The Nepali literature has made great strides since the Rana regime. I have used the Keatsian term “unheard melodies” to refer to the voices of the marginalised in this article. Subalterns include women, Dalits, people living with disability, the poor, and people of different ethnic and cultural backgrounds. The Nepali literature is still not at its peak in terms of its ability to bring out the unique socio-cultural, ethnic, religious and geographical experiences of the marginalised that global audiences are eager to read and research.
The Rana regime (1846-1951), which lasted 104 years, stopped writers from writing for laypeople. Writing was still done in praise of the Rana regime, or the people who were in power. Literature was a genre that belonged to the societal elite. Writing was not a way to bring about social change. Krishna Lal Subba was held for nine years after he wrote a book called “The Book of Change.” Makaiko Kheti(1920), which refers to the cultivation of maize. Devendra Pandey claims that Subba tried to influence the collective thoughts of the Nepali people regarding the possibility of social change that was not allowed by the current regime.
Control and censorship
The Gorkha Language Publication Committee was founded in 1913 to regulate and censor publications. To publish a book on any topic, one must first bring it to inspection by the Gorkha Language Publication Committee. The publisher who publishes a book without approval from the committee will be penalized fifty rupees. If the book’s content is not acceptable, it will be seized and punished according to the decision of the committee.
Michael Hutt writes that some writers began to reject the old traditions of writing, while others adopted traditional styles and genres to express their new concerns.
Laxmiprasad Devkotas runs this course. Muna Madan (1936) was, and still is, the most widely read book. This book was a literary genre for the marginalised that described the society of that time, their daily chores and their love and humanity.
Poetry was then the most popular genre, even though there were other genres such as Bal Krishna Sama dramas and others. Dharanidhar Sharma and Mahananda Sapkota were among the most prominent poets of that time. They were conscious, active, and innovative, as was Surya Bikram Kyawali, Mahananda Sapkota and Siddhicharan Srestha, Laxmiprasad Devkota, and many others. Poetry was the medium of expression in the 1960s and 1970s, as can be seen in the poetry of Bhupi Serchan, Mohan Koirala and Ramesh Bikal. Poetry alone could not address the conditions of those who are marginalized.
In 1957, the Nepal Academy was established to promote and develop Nepali literature. The Panchayat system and its one language policy impeded the development of literature across many languages. This period lasted from 1960 to 1990. It means that the chance to bring in marginalised voices from different ethnic, cultural, and linguistic backgrounds remained distant.
Sajha Prakashan was a government-owned publishing company that began operations in 1964. There were published some fiction and nonfiction in Nepali. Younger writers were influenced by Marxism, existentialism and Freud in the 1960s. However, their predominant tone was one of social and cultural alienation, rather than political rebelliousness. The influence can be seen in the writings by BP Koirala and Parijat, whose novels and poems reflect existentialism as well as Marxism. Rare were works of translation. Despite the optimism of those times, writings did not reflect the voices of the marginalized.
Current environment
Writings and translations rose to new heights as publishers and newspapers grew and the constitution guaranteed press freedom. Singh (2014) writes that bookshops such as Mandala Book Point or Educational Book House entered publishing. Suvani Singh writes that Nepalaya envisioned a revival in the Nepali language publishing sector. They wanted a fresh look and a unique style of writing, as well as a different marketing strategy. For example: Palpasa CafNarayan Wagle broke new records and established new trends.
We now have many publications that are focused on different genres or missions. Akshar Creations, for example, focuses on women’s writings. There are many publishing houses that publish books of literary genres like Fine Print, Phoenix Books and Shikha Publication. The marketing strategies and editorial processes are evolving in a way that is more modern than ever before. Manuscripts are being edited, production values for books are high quality, and promotional campaigns often accompany a book’s launch.
Comparatively to the past, current literary writing has a more open, decentralised, and multivocal style. For example, Rajan Mukaraungs Madan Prize winner DaminivirIt is what Mikhail Bakhtins would call polyphonous, which means the novel houses voices for the marginalised. The novel introduces a movement called srijansil-arajakta which is “creative anarchy” and decentralizes the traditional method of writing fiction. Similar to Bina Thing Tamangs collection stories Yambuner“Near Kathmandu” means “near Kathmandu”, and highlights the voices of the marginalized. Amar Neupanes Seto DhartiThe name “white earth” can be used to refer to the lived experiences of marginalised women. This is something that the younger generation needs to learn. You can also read fiction by Shyam Sahas that speaks the voices of the marginalised. PatherOr Nayan Raj Pandeys UlarKrishna Abirals or, KariyaSaraswati Pratixyas Nathiya or Nilam Karki Niharikas Yogmaya.
Abhi Subedi writes that Nepali literature is now producing works about the subaltern and ethnic power of aesthetics. This is a fresh development that is sure to give new life to Nepali literature. This resurgence in voices, aesthetic perceptions, and experimentations is a key factor in the overall experience of writing Nepal.
One can use unique techniques and tools to enhance the effectiveness of any genre. Yes, audience is important. Writing in English about the marginalised is important for a wider readership. Also, it is crucial to translate the best Nepali writings into English. It is important that Nepali literature thrives in a healthy relationship with its critics, writers, and publishers.
