Over the centuries, Nepali literature has
flourished with the contribution of writers and poets within Nepal and beyond
the world. Among these literary treasures, there are substantial contributions
made by the Nepali-speaking diaspora mainly from regions such as Assam,
Darjeeling, and Siliguri and have thus contributed to Nepali literature. . one
of the reputable writers who have dedicated their existence to the development
of Nepali literature is Bhabilal Lamichhane. From Assam, Lamichhane has indeed
carved a niche for himself inside the Nepali literary scene and has emerged as
one of the robust voices in current Nepali writing.
Born on March 6, 1950, in Balewa, a village
in the Parbat district of Nepal's Dhaulagiri region, Bhabilal Lamichhane's
journey to the heights of a literary career is a story of willpower,
perseverance, and love for one's language and subculture. His parents, Pabitra
Lamichhane and Devidatta Lamichhane, inculcated the values of tough paintings
and education in him considering that his youth. A professionally retired
teacher, Bhabilal has several works to his credit, which range within the
spheres of poetry, short stories, ghazals, and children's literature.
Apart from these writings, Lamichhane has
been closely associated with organizations like Pravasi Nepali Sahitya Samaj
and the Assam Nepali Sahitya Parishad. His contributions to literature have
been widely recognized by the Haribhakta Katuwal Smriti Puraskar, Pushpalal
Upadhyay Smriti Puraskar, Abhijaman Smriti Puraskar, and the Baba Ambedkar
Sahitya Samman.
In this biography, we try to glance through
the life and career of Bhabilal Lamichhane, his literary voyage, and thoughts
on writing, identity, and the struggles of the Nepali-speaking diaspora in
India.
Early Life and Struggles
Bhabilal Lamichhane's early life was shared
between personal tragedy and socio-political convulsions. Born in a humble
household in the picturesque village of Balewa, Parbat, his family faced
difficulties which eventually led to migration to India. His father, Devidatta
Lamichhane, had joined the British Army, and his mother, Pabitra Lamichhane,
succumbed to cholera when Bhabilal was a young boy. Bhabilal spent his
childhood with his grandmother in Balewa after his mother's death. But a family
friend and local landlord tricked the family into signing their property and
forced them to migrate to Assam in India.
He recalls how greed and betrayal from a
trusted family friend pushed his family into exile during those struggling
times. It is the disillusionment of his father over that betrayal, he once
said, that never made him go back to Balewa and started exiling. Early losses,
displacement, and struggle in life deeply influenced Bhabilal's worldview and
later shaped his literary works.
Yet, through these years, Lamichhane was
always attached to his roots. Distinct in his memory are his frequent visits to
his birthplace and how, with a lump in his throat, he could hardly bear the
slow pace of development and the exodus of youth to other countries in search
of better opportunities. "Had the youth stayed and worked in Nepal, it
would have become one of the richest countries in Asia," he remarks-very
symptomatic of this enduring belief in the potential of his homeland.
The Voice in Exile: Literary Beginnings
Though birth had taken place elsewhere, the
culturally rich environs of Assam hosted the critical, formative years of
Bhabilal Lamichhane. He grew up in Digboi in Assam where the Assam Oil Company
had operational fields apart from a school named AOC Nepali ME School, where he
would study up to the sixth grade. It was here that his love for literature
started to grow, with the influence of one of the most famous teachers of the
school, the famous Nepali poet Haribhakta Katuwal.
Lamichhane still remembers how Katuwal's
love for poems and Nepali culture influenced him profoundly. When he was just
10 years old and in the fourth grade, he penned his first poem, "Bandi
Charipriti" (To a Captive Bird), under the tutelage of Katuwal. Later,
Katuwal edited his poem and published it in the 200th issue of the Ruprekha
magazine in 1961. Thus began his lifelong commitment to Nepali literature.
Lamichhane remembers his mentor, Haribhakta
Katuwal, with great regard: as a "mine of talent," as well as a
staunch nationalist, he termed anyone who insulted either Nepal or the Nepali
language. Katuwal tuned Bhabilal's writing skills and inspired in him a deep
sense of pride in being a Nepali.
Literary Contribution: A Set of Works Springing from Nepali Culture
It has been a continuous process of
Bhabilal Lamichhane writing incessantly over these years spanning poetry to
short stories and from ghazals to children's literature. Some of his notable
works include Anagat (The Unseen), Sabda Hun Yi Mera (These Are My Words),
Asamapta Pailaharu (Unfinished Steps), Tirsakhein (Without a Title), Ekta Ghar
Yasto (A House Like This), Kehi Ghazal, Kehi Najm (Some Ghazals, Some Poems),
Ghazal (A Collection of Ghazals), Badalpariko Desh (The Land Beyond the
Clouds), and Kasaka Lagi (For Whom). Each of these works expresses Lamichhane's
closeness to the Nepali language and its literature.
Besides creative writing, Lamichhane has
actively participated in Nepali-speaking diaspora literary organizations and
movements. His work with the Assam Nepali Sahitya Parishad and Pravasi Nepali
Sahitya Samaj has been important in advancing Nepali literature across the
Indian border.
Literary works by Lamichhane usually
revolve around issues of identity, displacement, and the struggle of living in
India as a Nepali-speaking people. His poems and stories reflect the cultural
and emotional dimensions of life in exile, while he reflects on love, loss,
hope, and resilience as universal human experiences. It resonates with the
Nepali-speaking diaspora but reaches out to a wider audience that is more
interested in the theme of migration and identity.
Agonies of Nepali-Speaking Diaspora
One of the recurring themes in the writings
of Bhabilal Lamichhane constitutes the agonies of the Nepali-speaking diaspora
in India. He is candid about the challenges faced by Nepali speakers in India
since they are often caught within a liminal space-neither fully accepted as
Indians nor entirely connected with their ancestral homeland, Nepal.
Lamichhane also believes that the
Nepali-speaking population in India faces discrimination because they are
considered to be foreigners. He said every time the Nepali-speaking Indians go
to any part of the country, people remind them of their Nepal origin and say,
"You have your Nepal, go back there." And that adds to alienation
with a historical grievance stemming from the Sugauli Treaty of 1816 ceding
large tracts of Nepali territory to British India. For Lamichhane, this
heritage of that treaty remains a deep source of frustration, as it severed so many
Nepalis from their homeland and made them stateless in so many ways.
Despite these challenges, Lamichhane and
his fellow Nepali diaspora fought for their identity and culture to remain
intact. He contributes, through his pen, to emphasizing a separate identity for
the Nepali-speaking people by saying that being a Nepali is related not only to
geography but also to culture, language, and heritage. He calls for greater
recognition of the Nepali-speaking community's contributions to India while
emphasizing the importance of maintaining a cultural tie to Nepal as one builds
his life in the diaspora.
The Impact of Haribhakta Katuwal and the Present Nepali Literary Scene
Indeed, there has been immense influence on
the literary works and mentorship of Haribhakta Katuwal in the career of
Bhabilal Lamichhane. Katuwal was a towering figure in modern Nepali poetry,
especially because of his nationalistic fervor and love for the Nepali
language. Lamichhane, one of Katuwal's students, carries on the legacy of his
predecessor to use literature in contributing toward the preservation of Nepali
culture and to express political sentiments.
In his 2015 book, Nostalgia Ma Haribhakta,
Lamichhane reflects on his experiences as Katuwal's student and delves deeper
into the poet's life and works. There, he engages in a debate about Katuwal's
complexities: "A debate between a writer's public persona and his
addictions to liquor and women, in private, is an extreme tension.".
Despite these personal flaws, Lamichhane
holds Katuwal in high esteem for his literary genius and his contribution to
the modern Nepali literary movement. He also credits other literary figures
like Pushpalal Upadhyay, Krishna Prasad Gyawali, and Gopinath Narayan Pradhan
for laying down the base of modern Nepali literature in Assam.
Personal Philosophy: The Role of the Writer
He says, "Being a writer, literature
has some kind of social responsibility." He considers himself a thinker
and a guide rather than an entertainer for society. According to Lamichhane, a
writer must practice what he preaches. Integrity in life and literature is the
vital factor that he tries to emphasize: "If I engage in characterless
behaviour but preach morals through my writing, I am not a writer, I am a
hypocrite.
This commitment to authenticity and moral
clarity-issues of justice, equality, and the human condition-are at the heart
of much that Lamichhane has written. His writing thus flows from a deep well of
empathy for the poor, the dispossessed, and the oppressed, from an abiding
faith in literature as an instrument of change. As such, it seems:
Conclusion: A Legacy of Literary Excellence
Bhabilal Lamichhane has contributed
immensely to Nepali literature in one word, starting from his early days as a
young poet groomed by Haribhakta Katuwal to his later days as an honored
literary figure of Assam. All these years, he stood firm in his commitment to
the Nepali language and its literature. A multi-style creator, his works hold
to encourage new generations of writers and readers.
A member of the Nepali-speaking diaspora in
India, Lamichhane's writings are at the equal time testimony to the resilience
and creativity of the Nepali audio system out of doors Nepal. He gives voice,
through stories, poems, and essays, to the struggles, hopes, and dreams of a
community that has seldom been given notice or been treated as peripheral.
There is little doubt that the memory of
Bhabilal Lamichhane, a writer, teacher, and cultural ambassador for Nepali
literature, will continue to stir the literary world for years to come. Living
in a time when questions of identity and belonging are more pressing than ever,
his works serve as a forceful reminder of how language, culture, and the
written word shape who we are.
पौरखको नदीबन्धु, तिमी गर्छौ भोकका कुरा खडेरीका कुरा अनिकालका कुरा पर्वतको छातीलाई फोरी गङ्गा बगेकी देखेका छैनौ ? शिला र चट्टानका पहाडहरू फोरी मूल फुटेको सुनेका छैनौ ? शायद देखेका छैनौ डढेलो लागेको खरबारीमा / पलाएका हरिया टुसा सुनेका छैनौ ढुङ्गाका कापहरूमा / मौलाएको दुबोका कुरा । किन गर्छौ तिमी भोकका कुरा खडेरीका कुरा अनिकालका कुरा ? आँटको जङ्गलमा बगिरहन्छ पौरखको नदी प्युँदै जाऊ / अँजुली अँजुली पानी । |
अनागततिमीले देखेको मान्छे— मभन्दा अग्लो छैन मभन्दा पनि अग्लो मान्छे/मभित्र छ । च्यातेर पहाडका अनुहारहरू एउटा बीभत्स वेदना भोगेको समय मभित्र सग्लै सुतेको छ/मबाहिर सग्लै सुतेको छ । तिमीले देखेको सपना— योभन्दा अग्लो छैन योभन्दा पनि अग्लो सपना/तिमीभित्र छ । पीपल र वरका जराहरू गाडिएर माटोमुनि/चट्टानका विचारहरू मस्तिष्कबाट उम्रिएर/पैतालाबाट गई माटोमुनि गाडिएका कति वर्ष बिते? उत्तर— ? उत्तर— ? उत्तर— ? जान्छु, तिमी पीपल र वरका रूखजस्तै मूक बस्नेछौ तिम्रो इतिहासको चेतन मान्छे अचेत हुँदै गएको छ तिमी ढुङ्गामुढाजस्तै मूक बस्नेछौ । तिम्रा चेतनाहरू त कृतदास/मुक्ति माग्ने तर्खरमा सधैँ अल्झिरहेछन् यस युगको चेतन मान्छे अचेत हुँदै गइरहेछ । म अब ‘फोसिल’ बोकेर आउने सूर्यलाई सोध्दै छु —मेरोपनि ‘फोसिल’ छ ? फोसिलै सही— अस्तित्वको एउटा आभास/घाम पनि एउटा फोसिल हो— आगोको फोसिल त्यसैले/पहाडपछि उठेको धूवाँमा आगो बोलेको सुन्दैछु । मान्छे त सबै ‘फोसिल’ भइसके त्यसैले कोर्रा खाँदा पनि बोल्दैनन् शरीर डाम्दा पनि बोल्दैनन् ट्वालट्वाल्ती टोलाउने आँखाहरू— देखेर पनि केही बोल्दैनन्। तिमी चुक्दै छौ ठम्याउन आकाशका पाइलाहरू सायद एउटा आकाश आउँदैछ/र ल्याउँदै छ एउटा–एउटा पाइला— एउटा–एउटा जुलुसहरू एउटा–एउटा मान्छे— एउटा–एउटा इतिहास एउटा–एउटा शब्द— एउटा–एउटा नारा एकैछिन पर्खेर बस है, आकाश तिमीलाई भेट्न आउँदै छ तिमीले भेटेको आकाश— तिमी भन्दा अग्लो छैन तिमीभन्दा अग्लो आकाश/तिमीभित्र छ मभन्दा अग्लो आकाश/मभित्र छ हामीभन्दा अग्लो आकाश/हामीभित्र छ एउटा कालपुरुष/बाजजस्तो पन्छीमा चढेर आउने कुरा प्रायः निश्चित भइसकेको छ र, समय अब पन्छी हुँदैछ लगाम थाम्न सूर्यका हजारौँ हातहरू दिगन्तबाट माथितिर उक्लिँदै छन् बस, दुइटा मुठी खोलिदिँदा हुन्छ प्रकाशका भोका र प्यासाहरूको ब्युँतिने कुरा प्रायः निश्चित भइसकेको छ हामी मुठी पर्खेर बसेका छौँ तिमी मुठी पर्खेर बसेका छौ सबै मुठी पर्खेर बसेका छन् बस, दुइटा मुठी खोलिदिँदा हुन्छ एउटा निश्चित दिशाबाट उज्यालो पोखिने कुरा प्रायः निश्चित भइसकेको छ पीडित र जर्जरित मान्छे बाँझो माटोजस्तै भएका छन् मनका कुनै कुनाहरूमा कुनै गीत बज्दैन जब हजारौँ वर्षपछि कुनै देशमा सङ्गीतको जन्म हुन्छ अनि ढुङ्गाका फोसिलहरूमा प्राण पलाउँछ चर्किएका चरहरूबाट जब विस्फोटसँग एउटा मान्छे जन्मिन्छ त्यो मान्छे मात्र मभित्रको मान्छेजस्तो हुन्छ आज तिमीले देखेको मान्छे— तिमीभन्दा अग्लो छैन तिमीभन्दा अग्लो मान्छे तिमीभित्र छ मभन्दा अग्लो मान्छे मभित्र छ हामीभन्दा अग्लो मान्छे हामीभित्र छ यी लहरै आकाङ्क्षाका हूलहरू केही पर्खेर बसेका छन् एउटा नयाँ युग आउने कुरा प्रायः निश्चित भइसकेको छ |
पटाक्षेपइतिहासका निर्माताहरू सधैँ इतिहासपछि लुकाइन्छन् ऐतिह्रय, कला र संस्कृतिको जिउँदो रूप— ताजमहल मुमताजको स्मृतिस्वरूप/समाधिमा बनिन्छ पर्यटकलाई बुझाउँदा शाहजहाँले बनाएको भनिन्छ शताब्दीसम्म आकाश गुन्जिने गरी वाहवाही लुटाइन्छन् कालिगडका हात काटिन्छन्/ती इतिहासमा दास कहलाइन्छन् इतिहासका निर्माताहरू सधैँ इतिहासपछि लुकाइन्छन् |
पुड्केको बल्छीछप्ल्याङ्ग छपनी पानीमाथि छाल अल्छीलाई बल्छी माछाको काल पानी भयो धमिलो माछा डुल्न थाले बल्छीको चारोमा माछा झुल्न थाले बल्छीको डोरीलाई कुन्नि के’ले तान्यो माछो पऱ्यो ठूलो भन्ने पुड्केले ठान्यो डोरी छिन्ने डरले नगरेर ढिलो पुड्के ओर्ल्यो पनीमा घुँडाघुँडा हिलो रूख ढली पोखरीमा तेर्सिएको मुढो चिप्लिएर लड्यो भने फुक्लिजान्छ घुँडो ठूलो माछो पऱ्यो भने स्वाद मानी खान्छु अलिकति यहीं पोली बाँकी घर लान्छु डोरीसँग हिंड्न थाल्यो माछो छोप्नलाई बल्छी गई अल्झिएछ मुढाभित्र हाइ! अल्छीलाई हुन्न कवै पुर्पुराको साथ जीवनमा खाने गर्छ उसले सधैँ मात। |
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