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Among the emerging voices of contemporary Nepali literature, Sushant Kumar BK stands out as a sensitive, thoughtful, and socially conscious poet. Writing in both Nepali and English, BK has consistently explored themes of humanity, social injustice, love, identity, and existential struggle through his literary works. His poetry collection The Caste of Flowers, consisting of sixty-two poems, is not merely a compilation of verses; it is a profound literary journey through pain, resistance, love, social realities, and the inner complexities of human existence.

The title itself, ‘The Caste of Flowers’, is deeply symbolic and philosophically rich. Flowers, as creations of nature, possess no caste, class, religion, or social hierarchy. Yet human society continues to divide people through discrimination, prejudice, and inherited structures of inequality. Through this striking metaphor, the poet questions the absurdity of caste-based discrimination and exposes the contradictions embedded within society. The title poem becomes a poetic protest against social division and an appeal for human equality and dignity.

One of the strongest dimensions of this collection is its powerful expression of Dalit consciousness and marginalized voices. Poems such as “Dalits’ Dreams Deferring,” “Dalit and Nature,” and “An Ignited Black Man in Pain” vividly portray the historical suffering, exclusion, humiliation, and silent struggles endured by oppressed communities. These poems are not written merely to evoke sympathy; rather, they demand recognition, justice, and equality. The poet transforms pain into poetic resistance, giving voice to those who have long remained unheard.

BK’s treatment of social inequality is both emotional and intellectual. He writes with deep compassion, yet his poetry also carries a rebellious energy against injustice and social hypocrisy. His verses reveal a poet who is not detached from society but deeply engaged with its realities. In this sense, ‘The Caste of Flowers’ becomes not only a literary work but also a social and ethical statement.

Another remarkable aspect of the collection is its exploration of love. However, love in these poems is not confined to romantic attraction alone. For the poet, love is an emotional, spiritual, and existential force that sustains human life. Poems such as “Colors of Love,” “Before You Go,” “Love is Still Breathing,” “Between You and Me,” and “Do You Love Me?” express intimacy, longing, separation, vulnerability, and emotional depth with remarkable tenderness.

In poems like “Love is Ephemeral” and “Love is a Beautiful Abstraction,” the poet explores the philosophical nature of love. Love appears fragile and temporary, yet within its brief existence lies the deepest beauty of life itself. The poet portrays love not merely as an emotion but as a profound human experience that shapes memory, identity, and consciousness.

The collection also powerfully reflects the psychological conflicts and existential crises of modern human beings. Poems such as “Self-Paradox,” “I Lost My ‘I’,” “Drop Your Mind,” and “A Self-Concentration Camp” reveal the fragmentation of the self, emotional exhaustion, loneliness, and the internal struggles of contemporary life. In an age dominated by materialism, artificial relationships, and emotional isolation, the poet examines how individuals gradually lose touch with their authentic selves.

One of the most compelling qualities of BK’s poetry is its introspective nature. Many poems read like intimate conversations between the poet and his own soul. This self-reflective style gives the collection a philosophical depth and emotional honesty that deeply resonates with readers.

Political and social consciousness also occupy a significant place in the collection. Poems such as “O Government,” “War or Peace?” “Freedom,” and “Condition Everywhere” critically examine power structures, violence, war, inequality, and the failures of modern society. The poet does not consider poetry merely an aesthetic exercise; for him, poetry is also a moral voice that questions injustice and awakens social awareness.

Particularly in “War or Peace?”, the poet raises serious concerns about the violent tendencies of the modern world. Despite scientific and technological advancement, humanity appears to be losing compassion and moral sensitivity. Similarly, “Freedom” questions the true meaning of liberty in contemporary society. Are human beings genuinely free, or are they merely trapped within invisible forms of oppression and illusion? Such questions give the collection intellectual depth and contemporary relevance.

The presence of feminine consciousness in the collection is equally significant. Poems like “I am a Durga,” “Soul of a Single Mother,” and “Mother Looks Exhausted” portray women’s struggles, resilience, motherhood, and inner strength with dignity and respect. The poet does not reduce women to symbols of suffering alone; instead, he presents them as embodiments of courage, endurance, sacrifice, and emotional power.

Nature also plays an important symbolic role throughout the collection. In poems such as “The Sun and Me,” “I Love Rainy Day,” and “The Sky is Pale and Grass is Grey,” nature is not merely decorative scenery but a reflection of human emotions and states of mind. Images of flowers, rain, sunlight, sky, shadow, and grass become poetic symbols through which the poet expresses loneliness, hope, despair, beauty, and emotional transformation.

Linguistically, the poems are simple, fluid, and accessible. BK avoids unnecessary complexity and instead focuses on emotional clarity and sincerity. His language remains direct yet deeply expressive, allowing readers from different backgrounds to connect with the poems easily. Beneath this simplicity lies philosophical depth and emotional intensity, which make the collection both intellectually engaging and emotionally moving.

What makes The Caste of Flowers especially remarkable is its multidimensional nature. The collection moves gracefully between rebellion and compassion, despair and hope, intimacy and social criticism, personal reflection and collective consciousness. The poet successfully merges personal experience with universal human concerns, making the poems culturally rooted yet globally relatable.

Overall, The Caste of Flowers is a thoughtful, emotionally rich, and socially relevant poetry collection that leaves a lasting impression on its readers. It does not merely invite readers to enjoy poetry aesthetically; it compels them to reflect deeply upon society, discrimination, love, freedom, identity, and human existence itself.

BK’s collection stands as a powerful literary contribution to contemporary poetry, particularly in the context of Dalit consciousness, human dignity, social justice, and existential reflection. With its emotional sincerity, philosophical insight, and social commitment, The Caste of Flowers deserves recognition as a meaningful and memorable work in contemporary South Asian English poetry.

Yagya Bahadur Hamal’s ‘Nepal’s Foreign Policy and Foreign Relations’ is a timely contribution to the study of Nepal’s diplomacy, international engagement, and strategic evolution. The book comes at a time when geopolitical tensions are high and Nepal is grappling to maintain a balanced relationship among the major powers. The book provides some guidelines for the political parties, practitioners and policymakers on navigating the complex geopolitical environment.

A former ambassador who spent more than three decades in Nepal’s Ministry of Foreign Affairs, Hamal reflects both scholarly commitment and practical experience in his book. At a time when Nepal’s geopolitical position has become increasingly sensitive amid changing regional and global dynamics, Hamal’s work offers readers an extensive historical and analytical overview of Nepal’s foreign policy from ancient times to the contemporary republican era.

One of the most commendable aspects of the book is the author’s effort to produce an objective and balanced account of Nepal’s external relations. In Nepal, very few retired diplomats devote themselves to rigorous academic writing after leaving public office. Hamal therefore deserves appreciation not only for documenting Nepal’s diplomatic history but also for contributing to the intellectual discourse on foreign policy. His inclination toward research and writing was visible during his public service career, and this volume demonstrates his long-standing engagement with diplomacy and international affairs. Over the past few years, Nepal’s foreign policy debate has swayed those who depend on the foreign fund who have published reports and books. To overcome such tendencies, we need more books written by Nepali diplomats who put Nepali perspective at the center.

The book is divided into six parts and nineteen chapters, covering a broad range of themes including the evolution of Nepal’s foreign policy, bilateral relations, non-alignment, neutrality, national security, economic diplomacy, multilateral engagement, and Nepal’s responses to international issues. The scope is remarkably wide, making the book valuable for students, scholars, diplomats, journalists, and general readers interested in understanding Nepal’s place in the world.

Hamal begins by tracing Nepal’s foreign relations from ancient times to 879 CE. He argues that Nepal’s early foreign policy was naturally limited because of the small number of neighboring political entities and the low degree of international interaction. Nevertheless, these early exchanges laid the foundation for Nepal’s later diplomatic traditions. By discussing the formative period of foreign relations, the author successfully situates Nepal’s diplomacy within a long historical continuum rather than treating it as merely a modern phenomenon.

The discussion becomes particularly engaging when the book moves into the modern era and the unification campaign led by King Prithvi Narayan Shah. Hamal correctly identifies national unification as a watershed moment in Nepal’s foreign policy history. According to the author, it was during this period that Nepal began to formulate a more robust and strategic approach toward external relations. The emphasis on protecting sovereignty, preventing external interference, and maintaining balance between powerful neighbors remains highly relevant even today. Hamal effectively demonstrates how many of Nepal’s contemporary diplomatic principles have historical roots in this period.

The sections dealing with the Rana era provide another important contribution. Hamal argues that Nepal’s foreign policy assumed a largely unidimensional character after the Rana rulers consolidated power and aligned themselves closely with British India. The author critically analyzes the isolationist tendencies of the Rana regime while also acknowledging certain diplomatic achievements such as territorial gains and the international recognition of Nepal’s sovereign status. Particularly interesting is his discussion of how foreign influence contributed to domestic political change. By connecting internal political developments with external relations, the book highlights the inseparable relationship between domestic politics and foreign policy.

The chapters on the democratic era and the Panchayat system are equally insightful. Hamal explains how Nepal gradually expanded its outreach to the wider world after the fall of the Rana regime. During this period, Nepal sought to assert an independent identity in international affairs while balancing relations with India, China, and other global powers. The Panchayat era receives detailed treatment, especially regarding Nepal’s non-aligned stance and the proposal of Nepal as a “Zone of Peace.” The author presents these initiatives as attempts to preserve Nepal’s sovereignty and distinct international identity in a challenging geopolitical environment.

One of the strongest features of the book is its treatment of non-alignment and neutrality. Nepal’s foreign policy has long been guided by the principle of non-alignment, and Hamal provides a detailed explanation of its historical evolution and practical implications. The discussion extends beyond theoretical interpretation and examines Nepal’s actual participation in the Non-Aligned Movement (NAM). The author also explores the contradictions and challenges involved in maintaining neutrality while dealing with regional and global pressures. This section is particularly useful for readers seeking a deeper understanding of Nepal’s diplomatic balancing strategy.

The book also devotes significant attention to economic diplomacy and national security. Hamal discusses issues such as foreign trade, tourism, foreign aid, transit rights, foreign investment, and Nepal’s engagement with the World Trade Organization (WTO). These chapters are important because they demonstrate that foreign policy is not confined to political and strategic issues alone; economic interests increasingly shape Nepal’s international relations. The analysis of transit infrastructure and trade challenges is especially relevant for a landlocked country like Nepal.

Similarly, the author’s discussion of multilateral relations broadens the scope of the book. Nepal’s involvement in the United Nations, SAARC, BIMSTEC, the Group of 77, and South-South cooperation is presented in a systematic manner. Hamal highlights Nepal’s active role in international forums and explains how multilateral diplomacy has provided smaller states like Nepal with opportunities to amplify their voices in global affairs. His examination of SAARC and BIMSTEC is particularly relevant in the context of shifting regional cooperation in South Asia and the Bay of Bengal region.

Another strength of the book is its accessibility. Despite dealing with complex diplomatic and historical issues, the writing remains clear and understandable. Hamal avoids excessive theoretical jargon and instead focuses on practical explanations supported by historical examples. This makes the book approachable for a wider readership beyond academia. Readers unfamiliar with foreign policy studies can still follow the arguments and gain substantial knowledge about Nepal’s diplomatic evolution.

However, the book is not without limitations. At times, the narrative becomes repetitive, particularly when discussing recurring themes such as sovereignty, non-alignment, and external interference. Some arguments presented in earlier chapters reappear later without significant new interpretation. Additionally, there are occasional date inaccuracies and minor factual inconsistencies that could have been corrected through more careful editing. While these errors do not seriously undermine the book’s overall contribution, they somewhat affect its scholarly precision.

Another limitation is that some contemporary issues could have been explored in greater depth. Nepal’s growing engagement with China under the Belt and Road Initiative, evolving Indo-Pacific debates, and the impact of emerging global power competition on Nepal’s diplomacy deserve more detailed treatment. Given the rapidly changing international environment, readers may expect a deeper analysis of how Nepal can navigate future geopolitical challenges.

Despite these shortcomings, Nepal’s Foreign Policy and Foreign Relations remains an important and valuable work. It successfully combines historical narrative, diplomatic analysis, and policy discussion into a single comprehensive volume. Hamal’s long experience in the foreign service lends credibility and depth to his observations, while his academic approach ensures that the book goes beyond mere memoir or personal reflection.

Ultimately, this book serves as a significant reference for anyone interested in Nepal’s foreign policy, diplomatic history, and international relations. It provides readers with a broad understanding of how Nepal has interacted with the outside world across different political periods and changing global contexts. More importantly, it encourages reflection on the future direction of Nepal’s diplomacy in an increasingly interconnected and competitive world. Though there are some repetitions and minor factual errors, the overall contribution of the book is substantial. Yagya Bahadur Hamal deserves recognition for producing a comprehensive and insightful account of Nepal’s foreign relations that will likely remain a useful resource for years to come.

An engineer by training, Vivek Shanbhag writes in Kannada. He has five short story collections, three novels, and two plays many of which have been adapted for the stage and one has been made into a short film as well. Ghachar Ghochar was translated by Srinath Perur, the author of the travelogue ‘It It’s Monday, It Must Be Madurai’. As far as translated works go, this is a good one to pick up. The language is smooth and you find yourself wondering how beautiful the actual text might be because the original is almost always better. 

I first chanced upon the translated version of Ghachar Ghochar at Sanu Ko Pustakalaya but I had to return the book before I could read it. Then since I didn’t renew my subscription at the library, choosing instead to buy books as it’s the one investment I truly believe in, I never got to read it. I finally found a copy at Bookverse in Civil Mall, Sundhara, and read it in a single sitting. The book is just a little over a 100 pages long and reads like a thriller. There’s so much happening that you don’t want to put it down. 

At its heart, the book is a simple story about a family’s changing lifestyle as they build a business and it brings them more money than they could have ever imagined. It’s the story of a single family but there are many characters that add different layers to the plot. You get to see the same story unfold from different perspectives. It’s not just a rags to riches story but a family drama that feels like something you would see in every other regular Asian home. 

On the surface, Ghachar Ghochar tells a story about a middle-class Indian family. But at its core, it examines shifting family dynamics, hierarchy, and the covert and overt ways in which patriarchy exerts itself. The father of the narrator is the only breadwinner and they lead a simple life. Then his uncle starts a business which becomes successful and overnight their fortunes change. They move into a bigger house from their ant-infested space and suddenly they don’t have to plan their purchases. Money brings many changes but the family still struggles to leave their past and old values behind.

Despite being so short, it’s a very layered work, one that forces you to think of the many facets of life and how the lives of family members are intricately woven and not everything is simple and straightforward. I really enjoyed it and the ending shocked me and moved me to think of things like class, gender, and the privileges we take for granted. It also, in many ways, felt like a commentary on how money often controls us, how it can both motivate and manipulate, and bring out the best and worst in us depending on what we let it do. 

Fiction

Ghachar Ghochar

Vivek Shanbhag

Translated from the Kannada by Srinath Perur

Published: 2015

Publisher: Harper Perennial

Pages: 117, Paperback

I recently bought a copy of ‘The Yellow Wallpaper’ by Charlotte Perkins Gilman after hearing many of my favorite BookTubers talk about it. It’s a short story about mental illness. A woman becomes obsessed with the yellow wallpaper in a mansion she and her husband have rented to help her to recover from her ‘sadness’. The Vintage Classics edition I got has a total of 10 short stories by Gilman. There are other editions by Penguin, including the Penguin Little Black Classics edition, that has three stories or a completely different selection of stories by Gilman that includes The Yellow Wallpaper but not necessarily the stories that are in the collection I bought. 

But I recommend the Vintage Classic ‘Weird Girls’ edition because you get a complete feel of the author’s body of work. Gilman was born in 1860 and she was a journalist who wrote many works of fiction and non-fiction. She died by suicide–taking an overdose of chloroform–after being diagnosed with incurable breast cancer in 1932. Her work reflects her melancholy attitude towards life and is, at times, a little too bleak for my liking. But she was definitely an author ahead of her times, writing about what would have back then been radical ideas of change, resistance, and gender equality. Reading her stories today might feel commonplace, especially since mental health and gender issues are openly discussed, but we would do well to remember that these stories were written in the late 1800s when many of these ideas were far-fetched and even revolutionary.  

The Yellow Wallpaper dissects a woman’s descent into madness and her family’s role in it. The Rocking Chair is your average horror story as is The Giant Wisteria. Both of these are well written and executed but you feel like you have watched many such plots on different OTT platforms. I enjoyed a seemingly innocuous story about a housewife who goes on about her day without a free minute, catering to all the needs of her family without thinking about her own. This story made me dwell on how little attention we give to homemakers and their contribution in men’s successes in the professional arena. Challenging societal conventions on what it means to be a woman in a man’s world is another of Gilman’s stories, Mrs Elder’s Idea, where an aging woman who has always followed her husband’s orders finally decides to live life on her own terms. 

Every story in the collection I got from Pilgrims Book House in Jhamsikhel, Lalitpur, are ideas you are familiar with but don’t give much thought to on a daily basis. They shed light on mental illness, gender disparity, parenthood and its challenges, and many other issues. Gilman’s stories are a bit gothic and unsettling but the ideas presented in them make them worth your time. 

The Yellow Wallpaper

Charlotte Perkins Gilman

Published: Originally published in 1891

Publisher: Vintage Classics (Weird Girls edition)

Pages: 127, Paperback