Author Neelam Karki Niharika Discusses Historical Fiction, Literary Influences, and the Evolving Reading Culture

Neelam Karki Niharika began her literary journey with a novel titled 'Moun Jeevan' (Silent Life), writing in the genres of novel, short story, and poetry. To date, she has published six novels, five short story collections, and a long poetry collection named 'Mastishka Jwaro' (Brain Fever). She is soon coming before readers with a novel set against a historical backdrop.

She has been honored with the Madan Puraskar for her novel 'Yogamaya' and the Padma Shri for 'Cheerharan'. Niharika is the fourth female writer to receive the Madan Puraskar. Residing in the United States for a long time, she is currently in Nepal. This is an edited excerpt from her conversation with Ratopati's 'Kitab Ka Kura' (Talks on Books) series on this occasion.

• Why are your novelistic characters often historical or mythological?

I feel that history is the root for understanding the present society. It is necessary to write about today's reality, but it is equally necessary to write about the life and society of yesterday. If we meticulously document the language, culture, style, and customs of the past through a literary medium, we will know later which aspects of our culture to preserve and which bad customs not to give importance to.

The current generation is unaware of many aspects of history. This is not just our fault; the state is equally responsible. Has the state taught us history properly? Therefore, I leaned towards this area after being prompted by the realization that one must read history to understand oneself.

• How challenging is it to write about such characters?

There is always a challenge in writing about any historical character. It demands extensive research and time. Creating the setting is the main challenge. In the process of building the setting or making the characters converse, they demand the conversational style of that era. We cannot use today's conversational style then. This requires sufficient study. However, the availability of study material becomes a challenge. Where to find those materials, how to collect them, and the reliability of the collected materials also come into question.

Therefore, in such cases, one cannot rely on just one book written about history. One has to study as many books as possible written about an event or character. While studying, one must be able to remain impartial, avoiding prejudiced material.

• You keep questioning society, religion, faith, and belief; what kind of reaction do you receive from readers regarding this?

I have not been abused for raising these issues. Whenever I raise an issue, I am sufficiently careful that it is not seen as cultural or religious interference, and that it does not hurt anyone's specific culture or religion.

I always think one thing—a writer should never be prejudiced. I keep my works clear so that they can be viewed from both perspectives. Readers will evaluate it after reading. Some of my predecessors expressed curiosity, wondering if they presented Yogamaya too much as a hero. But I have not exaggerated about her either. I have written based on all the references available.

In the historical novel I am currently writing, I have not distorted the events, dates, or their footprints. Some branches might have grown, but the root remains the same. If you mention 'Cheerharan,' as a woman myself, I wrote it because it was very possible. Therefore, no one has ever told me that I wrote it incorrectly.

'Draupadi Awashesh' deals with polyandry. This was about a society different from the one I live in. But I showed it to Humla's lawmaker Chakkabahadur Lama. He was astonished by the vivid description there.

• What is the main objective of your writing?

You have asked the right question; I write for a specific purpose. But I never impose my views in it. I do not try to prove myself by saying, 'My ox is the best.' If a writer writes impartially, it is accepted in society. But for that, one must be careful with every word and dialogue chosen.

• Was your attraction to historical characters inspired by reading a book, or developed while you were working?

First, I wrote a social novel. Then, I worked at Radio Nepal for a few years. I wrote poems. Around that time, I wrote the myth-based story 'Hawan.' Seeing an incident in this very society where a man keeps adding wives because his wife cannot bear a child, while the man is the one who is infertile, I used the imagery of Ambika, Ambalika, and Vyasa from the Mahabharata.

I had a long-standing desire to write about such characters. The main thing was that my study at that time was not as broad and deep. Now I am fully engaged in study and writing, which has made it easier for me to broaden my understanding. A novel I thought of writing around 050 BS, I ended up writing in 072 BS. Even after such a long time, the story construction around one character was not complete.

• You have received Nepal's two prestigious awards, Madan and Padma Shri; what effect do awards have on writing?

Receiving an award means an increase in reader expectations. After receiving the award, I found reader expectations to be different. A change in expectation means an increase in responsibility. As a writer, I have to meet the readers' expectations. If expectations are not met, the readers are the ones who hold me accountable. Many readers wait eagerly for the next book. I cannot disappoint them. So, expectations create a bit of pressure, and this pressure is of a different kind.

• Is there any work that has particularly inspired you?

Off the top of my head right now, I recall 'Teen Ghumti' (Three Turns). How BP Koirala presented Indramaya in 'Teen Ghumti.' A strong female character like Indramaya and the three decisions she made. I wonder how he managed to delve into the minds of women back then to write like that.

• Is there any book that changed your perspective on life?

A long time ago, I read Taslima Nasrin's 'Women's Rights' (Ami Maiyer Kotha Bolchi). It taught me to look at things differently. A single character is not enough to understand a woman's life. But as I kept reading, characters kept adding up. Another book that changed my thinking is 'Madhabi.' As small pieces accumulated, strong female characters provided immense strength.

• When recalling Nepali writers or works that have influenced you, whom do you remember?

In poetry, I remember Ishwar Ballabh's 'The Country Where My Mother Committed Suicide.' Bhupi Sherchan goes without saying. I remember the poems of Gopal Prasad Rimal. In novels, I remember almost all of BP Koirala's novels. Parijat's 'Shirishko Phool' and other works cannot be ignored. I like the stories of Indra Bahadur Rai. In regionalism, Bhawani Bhikshu, Sanat Regmi, Banira Giri's 'Nirbandha' and 'Karagar'... there are many such names.

• If you have to recall foreign works and writers?

I recall Salman Rushdie and Hermann Hesse. I recall Toni Morrison and Harper Lee.

• How did your connection with the world of books begin?

In the early days, despite having an interest in literature, we hardly had any books, nor did we have money to buy them. Until the age of 20, I hadn't been able to read the books I wanted to. Gradually, libraries started opening, we began recognizing books, and we started recognizing the authors of the books. The joy of meeting an author after reading their book became something special. And later, I started reading whatever I found. This is how reading and writing gradually became a habit.

• Which books are you currently reading?

I am currently writing. Recently, I was reading 'Lichhavi Period History.'

• In literature, are there 'underrated' and 'overrated' concepts, or not? What do you think?

What you mentioned exists not only in writing but in every field of society. But if someone becomes 'overrated,' that person has to pay the price for it. So, I think writers must guard themselves against this.

• What do you see as the state of reading culture in this digital age?

My readers send suggestions and feedback directly to my inbox and email, and I trust that a lot. Compared to the past, people are extremely busy now, but the number of readers has also increased. Children of the current generation do not read Nepali books; they read English ones. Therefore, future writers and litterateurs will have to write keeping this generation in mind.