‘How can we make the earth and all life dependent on it more beautiful and prosperous?’
Originally published on Global Voices
Bhupeen is a prominent Nepali poet, essayist, and novelist known for his powerful contributions to contemporary Nepali literature. He has published three collections of poems, a collection of essays, and a novel. Bhupeen is one of the founders of the “Conservation Poetry Movement,” which aims to raise awareness in rural Nepal about environmental issues through poetry. His poetry often explores themes of love, identity, nature, and social issues, reflecting the complexities of modern life in Nepal.
Bhupeen was awarded a gold medal in a poetry competition by Tanahun Sahitya Sammelan (the Tahahun Literary Summit) and received the International Nepali Literary Society (INLS) Literature Award in 2011 for his poetry collection “Hazar Varshako Nidra” (Sleep of a thousand years). Additionally, he won the Uttam Shanti Puraskar prize for “Chaubis Reel” (24 reels), a collection of essays, as well as the Khemlal Lamichhane Sahitya Puraskar prize, Kabidanda Abinashi Utkrista Kriti Puraskar prize, and International Nepali Literary Society (INLS) Best Book award 2021 for his novel “Maidaro” (completion of work).
Bhupeen's work resonates with a wide audience due to his ability to convey deep emotions through simple yet powerful language, establishing him as one of the most influential contemporary poets in Nepal.
Sangita Swechcha of Global Voices interviewed Bhupeen via email to delve into his journey as a poet, his reflections on using poetry as a medium to address social issues, and his thoughts on the evolving role of Nepali poetry in both fostering social change and contributing to the global literary landscape.
Sangita Swechcha (SS): Your poetry often addresses social issues. How do you choose the themes you write about, and what message do you hope to convey through your work?
Bhupeen (B): How can we make the earth and all life dependent on it more beautiful and prosperous? This question has been discussed for thousands of years and will continue to be debated. In my view, this is the most crucial and complex issue of human civilisation. Since a comprehensive theory that resolves all complexities (Theory of Everything) has not yet been accepted, and new complexities arise continuously, no writer connected to society can likely remain untouched by social issues.
They may attempt to distance themselves from these issues to appear purely aesthetic, and they may even succeed to some extent. However, it is impossible to connect with society, time, and life by avoiding social issues. No art is born in a vacuum, and hence I see little meaning in literature that does not address issues such as class disparities and their causes, gender inequality and women’s empowerment, Dalit liberation, the oppression of marginalised communities, and environmental protection.
I am close to a school of poetry that views art in connection with life. Thus, the issues of the society I live in naturally emerge in my creations. I believe art should contribute to creating an environment conducive to social change — it must.
SS: Are there any upcoming projects or themes you’re excited to explore in your future poetry or writing?
Poet Bhupeen signing his novel “Maidaro” after its launch event in Nepal. Photo by Mahendra Ojha. Used with permission.
B: After publishing the novel “Maidaro”, which expresses solidarity with the Dalit liberation movement, I initially planned to write another novel not centred on contemporary issues. My experience of being attacked by intellectuals from the communities I wrote about had left me disheartened. However, during the COVID-19 period, I expanded and deepened my social studies and felt compelled to write another novel focusing on a social issue. For now, I wish to remain silent about which geography, society, and issue this novel will focus on.
Unfortunately, during the process of writing, I lost my mother. Her absence affected me more profoundly than I had imagined. I felt almost on the brink of depression, which shook my life-affirming ideology. I stopped reading for a while; even seeing the word “mother” in a book would make me feel suffocated. My ongoing novel included a character based on my mother, but I couldn’t write it and had to set it aside. I realised that even the so-called cathartic literature cannot always be written during moments of grief and loss.
During this time, I spent much of my time alone, wandering by riversides and in forests, developing an interest in bushcraft. Immersing myself in nature deepened my understanding of life. I feel that now I might emerge as a butterfly, opening new horizons of possibilities in my creations. What kind of butterfly will emerge — ordinary or extraordinary? I leave that to time to decide.
SS: How do you see the role of poetry in contemporary Nepali society, and what impact do you think it can have on social change?
B: A society that loves folk literature can never hate poetry. The diverse civilisations and cultures in this small area have gifted us an abundance of folk literature. We have inspiring Jataka tales, Mundhum, Maithili, and Vedic Sanatan literature, along with the rich traditions of the Tharu, Gurung, Magar, Tamang, and Thakali communities. It would be irrational to think that our society, which loves Muna Madan (a 1936 Nepali-language episodic love poem), rejects poetry and its role.
But have we truly viewed our arts and literature with tolerance? Did we confine their horizons to specific communities, or did we try to expand them? Have we accepted linguistic colonisation by calling only Sanskrit or English literature as “literature”? Did our societal values support injustice toward our native languages, or did they focus on their enrichment? It is necessary to discuss these questions.
I think Nepali society has always respected poetry and poets (though there are also pollutants of deification). However, poetry may not always be accepted if it dwells within the comfort zone of tradition. It is easy to compose poetry influenced by old works without capturing the new pains and consciousness of the present time. But poetry falls into a stereotype that way. Poets must dare to step outside their boxes. The challenge is to create meaningful poetry that society respects and that can lead it in a progressive direction. Such poetry can add new values and make a positive contribution to social transformation.
SS: How do you see the connection between Nepali poetry and the global poetry movement, and what role do you think international platforms play in promoting local voices?
B: Nepali literature is also global literature. It is incomplete to view Nepali literature separately from global literature. The history of Nepali literature is not as long as English, Sanskrit, Spanish, Greek, or other literary traditions. However, Nepali literature has learned and progressed significantly in a short span of time. Just as new technologies reach us quickly, literature also flows to us. Nepali readers are reading both foreign and Nepali literature, which is convenient today.
It is the new campaigns and movements that bring novelty to literature. We are influenced by global literary campaigns. Local movements are also emerging. If we can globalise them, there is potential for the world to pay attention to Nepali literature. Translating Nepali poetry into English and other languages is equally important. I see an important role of translators and literary campaigners in this area.
