Subba makes an impact as an honest, pregnant police officer and says her character is meant to show that being pregnant is not unsafe.The play also includes contemporary songs by the poet Viplob Pratik. Strong acting by Dayahang Rai, Buddhi Tamang, Rajan Khatiwada, Viplob Pratik and Vijay Baral bring the play alive.  Read also: <a href="https://www.nepalitimes.com/review/all-the-world-is-a-stage-in-kathmandu/" target="_blank" rel="noopener">All the world is a stage in Kathmandu</a>, Sewa BhattaraiMahabhoj, Mandala Theatre, Kathmandu5:15 PM, Until 4 Oct

The great feast of death

Muna Gurung

Shanti Chaudhary: Poet-at-large

https://www.youtube.com/watch?v=_hUzmFktVAsHis hair graying and receding, his gaunt and weathered face creased with laughter wrinkles, Narayan Wagle looks out over the city from his 8th floor newsroom and pours out his exasperation of trying to juggle journalism with fiction.After two novels in 14 years, the editor of Kantipur has returned to non-fiction with his new book, Koreana Coffee Guff that employs the chatty style he developed in his newspaper columns, but written from his experiences in Korea. After trying to use fiction to get closer to the truth, and hit by writer’s block on his third novel, the journalist seems to have come a full circle.“The characters in my new novel were not behaving the way I wanted them to,” Wagle says, breaking into easy mirth. “If they are saying things I do not want them to say, then I could not take the plot in the direction I wanted to.”So, Wagle put his characters into hibernation and turned to non-fiction. The journalist in writer was inspired by his sixth trip to Korea to make that country the backdrop for his narrative. Even though there are over 70,000 Nepali workers in Korea, he did not interact with too many of them, and they do not figure in his book.Wagle used to have a popular column called Coffee Guff during his first stint at Kantipur in the 1990s, and he has reverted to its meandering conversations interspersed with monologues and philosophical observations in Koreana. Even though it is an account of his travels in Korea, Wagle says it is not a  travelogue but ‘creative non-fiction’.Read also<a href="http://archive.nepalitimes.com/news.php?id=572#.XG6MZaIzbIU" target="_blank" rel="noopener">: Fiction more real than fact</a>, Kunda Dixit<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a26e99c7e80680e043a40jpeg.jpg" alt="" width="1300" height="966"/><figcaption>Photo: Monika Deupala</figcaption></figure>“Every day I deal with the ins and outs of news, which has a limited writing style, but there is a creative writer in me that seeks release, and that is why I combine them in creative non-fiction,” Wagle explains.Wagle does find ways to be creative in journalism as well, but says that is only the surface. Actually, he is always curious about what is hidden between the lines. That takes him to explore different facets of life through other writings. But since journalism is a hectic job in itself that sometimes takes more than the normal 8-hour workday, he is left with little time to write. But there is always time to read.“To be a good writer, you must read as much as possible, which is what I try to do when I have time left over after deadline,” says Wagle showing the translated books that he carries around in his bag. “It is important to read world literature, I am intrigued by how people express their thoughts in creative ways in different languages.”In his novelist avatar, Narayan Wagle shot to fame in 2005 after winning the Madan Puraskar for his first novel <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/palpasa-caf%C3%A9-translated-in-french,1847">Palpasa Café</a>, which is set during the war. His second novel Mayur Times was not as well receivied, stranding him in a mid-career crisis for almost a decade.Palpasa Café has been translated into four languages, but most Nepali literature is not known outside Nepal because of the lack of translations. Wagle, however, thinks Nepali literature must first try to be world class to be taken seriously by the world.“Rather than thinking of where we are on the world stage, I think it is important to develop our own voice first. Once we focus on developing a strong reading and writing culture, and on creating literature that represents the diversity of Nepal, only then can we think of taking it outside,” he says.Wagle can often be seen commuting to work on foot, taking gangly steps along the dusty sidewalks of Patan. It almost seems as if he is searching for the lost characters of his next novel so he can get them to behave themselves again.Read also<a href="https://www.nepalitimes.com/review/written-locally-read-globally/" target="_blank" rel="noopener">: Written locally, read globally</a>, Sewa Bhattarai

Novelist returns to non-fiction

Shivani Singh Tharu took nine years to write the thriller Kathmandu Ma Ek Dinhttps://youtu.be/hmpBALWFR_8<a href="https://www.facebook.com/Shivani-Singh-Tharu-162400030500873/?ref=br_rs">Shivani Singh</a> Tharu always knew she was born to be a storyteller. And so it was that through her colourful modelling career, television anchor, <a href="http://archive.nepalitimes.com/news.php?id=17568#.Ws8hly5ubIU">radio</a>, and now as a novelist -- the core essence of telling a story has always been what has driven her.Tharu’s debut novel launched this week, Kathmandu Ma Ek Din, took nine years to write. It is a political thriller and revolves around a character named Ghurna from the plains who battles social injustice in the unstable politics of the post-conflict era after 2006.“Most people think of me as someone from the fashion field, and do not really associate me with literature, but those who have known me personally know that I’ve always been into writing and reading,” says Tharu, while autographing her book on Tuesday at the Russian Cultural Centre. <figure><img width="1500" height="1177" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110710110/6368c9f69c7e80680e02f2dfjpeg.jpg" alt=""/><figcaption>Pics: Gopen Rai</figcaption></figure>Since her childhood, Tharu has had a voracious appetite for everything from Tintin to Tinkle, and stories like Amar Chitra Katha to Manohar Kahaniyan. She admits to being constantly drawn to the intriguing, macabre and mysterious world of thrillers and detective dramas.One of the biggest challenges of writing a novel for Tharu was to be able to write the kind of book that would satisfy the reader in herself. Now that it has been published, she is going through what most writers often experience: a sense of emptiness because she misses the process of writing, the fun, the struggle and the exhaustion.Language was another obstacle she had to overcome because Tharu herself admits she has difficulty with writing in Nepali. But she didn’t let this deter her, and overcame the handicap by reading Nepali literature voraciously and doggedly. This is also her advice to aspiring writers: “To write, you have to read.” <img width="640" height="471" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110710110/6368c9fa9c7e80680e02f2e0jpeg.jpg" alt="">Asked about her next book, she laughs gently and says that it is a secret. “People have already given me a hard time for taking nine years to write this book,” she says, “I am not making that same mistake again. I will only talk about my second book once it is ready.”Tharu’s passion, energy and enthusiasm for the literary world is evident in her talent and personality. She knows mainstream Nepali men may not take her seriously because of her background, but Tharu deflects the criticism saying she wants to be judged by her words.She adds: “It is fine if some people cannot think of me as a serious writer. I know I am an underdog just now, and that’s ok. I’ve always loved underdogs. I will continue to do what I love and enjoy, which is writing.” <img width="500" height="752" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110710110/6368c9fd9c7e80680e02f2e1jpeg.jpg" alt="">Read Also:<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Kathmandu-wont-let-go-of-me-samrat-upadhyay,3649">"Kathmandu won't let go of me"</a>, Nepali Times<a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/our-own-lives,3165">Our Own Lives</a>, Raisa Pande

Shivani's Kathmandu

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

A new architecture for Nepal's tourism

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

“Tell me what the common man is thinking!”

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

Fromage, vin et charcuterie Népalais

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