Image via Prava Baral. Used with permission.
Prava Baral is a freelance writer and scholar from Nepal. With a deep appreciation for Nepali literature and a passion for wordplay, she embarked on her writing journey through poetry. Over the years, she has published five literary books, including two poetry collections, a ghazal collection, a travelogue, and a novel, which was nominated for Nepal's reputed Madan Puraskar literary award.
Currently pursuing a PhD in Nepali literature, Prava is also a lecturer and an active voice in the evolving landscape of Nepali literature. Prava's writing reflects her commitment to challenging traditional narratives and giving a platform to marginalised voices, while navigating the complexities of the literary world.
Sangita Swechcha of Global Voices interviewed Prava Baral via email to learn more about her literary journey as a poet, novelist, and academic. The conversation explores her commitment to portraying women’s voices in Nepali literature, the intersections of gender and creativity, and her reflections on the literary space for women in Nepal.
Sangita Swechcha (SS): You’ve written poetry, ghazals, fiction, a travelogue, and a novel — how do you decide which form best fits a story you want to tell?
Prava Baral (PB): The choice of genre depends on the subject of creation. When writing emotional and profound matters, songs and poems may be created. If the expression becomes long in form, then fiction or travelogue may be the appropriate genre. Topics involving social complexities can fit into this. These genres can be used to elaborate well on a subject. Recently, I have been writing only in the genres of travelogue and fiction. Writing travelogues and fiction requires great patience, time, and writing skill. It seems prudent for those with accumulated experience in such writing should continue it, and so nowadays, my writing is focused on this.
Prava Baral delivering a speech at the book launch event as a featured speaker. Image via Prava Baran. Used with permission.
SS: In your writing process, do you consciously aim to challenge or deconstruct traditional narratives around women, particularly in the context of Nepali society? Why is it important for you to focus on these narratives, and what impact do you hope your work will have?
PB: Women in Nepali society continue to face systemic disadvantages and inequality, and it appears that overcoming deep-seated religious superstitions, discrimination, and conservative beliefs will take time. Changing deeply ingrained attitudes that have persisted across generations is a slow process. Through my creative work, I aim to contribute to this change. Writing by women themselves holds a unique power, as it brings personal experiences to life and amplifies these issues in a way that resonates more deeply. It is my hope that, over time, society will evolve and these challenges will be addressed.
SS: The history of women’s writing in Nepal is often marked by silence, marginalisation, and religious or social constraints. In your view, what are some meaningful ways this history can be reclaimed or reframed through contemporary literature?
PB: Women’s identity has been made anonymous in society for ages. Other than becoming aware oneself, there is no other option to pursue this. One must establish their own perspective through the study of language, culture, and history, the search for ancient stories, and social studies. Contemporary writing has made some attempts to change society. Women's stories are now beginning to be written from their own perspective. There is a sense that things are heading in a better direction. It seems very complex to state in bullet points exactly how this change can be brought about, as if by a magic wand.
SS: What are the unique challenges faced by women from marginalised communities in Nepal when it comes to literary expression, and how can writers like yourself support or spotlight them?
PB: The main challenges faced by women from marginalised communities in Nepal include lack of linguistic access, economic dependency, and being victims of various levels of discrimination. To address this, one must be aware, and education is essential to foster that awareness. This truth holds on one hand. However, writers must venture into the field and conduct research to craft their stories. Women from marginalised communities can be encouraged to write, provided with guidance on how to write, and supported through the promotion of their work. Only by allowing their voices to be heard from their own mouths on public platforms can be a real support to them.
SS: What has been your experience navigating the publishing world as a woman in Nepal, and do you feel there are specific challenges or biases that women writers face in this space?
PB: In Nepal, women are not viewed as serious writers. It is harder for them to publish than to write. Even established male writers have to plead with private publishers to get their books printed. The chances of receiving fair remuneration for such printed works are low. Writers from the new generation face even more difficulty. Most often, books are self-published.
The Nepalese government lacks a formal system to publish the works of writers, which in turn diminishes the motivation for writers to approach their craft with a sense of duty towards the state. Writers are writing out of personal freedom, interest, and goals. Comparatively, men are free from domestic chores. Despite this, when it is difficult even for male creators to write, the condition for women is even more miserable. Women must steal time from domestic duties, childbirth, childcare, and other responsibilities to write. Creating high-quality writing under such circumstances is already a significant challenge, and publishing it as a book adds another layer of difficulty. Women’s writing is navigating a path filled with challenges, yet I believe that each step brings progress and possibility.
SS: As an academic in literature, how do you see younger women students engaging with writing today? Are they freer or differently constrained? What kind of literary space would you like to see for the next generation of Nepali women writers?
PB: Digital culture has empowered the new generation, but it has also led to a lack of reading and writing habits, resulting in diminished confidence. Also, the pursuit of quick fame and personal gratification may offer short-term rewards, but it cannot sustain long-term growth. I encourage aspiring writers to first deeply explore the lifestyle, history, and culture of their country. They should also read the works of established writers to gain valuable insights. Nepali women should also freely express their views on various aspects of society.
I share my writing experiences to inspire the new generation to explore literature and understand the power of words. Today, we see professionals from diverse fields — such as doctors, engineers, actors, and pilots — developing an interest in literature and eager to publish books. The power of writing is undeniable. I believe that those who cultivate a passion for reading literature today have the potential to become the writers of tomorrow. My hope is that by sharing my journey, I can inspire and encourage them to pursue their own literary aspirations.
