Shrawan Mukarung on Debut Novel, Marginalized Voices, and Nepal's Literary Education

Shrawan Mukarung's literary journey, marked by his recent novel 'Salaha,' highlights a critical perspective on Nepal's engagement with its own literary heritage. Mukarung, a significant voice in contemporary Nepali literature, emphasizes the dual nature of poetry – as an outpouring of emotion and a meticulously crafted art form. His work, including poems like ‘Bise Nagarchiko Bayan’ and his new novel, delves into themes of personal awakening and collective consciousness, particularly for marginalized groups.

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There are two processes in writing poetry. One is exactly what William Wordsworth described—spontaneous emotions. Some poems come suddenly and intensely. For me, poems come to my mind when I am walking alone. And it comes in like a sharp, inevitable force. But there is another process that comes from design, structure, and choreography. It is like a potter shaping a clay pot or a farmer ploughing a field. Poetry is also a craft. The process can either be overwhelming or a conscious construction, or both.

Mukarung's critique of the national education system is particularly sharp. He laments that curricula remain stuck in outdated political mindsets, favoring foreign literary traditions at the expense of Nepali authors. This, he argues, stunts genuine enthusiasm for local literature among students, who may know Shakespeare but not the Nepali writers who have dedicated their lives to the craft. The irony that his own poetry was only incorporated into the curriculum after international recognition from institutions like INALCO in France underscores a broader issue: a national validation complex that looks outward rather than inward.

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Currently, our education system and curriculum are simply outdated, carrying the mindset of older political eras. We continue to prioritise foreign literary traditions while neglecting our own writers and thinkers. Students may know Wordsworth or Shakespeare, but they fail to recognise Nepali writers who devote their entire lives to literature.

This perspective is crucial for understanding the cultural landscape in Nepal. While international acclaim can be a catalyst, the reliance on foreign validation points to a deeper challenge in fostering and valuing indigenous artistic expression. Mukarung's work and his commentary serve as a powerful reminder of the need to cultivate and celebrate Nepali literature within Nepal itself, ensuring that future generations connect with their own cultural narratives and literary giants.

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Validation for them must come from abroad, which indicates a larger problem.