Tribute to Suresh Kiran: A Beloved Figure in Nepali Literature, Journalism, and Language Advocacy

It is often difficult for people to live a good life. Many individuals strive throughout their lives to be good and to demonstrate goodness. For Suresh Kiran, becoming bad was difficult. It seems that the standard of good and bad used to evaluate certain people and their work in life often proves weak.

Suresh Kiran was one of those individuals.

Amidst the many dimensions of personality, what kind of person someone was is usually reflected in the reactions given by colleagues and peers involved in various professional pursuits in society.

His mortal remains lay in the courtyard of Nepalbhasa Mankhalkhalaa. Eyes were speaking, "Suresh, fight death and come back to us." No one wanted to say goodbye to him.

The atmosphere was tearful. Hearts were sobbing quietly, overwhelmed with immense grief. The sorrow resonated in a melancholic sound. Suresh was calm, patient, meditative, devoid of worldly attachment, greed, and anger—a statue-like stillness!

His body, which had been a serving member of the National Language Commission, was taken for a final procession through the alleys he used to frequent and where he grew up, before being placed on the pyre located at Luti Ajima for the farewell.

The farewell tears mingled with the smoke from his pyre and vanished into the air.

Perhaps, in the group returning after the farewell, this echoed in everyone's heart:

Did you leave, or did we come leaving you?
The one who created a rift between us and you
Today, I feel like fighting death.
- Suresh

He was popular among linguistic and identity advocates, as well as literary figures, for his work. Even more popular was his simple lifestyle, equanimity, and his personality as a companion to every individual.

In the world of journalism, he became popular not just for his language and communication skills. Colleagues who worked with him at 'Bishwabhoomi' and later at 'Sandhya Times' and 'Nepalbhasa Times'; artists from the literary field or those staging satirical plays; comrades from movements and campaigns; or for younger colleagues, he was a guardian, an inspiration, and a compassionate soul; his personality left a distinct mark on all of them.

Everyone's Suresh Dai (Elder Brother Suresh). Everyone felt proud to call him Suresh Dai. Everyone was happy just to be able to say Suresh Dai. Suresh Kiran, that is, Suresh Dai. That very Suresh Dai, the popular man, is no longer among us.

My heart doesn't even want to say 'he is not here' from the bottom of my heart.

Suresh Kiran, who started as a compositor for the weekly 'Inap' published in Nepalbhasa at that time, went on to lead the publication of the Nepalbhasa daily newspaper 'Bishwabhoomi', becoming a satirist through his journalism and writing.

'Suki' was a political and cultural satire column. Through this 'Suki' satire column, he became known to readers as a satirist. Suresh Kiran, who began his literary journey writing poetry, showed courage in the journalistic world that remains unforgettable: during the crisis period and curfew of the 2046 People's Movement, he entered Bir Hospital disguised as a doctor to collect news and interview the Supreme Commander Jananayak Ganesh Man Singh, as recounted by writer, Newa movement leader, and human rights activist Malla K. Sundar.

In 2056 BS, under the leadership of poet Navin Chitrakar, the 'Nepalbhasa Kavita Dabu' was formed. The objective of 'Lijah Nepalbhasa Kavita Dabu' was to introduce Nepalbhasa poetry to the world. The members of Lijah included poets Bhagatdas Shrestha, Sudan Khusa, Narad Bajracharya, Ishwarimaiya Shrestha, Basanta Maharjan, along with Suresh Kiran, Shriram Shrestha, Pushpa Tuladhar, Rajanimala, and Rita Maharjan.

At that time, I had the opportunity to work in the field of poetry alongside him. We contemplated not only institutional matters but also critically discussed the state's policies and actions encroaching upon social, cultural, and the civilization of the Nepal Mandala, viewing literary enlightenment as necessary for breaking this cycle.

Established as a master poet in modern poetry, his poems are rich in intellectual satire. Suresh Kiran, who appeared serious at first glance, would radiate rays of smiles accompanied by playful sprinkles of jokes, and in their unfolding, we savored intellectual depth.

Primarily composing poetry in Nepalbhasa, Suresh Kiran himself translated poems into Nepali. The poet Suresh Kiran, who made journalism and literature synonymous with activism by advocating for the development of his mother tongue and the place the state should grant it, despite being a talented poet writing in a distinct style, shared his views on the limited recognition and fame in Nepalbhasa poetry as follows: 'One can express what is in their heart freely in their mother tongue in a way that might not be possible in other languages. Many things can be said in the mother tongue, and that too with precise meaning.' (Falgun 26, 2080, Kantipur)

The renowned poet of this era, Abhay Shrestha, repeatedly states, "Suresh Kiran was perhaps the most talented poet of our time. In the trend of giving contemporary relevance a wonderful satirical edge with high craftsmanship in poetry, a poet of his caliber is hard to find."
Suresh Kiran's poems dissected the state of society and people that grew with the times, presenting sharp, satirical, yet profound expressions in simple language—

The one who immediately collapsed when the earthquake struck,
That is my country's government.
When the ground started shaking violently,
The one who quickly hid under the bed,
That is my country's government.

When the legs started trembling,
The one who ran away most frantically,
That is my country's government.

When the earthquake stopped,
Looking right and left, alone.
People were asking,
Where is the government?

Where is it?
Perhaps brought from abroad,
The sniffing dog
Inside the debris

Whose corpse it kept searching for until today,
That is my country's government.
(This is my government, N.S. 1135)

He possessed a rare talent for presenting the various inconsistencies, disparities, and hypocrisies prevalent in society with a pure poetic flavor. Lines of poetry that satirically attacked the human tendencies lost amidst societal contradictions, targeting not the human being itself, but the facade people wear and the various adornments that cover them in different situations—

A country today needs citizens more than people,
A father today needs a son more than a person,
A leader today needs a voter more than a person, not a person.
(This is the market of people, where the covering that conceals a person is more expensive than the person)

Last December, critic Dr. Jyoti Tuladhar, in her published work 'Modern Poetry and the Voice of Rebellion: An Analysis,' analyzing Suresh Kiran's book 'Thau Ghantagharam Jike E Nyanchwan' (Today the Clock Tower is Asking Me the Time), stated, 'In this collection of poems, poet Suresh Kiran has embraced the postmodern poetic flow, initiating a new intellectual consciousness and a distinct dimension of realistic seriousness in Nepalbhasa modern poetry.'

Poet Abhay Shrestha says, 'Although many recognize him as a journalist, satirist, and activist for Nepalbhasa and identity, his highest personality was in poetry.' Poet Suresh Kiran, who adopted journalism as a profession, published many high-level articles studying and researching the civilization of the Nepal Mandala, but he preferred to be called a poet. And he keenly felt the scarcity of female poets in the genre of Nepalbhasa poetry.

He wished to see those who wrote sporadically stand firm against the stormy times and emerge as exceptional poets. Whether he got that opportunity in the pages of history, I do not know. But he continuously worked to uplift Nepalbhasa poets.

In 2079 BS, under the organization of the Nepalbhasa Academy, he extended his support to train women interested in Nepalbhasa poetry but who had not yet started writing. And the organization formed by these trained women, 'Kavita Ya Layku,' received his time despite his extremely busy schedule when they needed it. As an honorary member, he continued to create opportunities for novice poets to write poetry and recite at various events, providing a platform.

About a month ago, in our conversation, I asked him, 'Dai (Elder Brother), how many new poems are ready? You should bring out a collection now.' Not only that, during casual conversation, I also inquired about his health.

'Dai, you seem a bit heavier, are there any health issues?' I asked. He replied, 'There are no such problems so far. Due to busyness, I have been walking less.'

Since he was usually busy when I called in the evening, I would leave the questions and things I needed to know on his Messenger. Most of the time, he would reply around 11 PM. After that, his routine involved reading and writing. Thus, he usually slept around 2 AM.

An untiring, committed, and relentless warrior for the mother tongue and identity has met an untimely end. This great departure of Suresh Kiran has not only taken Suresh away; it has left an irreplaceable void in Nepali literature, journalism, and the language movement.

In simple words, this loss is irreparable. But for some reason, my heart is not satisfied with this word. His passing is of a magnitude that cannot be expressed in words.

His critical poetry and its height, the sharp satire, were not limited to Nepalbhasa. Therefore, this demise is a great loss for Nepali literature itself.