Dr. Nawa Raj Subba.
Artistic writing is called literature or creation. In literature, there is not only objective writing but also thematic imagination. Not all literature is thought or written. Sadhana or dedication is also needed for that. It is not enough to do sadhana; there should also be meaningful work.
I believe creation should be absolute in itself, and style should be original. The meaning of my statement is that it should be written in an independent or free-spirited manner, utterly free from insistence or prejudice. If a writer’s text deceives or puts someone down, that writing becomes praise or a slogan. Not everyone considers literature. Therefore, literary creation is free, spontaneous feelings bound by specific arts. There are also some ideas of literary creation. In the market, someone introduces a new style to get known as a creator.
Writers and artists are self-respecting; no one counts anyone. They only believe in themselves or their company. Therefore, literature is also a mixture, Khichadi. Getting a real piece of literature work and the creator in the market is demanding. As a Nepali language literature student, I am interested in this. I don’t know much about the other side. I am informed about the literary market of my hometown Biratnagar and a glimpse of Jhapa, Sunsari, Dhankuta, Kathmandu, and Chitwan. I am expressing my feelings on that basis. I understand that I don’t know how to write artistically. I have a habit of talking about what I have seen and experienced. Don’t be angry.
Writers are resourceful. They are also creating good things. Thus, the Nepali literature sector has become a market today. It has been tried to promote literature not only individually but also institutionally. As much as the names and objectives of literary organizations sound familiar, their activities and styles differ when you see them. You may be shocked to see the organizations and awards opened in the name of literary services. Likewise, one is surprised to see their politics, strategy, and business.
Today, the political and literary markets are in the same place. Just as political leaders and workers are arranged as ministers and parliamentarians in the three-level government, the artists and writers who carry the bag of the party’s hollow principles are given posts and opportunities at Nepal Academy, Drama Academy, and Music Academy in Nepal. Some are worthy of it, but they are few and far between, like the gold teeth that show. Trust an establishment opened by merchants heats the market yearly by playing literary and musical drums. When you understand the truth about which work or author won the award on what basis, it all sounds like drama. I saw that someone else had written the Ph.D. thesis for a candidate at the university. A journalist claims three people have written the book that won the Madan Puraskar award. A critic used to claim that someone got an award for doing such and such work for the trust. Scenes inside and outside the screen are different.
During the Panchayat era, the literary and artists companies sang the songs of monarchy and system; today, they dance according to the dictates of the party and the leader. As a result, a long line of writers and artists has continuously run in an unhealthy race that the naked eye cannot see. There are no transparent criteria for the evaluation of works or creators. Literary organizations are busy handing out awards. The creators are enjoying the market with self-satisfaction. That is why simple writers have to bow their heads in today’s literary atmosphere.
Writers and artists are wearing garlands and sitting on a stage before the programme on a literary conference or a meeting begins. If you find yourself in the midst, realise it must be the chairperson, the primary guest, or some other important person decked out in garlands. Their adherents are seated in front of them, facing the audience. They are writers or artists on stage or in front and have one behaviour, such as excessive applauding.
Yes, applause is enjoyable for authors and artists. They frequently make eye contact with the crowd to clap. Some people make clapping or opening mouth gestures. The desire for writers and artists is also distinct. Some are hungry for the name, while others are eager for honours, money, position, and prestige. I bet no one who isn’t interested in the above will become an artist or a writer. Myself is an illustration of this. I’m also craving one or more of the above. I mean, I am not a dry one above the water. I just conducted a self-examination.
We serve as power priests. Whose power is their loyalty is our catchphrase. How much better it would be if devotion to the goddess Saraswati became the exclusive focus of the art world, just as it is with power in politics. The Creator’s hard labor would have been necessary if it had been. But just as there are leaders according to the people, there are writers and artists according to society. They visit the temple first thing in the morning and feel fortunate to perform the visiting the political figure.
The literary market is competitive today. Both it’s simple and tough to know someone’s original works. Some writers and artists abandon their literary works and enter the political and commercial spheres. They want assurance from the political leaders not from their works. Some writers and artists get proud of becoming aligned with the political parties. When their party comes to power, they are considered activists and given badges, jobs, medals, and opportunities. As a result, the art and literary organizations look like sister organizations of the political parties.
Today any wealthy dominant people can become a writer easily. There are many professional pens in the market who writes their biography and books by taking a charge. One must give him an interview or produce a diary is enough to write books by someone else. It is now up to the reader to consider who wrote a work or a book and why. One needs to see if the composition is sponsored or original work. Is it only for name, fame, and reward, or is the work meaningfully created? The reader should assess if the author wrote based on spontaneous sentiments and themes or an inclination or artificial. No matter how much praise and rewards the author’s book receives, it is considered sponsored. It has no literary significance or value because of the words that move around self-interest.
Let’s take a peek at Biratnagar’s literary scene now. Leading writers launched the common forum Vani Prakashan of Literature cooperative organisation in Biratnagar yesterday. It seems like only yesterday that the organisation was founded has become a history. Its founding writers should be honoured because Vani Prakashan brought together a diverse range of writers. But unfortunately, the institution went bankrupt due to declining regulation of financial situations. Other cooperative organizations have bloomed twice, day and night, but Vani Prakashan Cooperative has withered away for reasons I cannot comprehend. Was the writer so dishonest that he failed to repay the money taken from the cooperative, so sinking the institution?
According to this columnist in Vani Prakashan, the organisation should be audited, and the results made public. Surprisingly, it is because of this that this writer has become an undesired person, like the eye object of Biratnagar’s literary players. Vani Prakashan was silenced after only a few years of speaking in this manner. Why isn’t anyone discussing how Vani drowned? The officials of Vani Prakashan Co-operative Society then have no responsibility? No meeting, no information, no white paper; Vani Prakashan Cooperative was permanently closed after being locked like a person’s shop. I’m astonished that no one is speaking about it.
Following the closure of Vani Prakashan, new literary institutes sprung up in Biratnagar. Various types of art and literary institutions appeared in Biratnagar. However, Vani Prakashan’s fate continued to press this pen. No one speaks even the ‘V’ of the Vani Prakashan while everyone is together. Why don’t they want to say yes even when asked? I was shocked and sad to see literary pals who used to assemble in Vani Prakashan’s room to recite poetry and publish works sitting silently.
As a cooperative shareholder, I have certain reservations. This pen has a legal relationship with the organisation as a shareholder member. However, I have an emotional connection with Vani Prakashan as a literature lover. I published a book through this organisation at my own expense. I also utilised the institution’s name when printing the work. I remember those days when I delivered poetry at various literary conferences and gatherings held by the organisation. As a result, I was allowed to make my academic premiere. In this way, I will never forget Vani Prakashan’s contribution to my life. I used to believe that the writers of Biratnagar were responsible and observant. I discovered what kind of authors and artists we are after an incident in Biratnagar.
There had been a longtime adherence with the Biratnagar writers and artists. I had numerous chances to comprehend their mentality, but they were superficial. Meanwhile, talks with writers and artists provided us with ideas and knowledge. Moreover, everyone seemed to be yearning for something fresh in the light of the country’s political developments. Therefore, they wished to establish a new association. During this process, I became involved and eventually became the president of an organisation.
I soon recognised that I had become a mascot for a particular interest group. It assumed that we had accomplished some creative labour by grouping ourselves as authors. During the dialogue, I discovered that there was more to the concept than just literary production and academic progress. They were like show teeth, displaying purposes such as literary promotion. Going to government authorities, seeking non-governmental organisations, and obtaining financial resources were the chewing teeth. It would be fine. If only that were the case, but the idea was to continue the trend of claiming the government’s land occupied by others. I was compelled to work on illegally acquiring property for the institution by my company.
On the other hand, the artist sought to take over Biratnagar’s Public Auditorium during the Metropolitan was without public representatives in the office. Artists asked me to support their demands. I didn’t believe taking public property for a particular interest was proper. A writer used to demand loudly that we authors also should pressure the government to get the government pension. After realising the desires and goals of friends, the true intention of Biratnagar’s writers and artists became clear. I didn’t need another trip to shock to grasp the attitude, behaviour, and aspirations of writers and artists who are said to be socially conscious.
My acquaintances thought I was the head of a literary society, but my intentions differed. Even though they show appealing qualities such as name and honour, self-interest was different. I had welcomed it as a genuine service and creative opportunity rather than being drawn to the role. After learning about the obligations of authors and artists over a few months, I felt that running the organisation was unjust. So I quit that group right away and became self-sufficient.
Many people have asked me why I don’t attend literary conferences these days. My simple answer is that I am now ill and resting at home. Some individuals wonder why I stopped meeting after not seeing me for many years! My response is that these days I sit at home and read articles, study, and so on. With relief, I declare to a close friend, “Now I’m sorry.”
I assess my responses. I find these responses are insufficient expression. They were also not quite true, but also not entirely false. My conscience tells me that literature is a selfless act or service. Why should I go if it isn’t there? Literature, it is believed, depicts life and the world. That’s correct. I didn’t see everything, but I did see something.
As I’ve already mentioned, the area of literature has primarily drifted and fallen; it is not a simply scholarly domain. There, the teeth of greed exceed those of charitable contributions and selfless work. That is why my mind is currently bored with the so-called literary atmosphere. This mentality is perplexed by unhealthy competitiveness. I’m not sure when my heart will return.
Dr. Nawa Raj Subba is a Public Health Specialist, Researcher, Author, Poet, Lyricist, and Essayist from Nepal. He has published research papers and books in the fields of public health, history, and culture. In the sphere of literature, he has also released a collection of poems, essays, and albums.
Dr. Nawa Raj
Dr. Nawa Raj Subba.
Artistic writing is called literature or creation. In literature, there is not only objective writing but also thematic imagination. Not all literature is thought or written. Sadhana or dedication is also needed for that. It is not enough to do sadhana; there should also be meaningful work.
I believe creation should be absolute in itself, and style should be original. The meaning of my statement is that it should be written in an independent or free-spirited manner, utterly free from insistence or prejudice. If a writer’s text deceives or puts someone down, that writing becomes praise or a slogan. Not everyone considers literature. Therefore, literary creation is free, spontaneous feelings bound by specific arts. There are also some ideas of literary creation. In the market, someone introduces a new style to get known as a creator.
Writers and artists are self-respecting; no one counts anyone. They only believe in themselves or their company. Therefore, literature is also a mixture, Khichadi. Getting a real piece of literature work and the creator in the market is demanding. As a Nepali language literature student, I am interested in this. I don’t know much about the other side. I am informed about the literary market of my hometown Biratnagar and a glimpse of Jhapa, Sunsari, Dhankuta, Kathmandu, and Chitwan. I am expressing my feelings on that basis. I understand that I don’t know how to write artistically. I have a habit of talking about what I have seen and experienced. Don’t be angry.
Writers are resourceful. They are also creating good things. Thus, the Nepali literature sector has become a market today. It has been tried to promote literature not only individually but also institutionally. As much as the names and objectives of literary organizations sound familiar, their activities and styles differ when you see them. You may be shocked to see the organizations and awards opened in the name of literary services. Likewise, one is surprised to see their politics, strategy, and business.
Today, the political and literary markets are in the same place. Just as political leaders and workers are arranged as ministers and parliamentarians in the three-level government, the artists and writers who carry the bag of the party’s hollow principles are given posts and opportunities at Nepal Academy, Drama Academy, and Music Academy in Nepal. Some are worthy of it, but they are few and far between, like the gold teeth that show. Trust an establishment opened by merchants heats the market yearly by playing literary and musical drums. When you understand the truth about which work or author won the award on what basis, it all sounds like drama. I saw that someone else had written the Ph.D. thesis for a candidate at the university. A journalist claims three people have written the book that won the Madan Puraskar award. A critic used to claim that someone got an award for doing such and such work for the trust. Scenes inside and outside the screen are different.
During the Panchayat era, the literary and artists companies sang the songs of monarchy and system; today, they dance according to the dictates of the party and the leader. As a result, a long line of writers and artists has continuously run in an unhealthy race that the naked eye cannot see. There are no transparent criteria for the evaluation of works or creators. Literary organizations are busy handing out awards. The creators are enjoying the market with self-satisfaction. That is why simple writers have to bow their heads in today’s literary atmosphere.
Writers and artists are wearing garlands and sitting on a stage before the programme on a literary conference or a meeting begins. If you find yourself in the midst, realise it must be the chairperson, the primary guest, or some other important person decked out in garlands. Their adherents are seated in front of them, facing the audience. They are writers or artists on stage or in front and have one behaviour, such as excessive applauding.
Yes, applause is enjoyable for authors and artists. They frequently make eye contact with the crowd to clap. Some people make clapping or opening mouth gestures. The desire for writers and artists is also distinct. Some are hungry for the name, while others are eager for honours, money, position, and prestige. I bet no one who isn’t interested in the above will become an artist or a writer. Myself is an illustration of this. I’m also craving one or more of the above. I mean, I am not a dry one above the water. I just conducted a self-examination.
We serve as power priests. Whose power is their loyalty is our catchphrase. How much better it would be if devotion to the goddess Saraswati became the exclusive focus of the art world, just as it is with power in politics. The Creator’s hard labor would have been necessary if it had been. But just as there are leaders according to the people, there are writers and artists according to society. They visit the temple first thing in the morning and feel fortunate to perform the visiting the political figure.
The literary market is competitive today. Both it’s simple and tough to know someone’s original works. Some writers and artists abandon their literary works and enter the political and commercial spheres. They want assurance from the political leaders not from their works. Some writers and artists get proud of becoming aligned with the political parties. When their party comes to power, they are considered activists and given badges, jobs, medals, and opportunities. As a result, the art and literary organizations look like sister organizations of the political parties.
Today any wealthy dominant people can become a writer easily. There are many professional pens in the market who writes their biography and books by taking a charge. One must give him an interview or produce a diary is enough to write books by someone else. It is now up to the reader to consider who wrote a work or a book and why. One needs to see if the composition is sponsored or original work. Is it only for name, fame, and reward, or is the work meaningfully created? The reader should assess if the author wrote based on spontaneous sentiments and themes or an inclination or artificial. No matter how much praise and rewards the author’s book receives, it is considered sponsored. It has no literary significance or value because of the words that move around self-interest.
Let’s take a peek at Biratnagar’s literary scene now. Leading writers launched the common forum Vani Prakashan of Literature cooperative organisation in Biratnagar yesterday. It seems like only yesterday that the organisation was founded has become a history. Its founding writers should be honoured because Vani Prakashan brought together a diverse range of writers. But unfortunately, the institution went bankrupt due to declining regulation of financial situations. Other cooperative organizations have bloomed twice, day and night, but Vani Prakashan Cooperative has withered away for reasons I cannot comprehend. Was the writer so dishonest that he failed to repay the money taken from the cooperative, so sinking the institution?
According to this columnist in Vani Prakashan, the organisation should be audited, and the results made public. Surprisingly, it is because of this that this writer has become an undesired person, like the eye object of Biratnagar’s literary players. Vani Prakashan was silenced after only a few years of speaking in this manner. Why isn’t anyone discussing how Vani drowned? The officials of Vani Prakashan Co-operative Society then have no responsibility? No meeting, no information, no white paper; Vani Prakashan Cooperative was permanently closed after being locked like a person’s shop. I’m astonished that no one is speaking about it.
Following the closure of Vani Prakashan, new literary institutes sprung up in Biratnagar. Various types of art and literary institutions appeared in Biratnagar. However, Vani Prakashan’s fate continued to press this pen. No one speaks even the ‘V’ of the Vani Prakashan while everyone is together. Why don’t they want to say yes even when asked? I was shocked and sad to see literary pals who used to assemble in Vani Prakashan’s room to recite poetry and publish works sitting silently.
As a cooperative shareholder, I have certain reservations. This pen has a legal relationship with the organisation as a shareholder member. However, I have an emotional connection with Vani Prakashan as a literature lover. I published a book through this organisation at my own expense. I also utilised the institution’s name when printing the work. I remember those days when I delivered poetry at various literary conferences and gatherings held by the organisation. As a result, I was allowed to make my academic premiere. In this way, I will never forget Vani Prakashan’s contribution to my life. I used to believe that the writers of Biratnagar were responsible and observant. I discovered what kind of authors and artists we are after an incident in Biratnagar.
There had been a longtime adherence with the Biratnagar writers and artists. I had numerous chances to comprehend their mentality, but they were superficial. Meanwhile, talks with writers and artists provided us with ideas and knowledge. Moreover, everyone seemed to be yearning for something fresh in the light of the country’s political developments. Therefore, they wished to establish a new association. During this process, I became involved and eventually became the president of an organisation.
I soon recognised that I had become a mascot for a particular interest group. It assumed that we had accomplished some creative labour by grouping ourselves as authors. During the dialogue, I discovered that there was more to the concept than just literary production and academic progress. They were like show teeth, displaying purposes such as literary promotion. Going to government authorities, seeking non-governmental organisations, and obtaining financial resources were the chewing teeth. It would be fine. If only that were the case, but the idea was to continue the trend of claiming the government’s land occupied by others. I was compelled to work on illegally acquiring property for the institution by my company.
On the other hand, the artist sought to take over Biratnagar’s Public Auditorium during the Metropolitan was without public representatives in the office. Artists asked me to support their demands. I didn’t believe taking public property for a particular interest was proper. A writer used to demand loudly that we authors also should pressure the government to get the government pension. After realising the desires and goals of friends, the true intention of Biratnagar’s writers and artists became clear. I didn’t need another trip to shock to grasp the attitude, behaviour, and aspirations of writers and artists who are said to be socially conscious.
My acquaintances thought I was the head of a literary society, but my intentions differed. Even though they show appealing qualities such as name and honour, self-interest was different. I had welcomed it as a genuine service and creative opportunity rather than being drawn to the role. After learning about the obligations of authors and artists over a few months, I felt that running the organisation was unjust. So I quit that group right away and became self-sufficient.
Many people have asked me why I don’t attend literary conferences these days. My simple answer is that I am now ill and resting at home. Some individuals wonder why I stopped meeting after not seeing me for many years! My response is that these days I sit at home and read articles, study, and so on. With relief, I declare to a close friend, “Now I’m sorry.”
I assess my responses. I find these responses are insufficient expression. They were also not quite true, but also not entirely false. My conscience tells me that literature is a selfless act or service. Why should I go if it isn’t there? Literature, it is believed, depicts life and the world. That’s correct. I didn’t see everything, but I did see something.
As I’ve already mentioned, the area of literature has primarily drifted and fallen; it is not a simply scholarly domain. There, the teeth of greed exceed those of charitable contributions and selfless work. That is why my mind is currently bored with the so-called literary atmosphere. This mentality is perplexed by unhealthy competitiveness. I’m not sure when my heart will return.
Dr. Nawa Raj Subba is a Public Health Specialist, Researcher, Author, Poet, Lyricist, and Essayist from Nepal. He has published research papers and books in the fields of public health, history, and culture. In the sphere of literature, he has also released a collection of poems, essays, and albums.
Dr. Nawa Raj
Dr. Nawa Raj
Dr. Nawa Raj Subba is a public health specialist who has more than three and a half decades of experience working in public healthcare management at the Ministry of Health and Population in Nepal. In the spirit of public-private partnerships to expand access to health care in rural communities in Eastern Nepal, he played a vital role in leading operational research. He has also independently researched public health and intercultural psychology in Nepal. He published his works in books and journals. Nepali literature, culture, and music recognized him as an author. He has written artistic and cultural texts and CDs. His work has been acknowledged and appreciated by civil society, the government of Nepal, and abroad. He is now involved in Public Health and Intercultural Psychology studies in Nepal.