‘चमेलीको फूल बैजनी रुमाल’ | पुस्तक समीक्षा | Subin Bhattarai

परिचय

भर्खरै बजारमा उपलब्ध भएको आख्यान 'चमेलीको फूल बैजनी रुमाल'को सुबिन भट्टराईको सातौं कृति हो। युवा पुष्ता माझ धेरै रुचाइएका सुबिन भट्टराईलाई साहित्यिक लेखन क्षेत्रमा स्थापित गर्ने पुस्तक 'समर लभ' हो भन्दा फरक नपर्ला जुन उनको दोस्रो कृति हो। सुबिन भट्टराईका प्रकासित कृतिहरु क्रमश: 'कथाकी पात्र', 'समर लभ', 'साया', 'मनसुन', 'प्रिय सुफी', 'इजोरिया' र 'चमेलीको फूल बैजनी रुमाल' हुन् । हालसालै मात्र फाइनप्रिन्टले बजारमा उपलब्ध गराएको यो कथासङ्ग्रहमा ७ ओटा लामा कथाहरु रहेका छन्। 'एक्स', 'चमेलीको फूल बैजनी रुमाल', 'अलमल', 'भुइँ', 'साँझ', '२७५२', र 'भग्नावशेष' गरी ७ उपशिर्षक राखिएका कथाहरु २१६ पृष्ठमा अटाएका छन्।

विषय प्रवेश

यो कथासङ्ग्रहले प्रेमका ७ थरी रङ्गलाई ७ उपशिर्षकबाट पस्किने प्रयास गरेको छ। एउटै प्रेम पनि बिभिन्न रङ्गमा देखाएर मनोबैज्ञानिक विश्लेषण गरिरहेका लेखक सुबिन भट्टराई पाठकलाई लामा लामा कथामार्फत प्रेम महसुस गराउने ध्याउन्नमा देखिन्छन्। प्रेम, मानविय जटिलता र मनोबैज्ञानिक पाटोलाई खोतल्ने प्रयास गरेका सुबिन भट्टराई भावनात्मक लेखनमा सिमित हुँदा कथानकलाई गन्तब्य नपुर्‍याई टुङ्गाइदिएको अनूभूत हुन्छ।युवापुस्ताको मनै लोभ्याउने बिषयबस्तुमा कथाहरु सजाइएको भएपनि आवश्यकताभन्दा बढी बर्णन गरिनुले कथाको भावनात्मक पाटोसँग पाठक जोडिन नसकेको प्रतित हुन्छ। अझ सुरुका कथाहरुमा अलंकारिक वाक्यहरुको बारम्बार प्रयोगले तरकारीमा नुन बेसी भएको झैं लाग्छ।

कथाहरु बारे

पहिलो कथा 'एक्स'मा एकजना प्रेमी आफ्नो पूर्वप्रेमिका एक्सको बिहेमा गएको छ। त्यहाँ उसले बेहुलाको पूर्व प्रेमिका जेडसँग भेट्घात हुन्छ र गफगाफ पनि। यही प्रेम काहानी अगाडि बढ्दै जाँदा एक्सको पोलिसिस्टिक ओभरी सिन्ड्रम PCOS का कारण सम्बन्धमा शाररिक दूरी बढाउँदै जाने र बिहेको प्रस्तवलाई स्विकार नगर्ने मानसिक जटिलतालाई प्रस्तुत गर्छ। साथै, PCOS का कारण शाररिक रुपमा भोग्नु परेका उल्झन र तिनिहरुलाई जिन्दगीमा कसरी कमजोरीबाट शक्त्तिमा बदल्ने भन्ने आत्मविश्वासको पाठ पनि सिकाएको छ। म पात्रको प्रेमिका 'एक्स', एक्ससँग विवाहबन्धनमा बाँधिएको केटो 'वाई' र वाईकी पूर्व प्रेमिका 'जेट ' बिचको प्रेमसम्बन्ध र विवाहलाई विश्लेषण गरिएको यस कथा आधुनिक प्रेम सम्बन्ध र यसको जटिलता देखाउँदै हरेक प्रेमिप्रेमिकालाई खुशी रहने बाटो पहिल्याउन समेत प्रेरित गरेको छ।

दोस्रो कथा 'चमेलीको फूल बैजनी रुमाल' समलैङ्गिक सम्बन्धको कथा हो। यसमा चमेलीको फूलले गौरिका र शिरिषाको अब्यक्त सम्बन्धको माधुर्यता र पवित्रतालाई बुझाउँछ भने बैजनी रुमालले उनिहरुको सम्बन्धको विवसता र जतिलतालाई संकेत गर्दछ। सार्वजनिक रुपमा गौरिका र शिरिषाले आफ्नो सम्बन्ध लुकाएका भएपनि बैजनी रुमाल उनीहरुलाई जोड्ने एउटा सेतु बन्न पुगेको छ। यही रुमालले उनीहरुलाई बारम्बार कोजी म:म सेन्टरसम्म पुर्‍याउँछ।  हाइस्कूलकी साथी नमिताको प्रसङ्गले शिरिषा lesbian भएको पाठकलाई प्रष्ट हुन्छ। विवाहित शिरिषा त्यही नमिताकोजस्तो स्पर्श पाउन गौरिकासँग आकर्षित भएको देखिन्छ। तर कथाको अन्त्यमा पतिसँग सम्भोगमा लिन भएको प्रसङ्गले शरीर पतिसँग भएपनि मानसिक रुपमा उनी गौरिकासँग सहभाव गरिरहेको स्पष्ट हुन्छ।

तेस्रो कथा 'अलमल'ले एकदमै उदण्ड विध्यार्थी बोगटी र उसको शिक्षिका बीचको जटिल सम्बन्धका बारेमा पर्दाफास गरेको छ। होस्टलमा बस्दा अरुको समान चोर्ने, चुरोट खाने बोगटी एकदिन चोरीको झुटो आरोप लागेपछि कसरी शिक्षिकाले बोगटीलाई कसरी बचाउँछिन् र आफ्नै छोरीले प्रेमी भनेर चिनाएको केटो अरु कोही नभइ त्यहीं बोगटी हुँदा कसरी वातावरण सम्हाल्छिन् भन्नेमा कथा केन्द्रित छ। यस कथामा शिक्षिका नामसँग परेको अलमल, बोगटीसँग छोरीको सम्बन्ध ठीक रहला कि नरहला भन्ने मानसिक र भावनात्मक अलमलमा कथा बुनिएको छ ।

चौथो कथा 'भुइँ'मा हर्षवीर थापा र उनका नाती नितेशको आध्यात्मिक प्रेम सम्बन्ध देख्न पाईन्छ। छोराले छाडेर गएपछि नाति नितेशलाई हुर्काएका हर्षवीरले नातिको भविष्य उज्जवल होस् भनि उसलाई विदेश पठाउन राजी हुन्छन्। कथाले आफ्नो भुइँ अर्थात् आफ्नो आधार, आफ्नो माटो , आफ्नो देश अनी परिवारबाट टाढिनुको पिडा र बाध्यतालाई दर्शाउँछ। कथामा नातिले हर्षवीरको चश्मा बनाइदिएको प्रसङ्गले उसमा हजुरबुवाले नैतिकताको जग पनि राम्रोसँग बसालिदिएको प्रष्ट हुन्छ।

पाँचौ कथा 'साँझ' मुख्य पात्र साँझको अठोट र परिश्रमको कथा हो। बुवा सोमनाथ र आमा जमुनाको कोखबाट जन्म लिएकी साँख एमआरकेएच (मायर-रोकिट्यान्स्की-केस्टर-हउजर) सिन्ड्रोमको सिकार भएपछि समाज र परिवारबाट टाढिन पुग्छिन् । जसको फलस्वरुप उनले घर चाडने निर्णय गर्छिन् । एमआरकेएच सिन्ड्रोमका कारण बच्चा कहिल्यै पाउन नसक्ने भएपछि उनी नचाहँदा नचाहँदै आफूभन्दा निकै बुढो ब्यक्तिसँग बिहे गर्नुपर्ने बाध्यताका कारण उनी भागेर काठमाण्डौं आउछिन्। त्यसपछी आफ्नो कमजोरीलाई एकातिर थाती राखेर उनले लोकसेवाको परिक्षा दिई अधिकृत बन्छिन् । जिन्दगीमा कहिल्यै बिहे नगर्ने र आफूले भविष्यमा बच्चा एडप्टेसन गर्ने साहसिक कदमले उनलाई आत्माविश्वासी र वीर नारीपात्रका रुपमा चित्रण गरिएको छ भने उनको प्रगतिशिल विचारधारालाई पनि एउटा प्रेरणाको रुपमा देखाइएको छ।

छैठौं कथा २७५२, ४ जना साथीहरु यात्रामा निस्कदा घटेको घटना हो। यात्रामा म पात्र सिम्रन, र उसका तीन सहयात्री प्रेरणा, डिकी र तपस्वी हुन्छन्। उनीहरु सवार आइटेन कारलाई २७५२ नम्बरको साइन बाइकले बाटो छेक्छ र पछि बाइक दुर्घटना हुन्छ। तत् समयमा उनीहरुको कारमा पनि ढुङ्गाले लागेर सिसा फुट्छ। मनोहरले चलाइरहेको उक्त बाइकमा उसकी छोरी पनि हुन्छे। गाडीमा कसले ढुङ्गा हनेको हो भन्ने प्रश्नको जवाफ खोजिरहेका सिम्रन र उनका साथीहरु अन्तत मनोहर र उसकी छोरीको कारुणिक दुर्घटना पश्चात् छोरीले ढुङ्गा हानेको र हावाको झोक्काले बाइकले नियन्त्रण गुमाएको तत्यसहित कथाले बिट मार्छ।

सातौं र अन्तिम कथा 'भग्नावशेष' न्यू योर्कको कोलम्बिया विश्वविद्यालयबाट विद्यावारिधि सकेर काठमाण्डौं फर्किएका एक युवाले वाल्यकालका प्रिय छिमेकी वाग्ले अङ्कल र उहाँको परिवारसँग सम्बन्ध टुटेको पिडालाई प्रस्तुत गरेको छ। वाग्ले अङ्कल र उनको परिवारलाई जिम्मा दिएर दिल्ली, आगरा र देहरादुनमा १० दिन जति बिताएर फर्किएका मपात्रको बुवाले घर फोडेको र घरको सामान चोरेको आरोप वाग्ले अङ्कललाई लगाएपछि बर्षौ लामो सम्बन्ध भग्नावशेष बन्न पुगेको तितो यथार्थलाई उजागर गरिएको छ। अहम्, अपरिपक्वता र शंकाले जस्तोसुकै बलियो सम्बन्धलाई पनि भग्नावशेष बनाउन सक्छ भन्ने यथार्थ पस्किदै सुबिन भट्टराईले कथाहरुको सिलसिलालाई पूर्णविराम लगाउँछन् ।

मन परेको/नपरेको बारे

पहिलो कथामा कथा छिटोछरितो रुपमा बुनिएको भएता पनि साहित्यिक लेखनका नाममा धेरै बर्णन गरिनु, अधिक रुपकहरुको प्रयोग गरि वाक्य निर्माण गरिनुले पाठकबर्गलाई झिंजो लगाउँछ। दोस्रो कथा "चमेलीको फूल बैजनी रुमाल" समलैंगिक आकर्षणका बारेमा बोल्छ। यधपी, कथानकको बुनाइ निकै फितलो छ। यस पुस्तकमा समेटिएका प्राय कथाहरु चियागफमा श्रवण गरिएका सिवाय केही लाग्दैनन्। कथाहरु पढ्दै गर्दा यस्तो लाग्छ कथाको "सस्पेन्स" लुकाउने नाउँमा कथाकारले कथानकलाइ कुरुप बनाएका छन्। कथाहरुमा यथोचित "Climax" नहुनु र कथाको "Resolution" जबर्जस्ती गाँस्न खोज्नुले कथाहरू गिजोलिएका छन्। सातौं पुस्तकका रुपमा सुबिन भट्टराईले बजारमा ल्याएका यो पुस्तक कथानकका दृष्टिले पहिलो आख्यान सातौं आख्यानभन्दा अब्ब्ल प्र्स्तुत हुन्छ । लेखनीमा सुधार ल्याएका भएपनि आवश्यकताभन्दा बढी वर्णन पस्किनाले पाठकलाई तितो अनुभूति पक्कै हुन्छ। मानविय मनोबिज्ञान र प्रेम सम्बन्धको जटिललाई प्रस्तुत गरिरहँदा कथाले पाठकलाई भावनात्मक रुपमा डोर्‍याउनु पर्ने यथार्थलाई बिर्सिएका छन्। अझ असामान्य प्रेम सम्बन्धहरुलाई कथाका रुपमा उपन्यासिकरण गर्न खोज्दा कथाको लम्बाइ र गहिराइबीच असन्तुलन भएको हेक्का समेत राखेका छैनन्, लेखकले। कथा सङ्ग्रह "चमेलीको फूल बैजनी रुमाल" शिर्षकले सम्पूर्ण कथाका रङ्गहरुलाई समेत्न नसकेको कुरा कथाहरु पढिसक्दा थाहा हुन्छ। लेखनमा Experimentation गरेका सुबिन भट्टराइले कथा लेखन गर्दा सिनेमाको पर्दाभन्दा आफ्ना पाठकको मानसिक रुचीको पर्दालाई प्रधानता दिए लेखनी अझ माझिएको पढ्न पाउनेथिए, पाठकवर्गले। यधपी, कथा सङ्ग्रहमा जुन बिषयमा कथाहरु उठान गरिएको छ ति सबै यथार्थ झल्क्याउने र युवा बर्गलाई रुचिकर लाग्ने विषयवतु नै रहेका छन्।

मेरो अभिमत/रेटिङ्ग

कथाहरु पढिसक्दा कथाको रिजोलुसन वा डेनुमोले पाठकलाई तृप्त पर्नै सक्दैन साथै कथाको क्लाइमेक्स भनिसक्दा पनि लेखक कलम दौडाइरहनुले कथामा Verbosity को प्रयोग गरी पाना मात्र भर्न लेखक उद्दत रहेको भान पर्छ। त्यसैले, मेरो व्यक्तिगत मुल्याङ्कनका आधारमा यस कथा सङ्ग्रह "चमेलीको फूल बैजनी रुमाल"लाई रेटिङ्ग गर्नुपरे म ५ मा २ दिन चाहन्छु।

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Are you familiar with the phrase ‘quarter-life crisis’? It’s that mix of confusion, ambition, and anxiety we feel in our twenties. Devika Rege’s Quarterlife dives straight into that experience. This novel isn’t just about growing up—it’s about how our personal life is caught in societal crosswinds. While reading, I kept thinking about Nepal’s restless youth—Gen Z, who keep on pushing limits and demanding change.

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Devika Rege came from journalism, and you see that edge in her writing. Quarterlife is her debut novel, and it’s already made waves—winning the Mathrubhumi Book of the Year in 2021 and the Ramnath Goenka Sahitya Samman in 2023. What’s compelling is how she layers the story: it’s set in modern India, but the conflicts and tensions feel regional and universal.

Many readers called the story a “character-driven” novel—where what the characters think, perceive, and feel is as important as what they do. The inner lives, the shifting loyalties, the moral unrest—all these are what many readers say linger with them after finishing the book. And honestly, I share the same feeling.

Plot Overview with Spoilers
Let’s talk about the plot of the novel. It starts with Naren Agashe, an NRI who finally secures a U.S. green card. But instead of building a life in America, he returns to India, convinced that the new government—the Bharat Party—offers a more promising future. It promises development, honesty, and growth.

Naren brings Amanda, a photographer chosen for an NGO fellowship in Mumbai. She lands in Deonar, a suburb of Mumbai where she sees life in its rawest forms—poverty, social exclusion, and everyday resilience. While Naren is drawn into the alluring world of big business, Amanda feels the shock of India’s underbelly: caste tension, religious differences, and economic disparity.

Then there’s Rohit, Naren’s younger brother, who runs a modest film studio with friends. His life is unsettled—he becomes romantically involved with Amanda, but his heart is also drawn toward a solo road trip in the Western Ghats. On that journey, he meets Omkar, a small-town cinematographer with radical ideas. Their bond forces Rohit to confront choices he didn’t see coming.

What's interesting is how these three characters begin in parallel, almost detached from politics, but gradually get bound by it. Naren realizes that to grow in business, one often needs political backing. Amanda, through her work, begins to perceive how caste and religious identity shape every interaction. Rohit, caught between liberal city life and Omkar’s radicalism, finds himself at a cultural and moral crossroads.

One of the most talked-about scenes is when Rege portrays the Ganpati visarjan. She lets multiple voices—some central, some minor—all speak in quick succession. Even a character given just a paragraph contributes to a larger, textured image of Mumbai: its joy, its conflict, and its contradictions.

Because Quarterlife is told from alternating chapters of Naren, Amanda, and Rohit, what we see is not a single yarn but three intersecting lenses. Their perceptions shift, the alliances change, and the boundaries blur.

Title Significance
Let’s pause at the title: Quarterlife. On first glance, it refers to the age—those twenties when everything feels uncertain. But in Rege’s hands, it becomes symbolic. It’s not merely a time of personal crossroads; it’s a generational turning point. Naren, Amanda, and Rohit wrestle with ambition, identity, and morality—and with forces bigger than themselves.

“Quarterlife” thus captures both the micro and the macro—the individual turmoil of youth and the collective crisis of a society in flux. It echoes loudly when we look at Nepal: Gen Z here is confronting inequality, authority, and identity in a rapidly changing world.

Themes & Analysis
One thing readers often comment on is how Quarterlife blurs boundaries. Our everyday decisions—career, love, friendships—don’t exist in a vacuum. Rege shows us how politics seeps into our most private choices. She doesn’t preach; she lets characters stumble and change.

Privilege and inequality are central. Naren has advantages he’s partly blind to; Amanda is forced to see those disparities as an outsider. In Nepal too, young people are confronting divides—class, caste, and ethnic hierarchies; city versus village life; and corruption at every level. The discomfort is the same. Rege also doesn’t shy away from religion, caste, patriarchy, corruption, and how these play out through Bollywood, business, media—and even history.

‘Quarterlife’ doesn’t feel top-heavy with ideas; the ideas grow organically out of the characters. That’s exactly why the novel stays with them—the internal conflicts and shifting allegiances feel deeply human.

Another theme that gets mentioned often is disillusionment vs. hope. The characters are frequently frustrated or disillusioned—but they still argue, still push, still question. That tension is powerful.

Strengths and Criticism
Quarterlife has a lot of strength. Its characters are layered and real. Its structure—alternating perspectives—keeps us engaged. The writing feels crisp and urgent. And the depth of Rege’s research shows: politics, religion, media, and society all feel fully lived rather than tacked on.

Every reader of this book definitely appreciates how it doesn’t settle for easy answers. It is messy. It is morally gray. It pushes us to question assumptions.

Still, it has a few weaknesses. Some sections feel a bit long—scenes where the political or social commentary slows us down. Some emotional arcs don’t get as much space. Given how many big topics it takes up, there are moments that could have been tighter. Having said that, I still feel it’s a “very strong debut” with huge promise ahead.

Relevance to Nepal’s Context
Quarterlife is a bold and provocative debut. Its strength lies not just in what it tells but in how it lets us live inside the minds of characters wrestling with their time.

Why should Nepali readers like me care about this book? Because the themes this novel carries mirror exactly what’s happening here.

Nepal’s Gen Z—whether on social media, in rallies, or on the ground—is challenging authority, fighting corruption, and redefining identity. They’re restless and disillusioned but also deeply hopeful. And that’s exactly what Quarterlife captures: the messiness of being young in a society that’s changing too slowly.

In many ways, Nepal’s Gen Z is closer to Omkar than to Rohit—impatient, radical, and unafraid to shake the system. Just like Naren, young Nepalese living abroad are wondering if they should invest their future back home, despite the political mess. And just like Amanda, outsiders sometimes see the inequalities of Nepal more sharply than we do ourselves.

Final Verdict
This parallel made the book hit very close to home for me. I’d give Quarterlife 4.5 out of 5 stars. It’s challenging and uncomfortable but deeply rewarding. If you're someone who wants fiction that engages with society, that forces reflection, that doesn’t let you walk away unaffected—this should be on your shelf.

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'Good Material' by Dolly Alderton – Heartbreak, Humor & Life Lessons

I recently finished Good Material by Dolly Alderton, and honestly, this book really got under my skin. It’s witty, it’s heartbreaking, and it captures the messiness of modern relationships in a way that feels painfully familiar. Alderton is best known for her memoir Everything I Know About Love and her debut novel Ghosts, but with Good Material she takes a bold risk: writing entirely from the perspective of a man. And the result is both refreshing and incredibly moving.

Plot Overview

The story follows Andy, a comedian in his mid-thirties, who has just been dumped by his girlfriend, Jen. There’s no explosive fight, no dramatic betrayal—just the quiet, devastating end of a relationship. Andy, of course, is heartbroken. He can’t stop analyzing what went wrong, replaying their memories, and trying to piece together a narrative that makes sense.

Most of the book is told through his perspective, and what makes this so compelling is that Andy isn’t exactly a reliable narrator. He sees himself as the victim, the “good guy” left behind. But as readers, we begin to sense that his version of events might not be the full story. And just when we’re fully absorbed in Andy’s side, Alderton flips the script and lets us hear Jen’s perspective. That structural choice completely reframes the novel and forces us to confront the truth that breakups are never as simple as one person being right and the other wrong.

Themes

This book, Good Material is about more than heartbreak. It’s about identity, self-worth, and the painful but necessary process of growing up. Andy is in that awkward in-between space of being in his thirties but still not fully settled—his career as a comedian is shaky, his peers seem more “grown-up,” and losing Jen forces him to reckon with what he actually wants from life.

The title itself is layered. On one level, “good material” refers to Andy’s job—turning pain and humiliation into jokes for the stage. But it also reflects a bigger idea: that the raw stuff of our lives—our breakups, our failures, our disappointments—eventually becomes material. The stories we tell, the lessons we carry, the things that shape who we are.

Humor and Heartbreak

What makes this novel sing is its balance of comedy and sadness. Andy’s narration is laugh-out-loud funny at times—his rants about dating, his awkward run-ins with friends, even his reflections on the indignities of everyday life. Alderton has a sharp eye for the absurdities we all recognize but rarely articulate.

And yet, beneath the humor, there’s a deep well of vulnerability. Andy’s heartbreak is raw and messy, and his inability to move on feels incredibly real. You laugh with him, but you also ache for him. It’s that blend—humor and heartbreak, comedy and confession—that makes this book feel so alive.

Characters and Relationships

Andy is a wonderfully flawed protagonist. He is insecure, self-pitying, often blind to his own mistakes—but he is also tender, witty, and deeply human. You root for him, even when he stumbles.

Jen, on the other hand, is quieter for much of the book, but when her voice finally comes through, she feels equally complex. She is not just “the ex.” She is a fully realized character with her own needs and disappointments. And that’s one of Alderton’s greatest strengths—she refuses to flatten her characters into archetypes.

The supporting cast—Andy’s friends, family, and fellow comedians—add richness to the story. They provide humor, perspective, and sometimes the harsh truths that Andy doesn’t want to face.

Writing Style

Dolly Alderton’s writing is conversational, sharp, and full of warmth. She has this gift for capturing the way people actually speak and think—those little tangents, those awkward silences, the way humor often masks pain. Andy’s narration almost feels like listening to a stand-up routine that gradually turns into a confession. And when Jen’s perspective enters, the tonal shift is subtle but so effective—you immediately feel the difference in clarity and restraint.

Final Thoughts

So, what makes Good Material stand out? For me, it’s the way it takes something so familiar—a breakup—and turns it into a meditation on identity, love, and the stories we tell ourselves. It’s funny, it’s tender, and it’s brutally honest about how messy relationships can be. Dolly Alderton proves here that she is not just great at writing about love; she’s brilliant at writing about what comes after love.

For me, Good Material is a solid 4 out of 5 stars. It’s relatable, heartfelt, and beautifully written—a book I’d recommend to anyone who’s been through heartbreak, or honestly, to anyone who’s ever loved and lost.

 

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'The Anthropologists' by Ayşegül Savaş | Book review

I recently finished The Anthropologists by Ayşegül Savaş, and honestly, it’s one of those rare novels that doesn’t shout, but quietly lingers in your thoughts long after you've closed the final page. It’s a slow, introspective read that invites you to sit with it, reflect, and really observe—which makes sense, because that’s what the whole book is about: observation, belonging, and the quiet rituals of daily life.

The story centers on Asya, a Turkish-born filmmaker, and her husband, Manu, who live in a foreign, unnamed European city. They’re both immigrants—rooted in different homelands but equally adrift—and are trying to find their footing, both physically (they're house-hunting throughout the book) and emotionally. Asya is working on a documentary project about people in a public park, and through this lens, the novel opens up into a thoughtful exploration of how people create meaning, community, and identity.

One of the things that really stood out to me is how The Anthropologists doesn’t follow a traditional plot structure. Instead, it's told through short, vignette-like chapters—almost like journal entries or field notes—which mirrors Asya's observational approach to the world. It’s like she’s an anthropologist herself, quietly studying the people around her, trying to understand their habits, their silences, and their gestures. That structure isn’t just stylistic—it’s deeply thematic. It reflects the way we piece together meaning in our own lives, one fleeting moment at a time.

The Title: “The Anthropologists”

The title is so fitting, and not just because Asya is technically doing fieldwork for her documentary. The real anthropology happening here is emotional and personal. Asya and Manu are constantly studying their environment and the people in it—not out of academic curiosity, but as a way to figure out how they fit in. In a sense, all of us become anthropologists when we live in places where we don’t quite belong—we learn to observe, adapt, and quietly translate. The title also nods to how we sometimes try to make sense of our own lives by stepping back, becoming observers of ourselves.

Themes: Belonging, Identity, and the Everyday

At its heart, The Anthropologists is about displacement—not just the literal kind that comes from living in a foreign country, but also the emotional kind that comes from not feeling fully rooted. Asya and Manu are both gently floating through this city, surrounded by the routines of others, trying to create their own. There’s a lovely, melancholic theme of in-betweenness: between countries, between languages, and between homes.

The book also explores the idea of domestic life as something both deeply ordinary and profoundly meaningful. There’s a lot of emphasis on small rituals—making tea, walking through the park, exchanging pleasantries with a neighbor. These small acts become ways of grounding oneself. Savaş writes these moments with such care that they feel sacred.

There’s rich symbolism throughout the book. The park, where Asya films her documentary, is a symbol of transient community—it’s a shared public space where people gather but don’t necessarily connect deeply. It mirrors Asya’s own feeling of being surrounded by people yet still feeling apart. Apartments and homes serve as symbols of permanence—or the lack of it. Asya and Manu are constantly searching for a place to live, which speaks to their deeper search for stability and identity.

Even the act of filming in the book is symbolic. Asya is always watching, capturing, and documenting but rarely participating. It’s a powerful metaphor for how she moves through life—like an observer, always slightly detached, trying to make sense of things from a distance.

Writing Style and Characters

Savaş’s writing is restrained but so elegant. She doesn’t over-explain or dramatize anything. The beauty is in the quiet. The characters, especially Asya, are introspective and gentle. Manu feels like a counterpart—someone who’s just as quietly lost but supportive. And then there are side characters like Ravi and Tereza, who each add layers to the couple’s experience of community and solitude.

Final Thoughts

The Anthropologists is a novel that rewards patience. If you’re looking for high drama or twists, it’s not that kind of book. But if you enjoy stories that reflect on the human condition with grace and subtlety, this will absolutely resonate. It reminded me a lot of authors like Teju Cole or Rachel Cusk—writers who understand the richness in everyday moments and the quiet ache of modern life.

I’d definitely recommend this to readers who’ve lived abroad or anyone who has ever felt like they’re living just outside the edges of belonging. It’s meditative, moving, and beautifully written. I’d give it a strong 4.0 out of 5 stars.

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Echoes of Existence in Momila’s ‘Prashnaharu ta Baqi nai Rahanchhan…’

A stone I died and rose again a plant;

A plant I died and rose an animal;

I died an animal and was born a man.

Why should I fear? What have I lost by death?

The popular poet, Mewlana Jalaluddin Rumi, in these lines captures the philosophical and spiritual view that the death is not a loss or end, but a necessary step in the soul’s journey of evolution and enlightenment. In other words, the life is beautiful because of the existence of death. As a student of literature and avid reader, I find ‘Rumi’ in the anthology of lyrical essays, Prashnaharu ta Baqi nai Rahanchhan… written by Nepali poet and essayist, Momila. She has already published half-a dozen of anthologies of poetry however in essay writing, this is her second effort. Like the first one, Ishworko Adalatma Outsiderko Bayan (An Outsider in the Court of God), she leads an existential movement against her own-self.

Momila’s literary journey continues with her distinctive first-person writing technique, which captivates readers by expressing her innermost thoughts and emotions so vividly that one forgets they are merely reading a book. In her latest anthology, divided into “Astitwo Uthsav” and “Sambedanharu,” she beautifully incorporates 23 lyrical essays. Through these sections, with 14 essays in the first and 9 in the second, she establishes a speaker ‘I’ that is not only cognizant and extroverted in literary expression but also intellectual and authentically true to herself.

The anthology opens with “Merai Chhayako Bidroha ra Aswikrit Grahan,” where Momila delves into why her own shadow seems to rebel against her. Through the use of symbols and imagery, a hallmark of her essays, she uses the ‘shadow’ to represent life’s challenges. Momila articulates a philosophy where the pain of life is what makes it precious and meaningful, aspiring to “compose a harmonious melody of compassion” by confronting sorrow rather than evading it. Known for her poetic expertise, her essays abound with imagery, metaphors, and semiotics. In “Sambhavit Putaliko Vartaman,” for instance, she casts herself as a female protagonist filled with optimism for her future despite current adversities, embodying the transformation from a caterpillar with the keenness of becoming a butterfly soon.

Dominated by the sense of existentialism, conversing with Laxmi Prasad Devkota in an evening she asks what attracts him so that he is consuming slow poison, a cigarette. She advocates this world is beautiful, colorful even though problems exist, sufferings exist. Emphasizing resilience and tenacity, she admires “a flower that blooms midst of thorns,” celebrating the beauty of those who confront challenges to affirm their existence.

In the search of existence, the writer cherishes the misapprehension death of her own. In her essay “Mrityu Saundarya”, she explains that long ago she migrated to the town in order to fulfil her dreams. However, the shattered dreams are making her life ugly. Even at this stage, she has no any objection with the turmoil she faced in her life because without them, she has no existence at all. Instead of wandering into the materialistic world being unsatisfied, she accepts the ultimate reality of life – the death. With this realization and acceptance of death, she feels elated and claims that death exists so the colorful life exists. To her, “death takes away not a body but only the consciousness”. She insists lack of sense or consciousness is what makes a person feels no pain of death, thus, death is beautiful. Reflecting on an earthquake and its aftermath, she critiques leaders’ failures but still finds beauty in life’s chaos, much like a beautiful sunset. This is where she connects with Socrates’ ideas. Socrates views death as the emancipation of the soul, and as such, it should be approached with calm, as long as we know we have lived our lives to the fullest. The Socratic viewpoint on death is a lovely way of approaching the end of our lives, and it serves not only to alleviate our dread of death, but also to motivate us to spend our lives as virtuous, just and moral beings.

The author embraces a life full of contrasts, from joy to sorrow and light to darkness, seeing value in the full spectrum of human experience. She believes that life’s meaning comes from navigating its highs and lows, embodying a philosophy where struggle is not just inevitable but valuable, shaping our identity. Rejecting the pursuit of perfection, she finds beauty in being “zero,” a state where all is encompassed and nothing is excluded. Her viewpoint resonates with the Wabi-Sabi philosophy, which celebrates the beauty in imperfection and the natural cycle of growth and decay. This perspective invites readers to appreciate the imperfect and transient nature of life, finding joy and beauty in the imperfections that define our existence.

In this anthology, the author powerfully portrays her character ‘I’ as a courageous and admirable hero. She vividly describes the harsh truth of a society that diminishes women under various situations calling different names. Behind the tears of Nepali women lie the painful stories of being undervalued. She observes how society idolizes traditions yet paradoxically feels threatened by educated women. Highlighting the societal norms where women are seen as objects to satisfy desires but not honored for their intellect, she voices her deep dissatisfaction with this discriminatory treatment. To challenge the mainstream social group, she is going “to be a warrior of undeclared war”, the war against the dogmatic beliefs of the rooted patriarchy.

The author embraces her identity as a woman, challenging traditional and oppressive beliefs with optimism. She believes that “Being hopeful is halfway to life, being sad is halfway to death,” suggesting that hope plays a crucial role in overcoming adversities. She draws parallels between her experiences and those of iconic figures such as ‘Majnu’, ‘Sita’, and ‘Muna’, whose stories of struggle are captivating because they fought against their fates. In her essay, “Priya Patraharu Astitwo Uthsavma”, she celebrates strong feminist icons like “Nora” from Henrik Ibsen’s ‘A Doll’s House’, “Anuradha” from Bijay Malla’s novel of same name, and the ‘unnamed outsider’ from her own first collection of essays, “An Outsider in the Court of God”. Through these references, she exposes how our patriarchal system visualizes daughters as ‘outsiders’ and presents them as if they are ‘culprits’.

The essays carry the vast philosophies of life and death. The crisis of humanity, the growing desire for materialistic things, patriotism and nationalism, search of one’s true self etc. are the common issues advocated in essays in poetic style. The writer reflects on patriotism and nationalism, alongside the complexities of political shifts and dominations within the nation. As an eyewitness to many deaths and several political movements, she expresses her political conscience in the line, “One can kill a person but not his/her thoughts.”

Even though skillfully crafted lines with deep philosophical ideas, the essays might not be easily accessible to the everyday reader. The frequent use of English terminologies gives the impression that the author adopts a contemporary mode of inter-linguistic exchange of words. Moreover, this collection of essays demands readers who are not only intellectually sound but also have a robust understanding of language, literature, and philosophy. With their lyrical tone, heavy use of metaphors, semiotics, and profound imagination, the essays resemble philosophical poems in free verse. However, for readers who appreciate life’s imperfections, this anthology unfolds as ‘a surprise of mystery,’ leaving them with lasting questions long after they’ve turned the last page.

To sum up, the anthology Prashnaharu ta Baqi nai Rahanchhan… by Momila is a thorough investigation of life, death, and existence that is skillfully interwoven with themes of philosophical and introspective contemplation. In addition to exploring the depths of human experience and encapsulating the essence of struggle, resiliency, and the beauty found in imperfection in her pieces, Momila also takes aim at patriarchal frameworks and society conventions that often stifle the soul. Momila’s work invites us into a place where fear of death fades and is replaced with an appreciation for the cyclical nature of life and the transformative power of embracing one’s true self in the face of adversity. Her literary journey redefines the meaning of life and the craft of storytelling, leaving a lasting impression on the reader. It is characterized by an unwavering hope and a celebration of the imperfect but beautiful fabric of life.

Prashnaharu ta Baqi nai Rahanchhan… | (An Anthology of Lyrical Essays)

Author: Momila

Publisher: PageTurner Pvt. Ltd, Baghbazar

Cover Design: Times Creation

Pages: 153

Price: Rs. 450 / $15

Credits:
Originally published on: Sahityapost

Published Date: March 25, 2024  (2:06 PM)

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Epic Drama Meets Historical Spectacle: A Review of "Troy"

Wolfgang Petersen's film "Troy" encapsulates the grandeur and tragedy inherent in the ancient Greek epic, vividly bringing to life the legendary narrative of Achilles and the Trojan War for cinematic audiences. Through a combination of striking visuals, compelling performances, and an intricate historical context, the film constitutes a significant contribution to the body of cinematic adaptations of classical literature.

A notable aspect of the film is the exceptional versatility demonstrated by its ensemble cast. Brad Pitt delivers a remarkable performance as Achilles, skillfully conveying the character’s fierce warrior essence alongside his tragic vulnerabilities with both intensity and nuance. His physicality during battle sequences and emotional depth in more subdued moments engender a memorable portrayal that serves as the film’s foundation. Conversely, Eric Bana’s portrayal of Hector provides a poignant counterpoint to Pitt’s Achilles, effectively expressing a spectrum of emotions, from pride to desperation, that resonate profoundly. The dynamic between these two characters emerges as one of the film’s most compelling elements, elevating the narrative beyond mere visual spectacle.

Visually, "Troy" is undeniably impressive. The cinematography, led by Roger Pratt, captures both the expansive landscapes of ancient Greece and the devastating beauty of warfare with remarkable clarity. The battle sequences are characterized by their grandiosity and chaotic energy, immersing viewers in the intensity of the conflict. However, despite the stunning visuals, there are instances in which they overshadow character development, resulting in emotional stakes that may feel underexplored.

The film’s costume design merits particular attention, especially for its authenticity and meticulous detail. The attire of the characters enhances the immersive quality of the film, evoking the grandeur associated with the era. Nonetheless, some costumes occasionally exhibit anachronistic elements, which subtly detracts from the historical accuracy the filmmakers strive to achieve.

Petersen’s directorial prowess is evident in his ability to convey the epic scope of the narrative; however, his approach also invites scrutiny. While the film ambitiously seeks to retain the essence of Homer’s Iliad, it is also marked by significant deviations that may alienate purists of classical literature. The truncation of characters and subplots leads to a streamlined narrative that, although more palatable for contemporary audiences, sacrifices the complexity and richness of the source material. Notably, characters such as Agamemnon and Paris, while depicted with sufficient depth, may lack the intricate motivations and moral ambiguities found in their literary counterparts.

The film also grapples with the themes of honor, love, and the futility of war. These themes, central to the Iliad, are explored through the interpersonal dynamics among the characters. The relationship between Achilles and Patroclus, for instance, is depicted with poignancy, highlighting the motivations that drive Achilles into a vengeful fury. Yet, the motivations of other characters, such as Helen, may be less satisfactorily examined, raising questions about agency and representation of women in both classical and contemporary narratives.

Another critical aspect lies in the film’s conclusion. While the Iliad offers a narrative steeped in tragedy and moral reflection, "Troy" opts for a climactic spectacle that, albeit visually impressive, may dilute the philosophical questions posed by the original text. The desire for a heroic resolution may overshadow the inherent tragedy of the story, undermining its emotional weight.

In summary, "Troy" stands as an ambitious cinematic venture that succeeds in many respects while simultaneously inviting critical dialogue about fidelity to classical themes and character development. As a modern retelling of a timeless epic, it engages viewers with its stunning visuals and compelling performances, yet the film ultimately grapples with the challenge of bridging the gap between historical fidelity and cinematic storytelling. The dichotomy between spectacle and depth underscores the intriguing complexities of adapting ancient narratives for contemporary audiences, thus ensuring its continued relevance in discussions of literature and film.

Watch Movie: TROY

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The City Son by Samrat Upadhyay: Thoughts About Book

On the basis of 'Arresting God in Kathmandu', which is no doubt a masterpiece, I bought a book 'The City Son' keeping huge expectations but it didn't quench my thirst at all. The blurb describes that 'The City Son' is a novel not soon forgotton. It is of course true but not fully. The book didn't hold the readers tight with the plot till the end. Negative characters and dark setting really is not enjoyable. His strong weapon that indulges someone in reading is his simplistic prosaic witing & multi-character narration. However, each day is not the day of feast, & each tool is not sharp enough to kill your weaknesses.

The story begins from the arrival of a stranger at the remote village who delivers bitter news to Didi i.e. Sulochana. According to her news, Didi's husband, Masterji has kept another wife in the city and they too have a young & beautiful son. Being a typical wife, she takes the control over the situation and headed towars city to confront both her husband and his newly married wife, Apsara.  Masterji lives in city and hardly visits home to see his wife and sons. Masterji as name suggests teaches in the city. Didi & Masterji had an arranged marriage. She is not physically attractive young woman but she is hard-working, caring and sexually active. The early description about Didi gives us insight into the kind of anti-heroine character. 

The story gets a new twist when Didi shows interest towards 'city son', Tarun, the son of Apsara. She began to demand that the boy visits the home weekly. Slowly and gradually, the silent & confused Tarun falls in the spell of Didi. Moreover, her dominating & aasertive personality leads Masterji into a depression. Ultimately, Masterji couldn't raise his voice in support of his 'city wife', Apsara. This is the reason he became the captive of his former self.  Tarun takes the torments of his mother, Apsara’s mental and emotional absence, abuse from his elder stepbrother, his youthful confusion and to land himself in the safe zone''psychologically, he started enjoying her company. Soon thereafter, Didi’s obsession with Tarun grows and the two begin a different kind of relationship.

The novel holds a voyeuristic tone and aware the readers to stay away from those creepy looking eyes who can ruin our spiritual, fresh relationships. Clearly, Didi is the character who wants to satisfy her sexual pleasure from Tarun prying him. Didi is silent but abrasive, caring but dominating, female villianic characer. The silentness of Masterji & Tarun's attraction towars Didi directs the plot to the dark world. We see the complex relationship environment among the characters constructed by Upadhyay. Not only that, almost each and every character nourishes in holplessness. No doubt, to present the complex family ties, the writer has weaved the characters forcefully. However, the story they carry is very thoughtful, and entirely shocking. Holding the betrayal as the subject matter Upadhyay presents Didi as a real monster not to be believed.

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Blue Mimosa (Shirih Ko Phool) by Parijat । Book Review

This excellent novel was composed by a standout amongst the most skilled woman in the Nepali writing area, we as a whole know her as Parijat. This book was distributed by Sajha P
rakashan, in 2068 B.S., this novel was likewise granted with 'Madan Puraskar' in 2022 B.S.

Parijat, who was the pen name of Bishnu Kumari Waiba, is eminent everywhere throughout the world through her abstract compositions, particularly from her first novel 'Blue Mimosa'. The extremely novel which is the English interpretation of 'Shirish ko Phool' is additionally viewed as the cutting edge novel which fuses the vibes and aims of current age. The novel is the composed from the Suyogbir's perspective in which the speaker tries to demonstrate the way Nepali ladies are seen by men in contemporary man centric culture, and anticipated that would carry on.

This story is essentially about a man named Suyog, who was a previous officer in the British-Gurkha Army and had battled in the Second World War; he had resigned after the war was finished and now kept up his living by the annuity he got. In the earliest reference point of the story, Suyog notices of a companion he made, Shiva raj, and how he was going by his home out of the blue and of the scenes he saw there. Shiva raj is a man whose life is loaded with obligations, he has at home three unmarried sister and their examinations to help. They both are later discovered to be two heavy drinkers who have happened to meet in a bar. 

The following character that enters Suyog's life is Sakambari, one of Shiva Ram's sisters. She has a very surprising discernment on life and by and large stands in an aggregate resistance to Suyog. She continually ridicules Suyog, which dependably keeps her picture at the forefront of his thoughts. Slowly, Shiva slam's another sister Mujura is somebody Suyog considers to be a perfect spouse material, not at all like Sakambari. He doesn't love Mujura yet rather just needs to make her his significant other to comfort him amid his depression.  Suyog's connection with Sakambari was of only resistance and some little measure of scorn however one day he understands that his disdain had transformed into a profound inclination he didn't have confidence in, affection. He had begun to love Sakambari and to feel the confinement inside him to not have the capacity to reveal to Sakambari reality about his sentiments influenced him to think back about some old recollections. He admits to himself that he was a creature at one point of time, that his transgressions were something he couldn't change and never felt regretful about and that he was not simply feeling a physical fascination towards Sakambari but rather something more significant. Suyog at long last tries to admit his sentiments to Sakambari however in tumult kiss her. He feels regretful and embarrassed about what he had done however he is a quitter to not ever confront Sakambari again. Toward the end period of the novel, Suyog is left blameworthy as he at long last understands that his oversights can demolish lives in a way he never at any point figured it would. Sakambari's passing flashes a fact before Suyog's eyes.

Suyog was a character who was dependably in a contention with himself. He was forever discontent and didn't put stock in affection, relationship and duty. For him, cherish was only playing with somebody's feeling, and love had a limit, love was something physical as opposed to passionate. His incredulity existed on the grounds that he was a quitter who feared the more prominent certainties that existed, is the means by which I saw him. He was anxious about the possibility that that every one of the things he accepts is genuine may be distorted by the certainties that as of now exists, and controlled by a more noteworthy power. 

Likewise, he is somebody who is somehow fleeing from life. He neither needs to confront joy nor torment however yet gripes about the depression introduce in his life. He is somebody who doesn't put stock in change. He anticipates that all ladies will be ordinary house-spouse material with them not talking much yet rather an audience compose, that is the reason when he meets Sakambari he is stunned to discover her so extraordinary but extremely alluring. He is a man of puzzle as he never admits his sentiments to the individual straightforwardly, he generally has something up his sleeve yet never tells some other man regardless of how smashed, passionate or forceful he gets. We additionally come to realize that he never needed to be in the Army, he is embarrassed to be known as a warrior and when he thinks about the recollections in the troops all he recalls is the experience of him having physical contact with ladies. I feel that he is some place liable however does not let it be known as like different realities about him he feels it isn't valid, as amidst the novel he admits to Shiva Ram that he hasn't ever executed a man. This conduct of his demonstrates that he is blameworthy and tries to conceal his blame by enlightening the other individual concerning the things he shouldn't be liable for.

Sakambari is a solid free, angry lady with agnostic states of mind. Her state of mind and her harsh feedback demonstrate her internal disappointment at being a lady and having a constrained part in the public eye. She detests looking frail before her male partners like her sibling Shivaraj or Suyog.

Suyog then again confesses to being a modest mortal and sees Sakambari being more grounded than him. His interest with Sakambari is gotten from his adoration of her solid will. However, at last, the peruser understands that Sakambari is as fragile as Suyog himself and her definitive destruction makes a pitiful consummation for a severe and tormented book.

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