Image via Archana Thapa. Used with permission.

Archana Thapa is a prominent author, editor, and publisher based in Kathmandu, Nepal. She is the founder of Akshar Creations, a pioneering publishing house from Nepal dedicated to amplifying gender issues and non-mainstream literature. A strong advocate for marginalised voices, Thapa has edited several acclaimed works and authored Kathaputala, a story collection that garnered widespread recognition. She has also edited and published anthologies of personal narrations such as ‘Telling A Tale’, ‘Sahaastitwako Khoj’, and ‘Smritikathama Sattwa’, which document the lived experiences of women and socially excluded communities.

Beyond publishing, Thapa is actively engaged in literary activism. Her international recognition includes the prestigious Art Think South Asia (ATSA) Fellowship in 2014, supported by the British Council, which allowed her to collaborate with publishers in London. Through her writing and editorial leadership, Thapa continues to challenge dominant narratives and open up new spaces for inclusive storytelling in Nepal’s literary landscape.

Sangita Swechcha of Global Voices interviewed Archana Thapa over email to understand her work in amplifying marginalised voices, her literary activism, and the role of publishing in promoting inclusive storytelling in Nepal.

Sangita Swechcha (SS): You’ve played a pivotal role in creating space for underrepresented voices through Akshar Creations. What inspired you to establish a publishing house, and what gaps in Nepali literary publishing were you hoping to address?

Archana Thapa (AT): I can’t say I’ve played a pivotal role yet, but I’ve tried to carve space for voices long unheard. At a time when women’s narratives were dismissed as tales of tears and victimhood, Akshar Creations published ‘Telling a Tale’ — a collection of bold, personal reflections. I was deeply moved when Prof. Deborah Merola of One World Theatre adapted it into the [stage] production ‘Telling a Tale: Kitchen Dramas’ in 2014. For many of the contributors, it was their first time performing their own stories.

Since then, we’ve published grandmothers’ oral histories (‘Hajur Aama ka Katha’), daughters recalling their mothers (‘Chhorile Janmeka Aama’), and fiction by women exploring identity, loss, quiet resilience and nonfiction.

Perhaps this explains what inspired me to start a publishing house. I don’t know if these books have narrowed the gap, but they’ve sparked more women to read, write, and share. That, to me, is a beginning.

SS: In your experience, what systemic or cultural barriers have women in Nepal faced when entering or progressing in the publishing industry? How have these changed or persisted over time?

AT: These are vital questions, though difficult to answer in a brief space. Nepal’s literary publishing industry is small, and women in leadership — especially in literary publishing — are still rare. When I founded Akshar Creations over a decade ago, I knew of no other woman-led literary press in Nepal.

Women in Nepal face entrenched systemic and cultural barriers, and publishing is no exception. Their works are undervalued, dismissed as less ‘serious’, and their leadership questioned. Also, gendered expectations limit time, mobility, and access to networks — making it harder to write, publish, or participate in literary life.

Despite this, change is underway. More women are writing, leading, and challenging conventions. While we have published many such stories, Akshar Creations resists tokenism. Our commitment also is to literary integrity and authentic storytelling. Inclusion must be meaningful — grounded in craft and style. Equity requires a deeper vision — one that values fresh narratives, honors diverse perspectives, and uplifts transformative voices. Furthermore, I may not have directly supported by publishing a whole lot of works by members of underrepresented communities, but through my civil activism, I actively work to amplify their voices and advocate for their rights.

SS: Much of your work highlights personal narratives and marginalised voices. What challenges have you faced in publishing such content?

AT: When I began compiling women’s personal narratives in Nepali, the first challenge was convincing them their stories mattered. Many believed they hadn’t done anything ‘remarkable’, that their lives were too ordinary to be written. Some feared judgment — worried what family or community might say, since a woman’s experience is often entangled with silence.

It took time to affirm that ‘Her-Stories’ are not just important and defy homogeneity. The first compilation drew little attention and struggled in the book market. Yet today, they’re cited in research papers and ‘Swaastitwako Khoj’ has even been translated into German language. What once seemed overlooked now carries undeniable value.

When I founded Akshar Creations, women’s writing occupied the margins of Nepali literature, with only a few exceptions. I chose to begin with personal narratives — more daring, more revealing than fiction — because they demanded courage, and the breaking of silence. Now, I see more women writing their truths, publishing in national dailies and literary magazines. The journey has never been easy — but something has shifted. And that shift, however small, feels like a beginning.

SS: Do you think women-led publishing initiatives bring a different editorial or curatorial perspective to Nepali literature? If so, how?

AT: I strongly believe women-led publishing initiatives often bring distinct editorial and curatorial perspectives shaped by their experiences, priorities, and challenges in a historically male-dominated industry. These initiatives tend to prioritize underrepresented voices, including those of women, non-binary individuals, and marginalized groups, and they often emphasize themes like gender equity, social justice, and diverse storytelling, reflecting a sensitivity to systemic biases.

I do not claim that these perspectives are inherently ‘better’, but they offer a counterbalance, enriching the literary landscape with diverse sensibilities and priorities. However, perspectives vary widely among women-led initiatives themselves, shaped by individual editors’ vision, goals, and audiences.

SS: Funding, distribution, and visibility remain challenges for small publishers. How do you navigate these, especially as a woman in a largely male-dominated literary and business space?

AT: As you rightly mention, the lack of funding, grants, and government support — alongside challenges in distribution and visibility — remains a significant barrier. As a self-funded venture, Akshar Creations limits the number of books it publishes each year. Being a woman publisher and running a home-based publication while also writing and engaging in civic and literary activism, adds further challenges. Still, passion sustains the work.

Navigating Nepal’s male-dominated literary industry isn’t easy, but I believe a woman’s perspective is a powerful asset. Distribution continues to be a major hurdle. Digital media has become essential — I rely on it to promote books, alongside the power of word of mouth.

Though ebooks and audiobooks offer cost-effective access to global audiences, local visibility is built slowly — through book discussions, meet the author events, social media and literary festivals. Media outreach helps, though it’s not always accessible. At Akshar, we often co-promote with authors and encourage them to use their networks.

SS: What structural changes would you like to see in Nepal’s publishing ecosystem to make it more inclusive and sustainable for women and other underrepresented groups?

AT: To build a more inclusive and sustainable publishing ecosystem in Nepal, strategic and systemic reforms are essential. This means, fostering economic empowerment, and amplifying marginalized voices. Prioritizing intersectionality ensures that layered barriers are addressed.

Greater representation in key roles — editors, writers, illustrators, publishers — is crucial. Subsidizing publishing costs is needed. Investment in Digital literacy can broaden readership and access. With sustained investment, collaboration, and vision, Nepal’s publishing landscape can evolve into a powerful platform.