<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe113c9c7e80680e0da4cfjpeg.jpg" alt="" width="3000" height="1688"/><figcaption>Photos: SURESH L YONJAN</figcaption></figure>Taragaon Next’s ‘Object in Focus’ is a unique series that brings one object by one artist addressing one big idea.Envisioned by curator Roshan Mishra to invite contemplation of contemporary art in Nepal, the series also featured the works of visual artists Koka Vashakidze from Georgia and Alicia Junissaliyeva from Kazakhstan about the origins of Boudhanath next door in a symbolic reprise.Now, Kathmandu’s own Bidhata KC takes centre stage to depict the interconnectedness between daily life, consumerism, globalisation and spirituality.A single installation connects heaven and earth through a metallic pole, like a bridge for elementary particles to commute. Two circular bars spread out, between which are the unmistakable mani prayer wheels.Auspiciously and coincidentally 21 in number, something is different about these wheels – they in fact look like tin cans, with corrugated bands an abstraction for the mantra that traditionally decorate the wheels. For support, oblique rods slant out from the circumference to the base of the pole.‘Object in Focus #6: Out of emptiness’ has a myriad of figures in addition to the mani wheels: a slightly open upside down umbrella, a downward arrow, or maybe a funnel. Such inversion may come naturally, especially with the overall and immediate image of things pointing towards the ground. Yet, the longer one looks, there is a sense of calm, an echo or reflection of shifting perspectives.The viewer may even rotate the wheels and reproduce for themselves the feeling of walking through a sacred shrine, participating in the great cosmic churning of consciousness. One of the many theories behind the mani wheel, after all, is that rotating mantra relate to yogic or Tantric practices whereby practitioners visualise the mantra revolving around their nadi. It is doubly symbolic to consider that the rotations also indicate reading or chanting.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe11409c7e80680e0da4d0jpeg.jpg" alt="" width="1500" height="1000">The exercise in abstraction does not end there. When we consider the material design of KC’s artwork, it opens several other cans of worms (as it were). The use of tinplate cans, steel coated with a thin layer of tin, is climate-conscious art since steel cans are the most recycled closed-loop packaging material. These increase the shelf-lives of products, protect them from damage by light, oxidation, extremes of temperature and contamination, safeguarding flavour, appearance and quality from factory to consumer.Now, transform this thought on to KC’s artwork: this striking marriage of generations-long spiritual traditions and a corrosion-resistant symbol of consumerism with an ecological meaning gives one pause. What is KC trying to say here? One does not arrive at a conclusion, and that may be KC’s intention.Instead, the viewer is asked to think outside the box – or cans. The tug-of-war between history and traditional values, practices, and modern politics, luxury, hunger, etc is often indispensable in Nepali contemporary art. Aptly so, considering the unique position of the country’s many living cultures.KC’s work gives this a little spin: not so much of a tug-of-war here, but something more fluid. Rather than being at opposing ends, KC invites us to consider how culture and modern life may in fact be informing each other, especially among the Himalaya, and people are not so much rejecting one in favour of another, but building practices and lifestyles that incorporate both ideas.“The artwork is inspired by my own experience as a traveller, through my observations and memories,” says KC, who also wanted to see what reaction would bringing a mani wheel to a gallery space evoke. “How does a wheel embossed with prayers compare to a simple tin can?”KC believes that adding embellishment and confounding jargon would limit the art experience. Viewers also take a leap of faith when engaging with the piece, which itself necessitates the act of letting go, without which the boundlessness of a prayer wheel may never be reckoned with.Object in Focus #6: Out of emptinessby Bidhata KCCurated by Roshan MishraWith support from Aakar Kalaghar and Contemporary Art of Nepal FoundationTaragaon Next, BoudhaTill 15 February 2023, 10:00am – 5:00pm

Ashish Dhakal

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Review

Giving prayer wheels an arty spin

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe10489c7e80680e0da48fjpeg.jpg" alt="" width="2304" height="1536"/>Right after entering Siddhartha Art Gallery, a large painting immediately catches the eyes of visitors. ‘Modern Rawan’ an acrylic on canvas by Roshan Pradhan shows a naked figure, orange and brown, crouching with one hand under its chin.Its face is missing, replaced by a pink lotus. The figure wears a golden crown on its head with a swirl of clouds wrapped around its shoulders like an ethereal scarf. Disembodied faces of Albert Einstein, Michael Jackson, Steve Jobs, Da Vinci, Stephen Hawking, <a href="https://archive.nepalitimes.com/news.php?id=13102#.Y9yu7HZByJA" target="_blank" rel="noopener noreferrer">Karl Marx</a>, even Adolf Hitler, hang on both sides.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe104c9c7e80680e0da490jpeg.jpg" alt="" width="1536" height="2304">Pradhan’s striking depictions of cultural motifs and <a href="https://www.nepalitimes.com/banner/traders-barter-tradition-for-modernity/" target="_blank" rel="noopener noreferrer">traditions in conversation with modernity</a> are at once a reflection and diversion. In a time when AI-generated digital art is in vogue, centuries-old practices hang uncertain.An android is a central figure in ‘New World’, with metallic limbs and closed eyes. Honeycomb is another prominent motif which calls to mind the laborious bees, hive-mind, as well the notion of clockwork-like colonies.Pradhan is concerned with the questions of free-will, human intelligence, culture and nature, and what we take into the future. Or, rather, is anything from the past worth saving and acknowledging, when modern ideas and technologies continuously inform our choices and lifestyle?Pradhan is part of the five-member Pagoda Group, featuring artists Kishor Nakarmi, Pradhumna Shrestha, Mala Shrestha and Rudra Bahadur Pun, whose works are currently being exhibited at Siddhartha Art Gallery. Called Collective Expressions, the paintings cover a wide array of motifs and styles, but have among them a common theme of <a href="https://www.nepalitimes.com/banner/the-history-of-heritage/" target="_blank" rel="noopener noreferrer">Nepali cultural heritage, from monuments to symbols</a>.The variance in style reaffirms Nepal’s unique position as a living culture with diverse traditions, faiths and backgrounds. Experimental in nature, from Pradhan’s futuristic metaphors, Pun’s calming chörten to Nakarmi’s gothic Buddhas, or Pradhumna Shrestha’s blazing Darbar Squares to Mala Shrestha’s expressionistic mudra, the paintings capture the dialogue between creative forces and a sense of spirituality and influence of one’s roots.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe10519c7e80680e0da491jpeg.jpg" alt="" width="2304" height="1536">A striking example of this is Pradhumna Shrestha’s ‘Shangrila’ series, which focuses on architectural and material space. His paintings depict the Darbar squares of Kathmandu Valley, as seen through a fiery lens, with delicate accuracy.But these are far from simply realistic. There is a discomforting hotness to the artworks, concerned with vanishing traditions and heritage, almost crying out to the viewer: What are you waiting for, how can you sit comfortably as fire rages around you?Read also:<a href="https://www.nepalitimes.com/banner/a-tale-of-three-cities/">A tale of three cities</a>, Ashish Dhakal<a href="https://www.nepalitimes.com/banner/painted-walls-and-pieces-of-history/" target="_blank" rel="noopener noreferrer">Painted walls and pieces of history</a>, Ashish Dhakal<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe10559c7e80680e0da492jpeg.jpg" alt="" width="1536" height="2304">Elsewhere, Mala Shrestha takes the symbol of nature and life merging a step further. In her paintings, <a href="https://www.nepalitimes.com/banner/the-delta-of-kama/" target="_blank" rel="noopener noreferrer">woodcarvings</a> blend with trees, and by extension the earth, their origin. Mala’s works highlight the significance of emotions and thoughts that often bridge nature to the arts and crafts. In ‘Holy Water’ colours and shapes inspire the viewer to look beyond the present reality.<h4>Woodcut prints</h4>The gallery’s other space across the courtyard is currently showing a very different kind of artwork: woodcut prints. Monsoon Printmaking 2023 is the result of an online workshop organised by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-solace-of-art-Nepal,2934" target="_blank" rel="noopener noreferrer">Bindu Space for Artists</a> in 2022 and brings together the unique expressions of 35 multidisciplinary artists, including Anusha Thapa, Aman Maharjan, Bidhata KC, Bidhyaman Tamang, Jenney Ghale, Saurganga Darshandhari and Sujita Chaudhary.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe105a9c7e80680e0da493jpeg.jpg" alt="" width="2304" height="1536"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150228/63fe105e9c7e80680e0da494jpeg.jpg" alt="" width="2304" height="1536">Woodcut is a form of relief printing, and this artform highlights the balance between ink and no ink, which the artist cuts away into the surface of a block of wood with gouges, leaving the printing parts level with the surface while removing the non-printing parts.One can find a variation of tones, from monochrome, duotone to multicoloured prints. Manisha Manandhar’s ‘Lukha Duwa’ pays homage to Newa traditions and architecture while Katyani Rai’s ‘Self Portrait’ depicts a surreal landscape with trees, faces and a crow. Bidhyaman Tamang’s ‘The Older I get, The More I Learn’ shows a letterbox surrounded by cats and rats and a urinating dog while Snellen charts are strewn on the ground: a metaphor, perhaps, of miscommunication and lack of vision.Right next to it sits another very endearing feline, its round eyes like planets peering at coins in the sky. Called ‘Gravity’ by Sony Rai, these symbols for money present the staggering reality of capitalist attractions as a curious creature looks on. Inside, ‘Structures’ by Bidhata KC shows an ambiguous green landscape with no top or bottom – or are we looking at it from above? – as rectangles and squares make out buildings, drawing attention to the dialogue between the earth, the trees and the skies, and humans.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe10619c7e80680e0da495jpeg.jpg" alt="" width="1536" height="2304"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150232/63fe10669c7e80680e0da496jpeg.jpg" alt="" width="3931" height="5898">Rubi Maharjan’s ‘In the Blues’ appears like a raging sea, but looking deeper there is a profoundly beautiful sadness in between the spaces, which is, inexplicably, also hopeful.Together, both exhibitions occupy a kind of a liminal space between the seasons, where it feels as though all meanings are possible. Experimentation of styles draws attention to many challenges and expressions that define our lives and experiences, but, here, there be no easy answers.Collected Expressionsby Pagoda GroupTill 17 February 2023 Monsoon Printmaking 2023By Various Artists Till 18 February 2023Siddhartha Art Gallery, Baber Mahal RevisitedSunday – Friday: 11:00am - 05:00pmSaturday: 12:00 - 5:00pm

When art unites what divides us

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140216/63e3a0fa9c7e80680e0d7061jpeg.jpg" alt="" width="4032" height="3024"/><figcaption>All photos: ASHISH DHAKAL</figcaption></figure>Contemporary videographer and photographer Aakash Pradhan’s latest show at <a href="https://www.nepalitimes.com/review/muses-of-the-mountains/" target="_blank" rel="noopener noreferrer">Wind Horse Gallery</a> in Jhamsikhel comes across as being a quiet affair. But Corny Clouds, curated by Ujen Norbu Gurung, is far from the mawkishly sentimental.It leads the viewer through the glass doors into a dimly-lit corridor which has a calming atmosphere – quite literally, as on the walls one finds variously sized photography-on-canvases of the sky.The first are part of a triptych, ‘Nothing But Good Energy’. Large canvases as blue as the word ‘clear’ itself. The colour gradient shifts concentrically around a brilliant sun, as amorphous clouds trail in. The canvas in the middle shows a snowy mountain peak rising from the bottom-left corner. But what hour is it -- early morning or late afternoon? There is no telling, and, at the same time, perhaps it does not matter. What we are asked to view here is the sky itself, in its many forms and moods.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140216/63e3a0fe9c7e80680e0d7062jpeg.jpg" alt="" width="3024" height="4032"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140216/63e3a1039c7e80680e0d7063jpeg.jpg" alt="" width="3024" height="4032">Read also: <a href="https://www.nepalitimes.com/review/on-screen-mountains/">On-screen mountains</a>, Sahina ShresthaRight across are two more canvases ‘Was Good Till It Lasted’ which show markedly different skies in juxtaposition to the striking blue. The colours are warmer, with swirling shades of pink, orange and purple, like the ether in twilight or breaking dawn.A sliver of the crescent moon sits in one while a brilliant golden dot in another, as a mass of shaded clouds gathers under them. If ‘Nothing But Good Energy’ gave one a sense of an impending adventure, a flight, ‘Was Good Till It Lasted’ reminds one to pause, consider oneself, and be grateful for the beauty around.Elsewhere, a group of three smaller canvases present an almost cinematic look at the city. ‘5’o clock in the morning’ appears as though one zooms out from the brilliant yellow orb in the sky above dark hills to find an array of high-rise buildings and houses under the sky. While from the right, it is the exact opposite direction. There is, of course, no right or wrong motion: one either moves deeper into the vastness of the sky or reckons with the sprawling civilisation around us.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140216/63e3a1079c7e80680e0d7064jpeg.jpg" alt="" width="4032" height="3024">Drawing in from Pradhan’s vast experience in photography and videography, the exhibition is an intriguing cross-genre excursion. At the centre of the gallery, a video of clouds in motion is projected on to the wall, and in the adjoining chamber a series of nine works displaying absorbing experimentation with form and content. Clever collages, almost psychedelic in nature, ask the viewers to interact with spirituality and consciousness. Declutter your mind, they seem to say, and open yourself to a dazzling alteration of themes.The saying 'The sky is the same everywhere' takes on an interesting tune among Pradhan’s works. One look above and we immediately become aware of the expanse, whether from Lalitpur or the Base Camps or anywhere else in the world. Sometimes it is overcast, sometimes it is absolutely still and clear. But there is a sense of common experience.Read also: <a style="font-weight: bold; letter-spacing: 0.15px; background-color: #ffffff;" href="https://www.nepalitimes.com/banner/nepals-other-attraction-the-night-sky/">Nepal’s other attraction: the night sky</a>, Himali Dixit<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140216/63e3a10c9c7e80680e0d7065jpeg.jpg" alt="" width="4032" height="3024">Generations of humans have turned to the sky, adding and uncovering meanings in its folds and colours, sometimes worshipping its vastness. We too share in this experience, as the clouds rearrange themselves in various shapes and sizes. Here a rabbit, there a yaksha, each a different story than the last.Pradhan's works are inviting, with a subtle promise of familiar exposures. Then then they quickly become more: one must exercise one’s own imagination. The artist shows the door but we have to walk through it ourselves, processing, discovering connections and interpretations.Corny CloudsBy Aakash PradhanCurated by Ujen Norbu GurungWind Horse Gallery, JhamsikhelTill 4 February 2023, 11am—6:30pmRead also: <a href="https://www.nepalitimes.com/banner/between-sand-and-a-hard-place/">Between sand and a hard place</a>, Ashish Dhakal<a style="background-color: #ffffff; outline: 0px; letter-spacing: 0.15px;" href="https://www.nepalitimes.com/opinion/nepal-by-night/" target="_blank" rel="noopener noreferrer">Nepal by night</a>, Anil Chitrakar<a href="https://www.nepalitimes.com/opinion/nepals-sky-can-be-this-clean-every-day/">Nepal’s sky can be this clean every day</a>, Ajaya Dixit

The sky is the limit for photography on canvas

<figure><img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a0639c7e80680e0d7035jpeg.jpg" alt=""/><figcaption>All photos: SUMAN NEPALI</figcaption></figure>There is darkness, except for the faint trace of a white tree at one corner, dancing ripples (or golden flames?) at another. Light pours downward like the first rays of creation upon four figures lying on the ground. Sound of the madal drum fills the air.The women rise, fluid to the music of nature. Their expressions dart from sombre to elated, reflecting the beat. One raises her hand high in the air while another reaches deep into the earth. They go around in circles, and behold: a child is born.Meanwhile, a shadow surrounded by cool blue light dances in perfect sync with the women on stage -- Reflecting them? Guiding them? There is a sense of womanhood, motherhood, as life is created. The child grows into a girl who now learns the dance from the women who came before her. This is a form of storytelling that bridges the past and present, future, preparing and shaping expectations. <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a0669c7e80680e0d7036jpeg.jpg" alt=""><a href="https://www.nepalitimes.com/review/no-exit-from-lake-constance/">One World Theatre</a>’s latest play Deurali Daandi, in collaboration with Actor’s Studio Nepal, begins in a kind of a musical trance, almost wordless, with a Genesis narrative of its own. And the audience immediately feels as though it has always been living in the fabric of its history and cosmology.When the prelude ends and a new movement begins, the audience already knows the world: its hills and its mountains, the sounds of choppers and planes in the air that announce the arrival of goods and bodies. This village is, after all, already branded into our collective psyche through the media. We may not all live there, but we have heard of it and its people. There are no men left here. A strange epidemic that manifests itself as parched and coarse sand made them all leave. The audience is not surprised -- there are repercussions now that are more biting and terrible. Drawing from the elements of Sati Ghatu folk dance of the Gurung community of Nepal and performed mainly on the full moon of Baisakh Purnima, the play examines Nepal’s labour migration practices and its fallout. It explores a world of deafening absences, and how cultures, traditions and life are affected.Read also: <a href="https://www.nepalitimes.com/review/ghatu-dance-of-lamjung/">Ghatu dance of Lamjung</a>, Sewa Bhattarai<a style="background-color: #ffffff; outline: 0px; letter-spacing: 0.15px;" href="https://www.nepalitimes.com/nt/here-now/diaspora-diaries/?page=1" target="_blank" rel="noopener noreferrer">Diaspora Diaries </a> <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a06a9c7e80680e0d7037jpeg.jpg" alt="">Springs dry up, birds do not sing, a baby deer dies in the forest, and the women are also getting sick. What is this disease? ask the characters, sometimes staring at the audience. We know this disease of the sand: we feel it in our bones, and are unsettled by this revelation. For director Rose Schwietz, the metaphor is pretty direct and apparent. “The way labour migration spreads in Nepal is like an epidemic, through contact,” she says. “What we have is a bit of a poeticism and magic realism approach to the idea. And a part of what we are trying to do in the play is bringing the stories that are not heard or told.”Indeed, the majority of the stories one hears about labour migration in Nepal centre on the men who either return or do not at all. “These stories are obviously very important,” Schwietz adds, “but I also wondered about their trickle-down effect.”Schwietz norticed this effect during a Fulbright stint studying Ghatu at Nalma in Lamjung in 2014. She found that every family in the village had someone abroad, or planning to leave.“I was really interested in this idea of people who are here and what they experience,” she says. “And, for the most part, it’s the women who are left behind.” The women adjust their lives in this world, but what happens when the ‘epidemic’ resurges, like a new variant? The women realise they have to respond differently to it and take action to save themselves and their way of life from disappearing. But what actions can they take? Read also:<a href="https://www.nepalitimes.com/banner/between-home-and-the-deep-blue-sea/">Between home and the deep blue sea</a>, Prakash Gurung<a href="https://www.nepalitimes.com/here-now/the-qatar-job-mirage/" target="_blank" rel="noopener noreferrer">The Qatar job mirage</a>, Nepali Times <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a06d9c7e80680e0d7038jpeg.jpg" alt="">It is a desperate path, beset by nightmares and abuse. The city lights are alluring promises seen from a distance, but even mobile telephones may not fully reconcile the gulf in reality. Nevertheless, there is hope too, which is most visible in how the women come together, to support one another, to discuss, decide, and dance.The all-women cast, largely unheard of in Nepali and global theatre, is effortless and impeccable. Their fierce and emotionally-charged performance is the core of the play. Working closely with Bir Kashi Gurung, a Sati Ghatu performer from Nalma, the actors portray elegant and moving gestures to dramatic perfection, especially as they deliver their lines, giving an ethereal touch to Deurali Daandi. “We listen to each other,” explains actor Deeya Maskey. “It has been easy to communicate, understand and form lasting rapport with each other. We learn new perspectives, become more sensible as people.”Says actor Pashupati Rai, “We have been able to relate to our characters, to the many layers of womanhood, friendships, how society views us. All of this has made teamwork easier and possible.”Saraswati Chaudhary adds, “Perhaps it would have been a different experience with male actors, but we also sit together to eat together and call each other by our character’s name.” In fact, Eating and sitting together encouraged the actors to share their joys and sorrows, which is reflected in the play.This powerful collaboration is what makes Deurali Daandi a stunning production. While there is no consensus as to when and how the Ghatu dance originated, its tradition, moves and spirit have been passed down through generations. This, in turn, directs the play which also looks at the idea of transference and how traditions hit a roadblock when there is hardly anyone left to receive and propagate them.Read also: <a href="https://www.nepalitimes.com/here-now/female-migrant-workers-hold-up-half-the-sky/" target="_blank" rel="noopener noreferrer">Female migrant workers hold up half the sky</a>, Sahina Shrestha<a href="https://www.nepalitimes.com/opinion/nepali-migration-in-the-2020s/" target="_blank" rel="noopener noreferrer">Nepali migration in the 2020s</a>, Upasana Khadka <img width="2304" height="1536" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230208140212/63e3a0719c7e80680e0d7039jpeg.jpg" alt=""> “The play does not recreate Ghatu absolutely,” explains playwright Sahalesh, “We are using it as a form to tell a contemporary story and explore the idea of skills, culture being passed down from mothers to daughters, and how a way of life is intrinsically tied to people and traditions, how they co-exist.”This is important to consider in times when we may become desensitised to news. <a href="https://www.nepalitimes.com/banner/qatar-refuses-payoffs-to-world-cup-stadium-workers/" target="_blank" rel="noopener noreferrer">Thousands lost their lives in Qatar alone</a> during the construction of World Cup infrastructure. Such statistics have a numbing effect. But Schwietz believes poetry and theatre can give people a different angle to examine this issue, and preserve its ambiguity for the viewer to analyse.“The whole situation cannot be portrayed wholly as evil,” she remarks. “For individuals, foreign employment can be hugely beneficial, but perhaps not so much for the community or the country as a whole. We have tried to reflect this complexity in the play.” Deurali DaandiRanjana Bhattarai, Sarswoti Chaudhary, Deeya Maskey, Menuka Pradhan, Pashupati Rai and Binita Thapa MagarWritten by SahaleshDirected by Rose SchwietzStaged at Actor’s Studio Theatre, Pingalasthan, KathmanduRuntime: 1h45m without intermissionUntil 29 January 20235:00pm (Matinees on Saturdays 1:00pm)Tickets: Students: Rs300 General: Rs500 VIP: Rs1000Read also: <a href="https://www.nepalitimes.com/review/the-price-of-a-kiss/" target="_blank" rel="noopener noreferrer">The price of a kiss</a>, Ashish Dhakal

Between sand and a hard place

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5129c7e80680e0d30d1jpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Architect Götz Hagmüller and his wife Ludmilla have made the 18th century Kuthu Math in Bhaktapur their home for three decades. Photos: THOMAS L KELLY</figcaption></figure>The Himalaya may be famous globally for the world’s highest mountains and the people who climb them, but this 3,000km range has also evolved its own distinctive <a href="https://www.nepalitimes.com/banner/niels-gutschow-leaves-home/" target="_blank" rel="noopener noreferrer">art and architecture</a>.Kathmandu-based photographer Thomas L Kelly and author Claire Burkert have collaborated to document the elegance of the built environment of the Himalaya in a new edition of their coffee-table book, Himalayan Style: Shelters &amp; Sanctuaries.<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Himalayan-style-kelly-burkert-book-review,2032" target="_blank" rel="noopener noreferrer">First published in 2014</a>, the 2022 edition updates the content with new museums that preserve art and precious objects, and public gardens that are oases in the urban sprawl of Himalayan towns.‘Himalayan styles are not static, it is ever-evolving, absorbing the ideas of cultures within and outside the region,’ writes Burket in the introduction.This lavishly illustrated book combines photographs by Kelly, a former US Peace Corps volunteer with meticulously researched text by Burkert, who set up the <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/colour-play-mithila-art-janakpur,796" target="_blank" rel="noopener noreferrer">Women’s Development Centre</a> in Janakpur. The final product is a record of Himalayan design, style and culture across Pakistan, India, Bhutan, China and Nepal some of which is disappearing, and others are being revived.The first chapter features monasteries, dzongs, temples, palaces, and houses of nobility that have outlasted their original purpose and found a new one. <a href="https://archive.nepalitimes.com/page/Patan-town-as-a-museum-piece" target="_blank" rel="noopener noreferrer">Patan Museum</a> in Kathmandu Valley is a model of adaptive reuse of a historic structure, with the former royal palace preserved and converted into a hub for art and history.So is the 17th century house of a royal secretary in Ladakh which is now the Ladakh Arts and Media organisation, and the Tower of Trongsa Museum, a transformed watchtower of Bhutan’s Trongsa Dzong.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5159c7e80680e0d30d2jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>Himalayan Style has a chapter dedicated to the faith, rituals and objects of devotion of the people in the mountains. Another chapter highlights building materials and technologies suited to the mid-hills and high Himalayas including the dressed or undressed stone with mud mortar, mud brick, and <a href="https://www.nepalitimes.com/banner/foundations-for-sustainable-buildings-in-nepal/" target="_blank" rel="noopener noreferrer">rammed earth</a>.Kelly and Burkert’s attention to detail is reflected in their portrayal of hand-crafted metals and wooden utensils in the homes and buildings. A section on Mustang in particular is a tribute to <a href="https://www.nepalitimes.com/here-now/robert-g-powell-1948-2020/" target="_blank" rel="noopener noreferrer">Robert Powell</a> who passed away in 2020.But no book on the Himalaya is complete without looking into their trails and retreats that cater to tourists. Burkert notes that hotels and restaurants in the Tibetan town of Gyalthang in China’s Yunan combine local design with Western elements adding to the comfort in a high-altitude environment.The clean, simple design of a mountain resort 360 Leti in Kumaon in India marks a new direction for Himalayan architecture — something that Nepal’s hotel architecture could emulate.But much of Himalayan Style, in fact, one-third of it, is dedicated to <a href="https://www.nepalitimes.com/opinion/the-making-of-kathmandu-valley-style/" target="_blank" rel="noopener noreferrer">the style of Kathmandu Valley</a> and its various forms of art — from ceramics and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Putting-it-down-on-paper-nepali,3750" target="_blank" rel="noopener noreferrer">lokta paper</a> maps to Tibetan carpet and cashmere shawls.The chapter also details the inner workings of some of the restored neo-classical Rana-era structures including the Baber Mahal Revisited and Garden of Dreams. Leslie Shackleford’s movable house and Taragaon’s modern Buddhist architecture inspired design with exhibition spaces, a café and specialty shops also make the cut.But the readers will have to get until the very end for the main highlights. In the chapter on Bhaktapur is a section on the 18th century <a href="https://www.nepalitimes.com/review/remembering-robert-powell/" target="_blank" rel="noopener noreferrer">Kuthu Math</a> which has been lovingly restored by German heritage specialist <a href="https://archive.nepalitimes.com/article/nation/The-guardian-of-the-shadows-%20G%C3%B6tz%20Hagm%C3%BCller,3352" target="_blank" rel="noopener noreferrer">Goetz Hagemuller</a> who has lived there for the past four decades.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5199c7e80680e0d30d3jpeg.jpg" alt="" width="273" height="377">Kelly and Burkert painstakingly document the architecture and objects of art from Kathy Math’s living spaces and stairways to metal idols, rugs and its elegant garden.A chapter on <a href="https://www.nepalitimes.com/banner/preserving-patan-post-earthquake/" target="_blank" rel="noopener noreferrer">Patan brings its artisans to the fore</a>, from skilled painters and stone carvers to a lost wax-casting master. The Kathmandu Valley Preservation Trust (KVPT) building gets a special mention as does its director Rohit Ranjitkar’s family home, founder Erich Theophile’s penthouse near the palace complex and co-executive director Thomas Schrom’s revamped six-storey house in Patan Bahal.A book by non-Nepalis to remind Nepalis about the richness and treasures of Himalayan style and our way of life.

Sonia Awale

Style and substance

<img width="1985" height="1107" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5049c7e80680e0d30ccjpeg.jpg" alt=""/>We have all been taught in school that human beings communicate through only five senses: touch, taste, sight, smell and hearing. American science writer Ed Yong’s spellbinding new book An Immense World: How Animal Senses Reveal the Hidden Realms Around Us proves to us just how woefully limiting that definition is. It not only disregards other human sensory faculties, but also those possessed by the many species we share the planet with. We refer to people who show a supernatural ability to communicate as having a ‘sixth sense’, but Yong weaves a fascinating tale of the scores of other ways that organisms perceive — charting their environment through echolocation, magnetic and electrostatic fields, vibration, air and water currents, and many other stimuli. Read also: <a href="https://www.nepalitimes.com/latest/microchipping-nepals-dogs/">Microchipping Nepal's dogs</a>, Aria Shree Parasai After reading An Immense World, we will not think of ourselves and fellow animals great and small in the same way again. ‘Senses that seem paranormal to us only appear that way because we are so limited and so painfully unaware of our limitations,’ Yong writes, describing the mantis shrimp’s eyes that brim with 20 types of photoreceptors, allowing it to ‘see’ polarised light. Other animals smell what they see, hear what they touch, and see the earth’s magnetic field. They use one or many senses to make sense of their world, their Umwelt. The dog we worship at Kukur Tihar sees its marigold garland and the vermilion as green and yellow because of its dichromatic eyes, compared to the human trichromatic vision. We know dogs can hear sounds in a frequency range inaudible to humans, but they are probably also able to detect seismic waves that precede earthquakes. The dog’s nose scoops up odour molecules, sniffing six times a second through nostrils with side-slits that allows it to smell even while exhaling. Dogs' moist noses may even have inherited some of the infrared detection ability of their wolf ancestors.  Read also: <a style="font-weight: 600; letter-spacing: 0.15px; background-color: #ffffff;" href="https://www.nepalitimes.com/here-now/saving-nepals-last-wild-dogs/">Saving Nepal’s last dogs</a>, Yadav Ghimirey Ed Yong talked to hundreds of scientists around the world doing cutting-edge research on sensory perception. Besides our five senses, we humans also have the sense of balance (equilibrioception), awareness of our own bodies (proprioception), as well as sensations of pain and pleasure. Other animals either have enhanced senses that we already know of, or means to perceive their surroundings that defy belief. A rattlesnake uses its forked tongue to smell in stereo and turn its world ‘into a map and a menu’. We know bats use ultrasound echolocation to intercept insects mid-air, but scientists have found they use Doppler compensation of radar signals to chase moths. Read also: <a href="https://www.nepalitimes.com/here-now/saving-nepals-last-wild-dogs/" target="_blank" rel="noopener noreferrer">Saving Nepal’s last wild dogs</a>, Yadav Ghimirey Whales use infrasound sonar to communicate with each other across vast oceans, greenback turtles return to the exact beaches where they were born navigating with the earth’s magnetic field for precise geolocation. Migratory birds like bar-headed geese make nonstop trans-Himalayan flights memorising genetically-encoded magnetic maps. Sea birds also have an ultra-sensitive olfactory sense with which they steer their oceanic migration routes. Elephants use infrasound rumbles to communicate with distant herds, but can also sense ground vibrations, listening with their feet to recognise individual fellow-elephants. The human sense of touch is so sensitive we can detect texture at a molecular level on surfaces. Like the peacock, the colours of the Impeyan pheasant (डाँफे) probably hide additional ultraviolet colours that we cannot see. The feather crest on its head is likely not just a mating ornament, but sensors that ‘feel’ the air, just like the filoplume of gliding birds act as anti-stall warning systems. Read also: <a href="https://www.nepalitimes.com/latest/police-track-india-nepal-elephant-trafficking/">Police track India-Nepal elephant trafficking</a>, Alisha Sijapati and Tufan Neupane The Aedes aegypti mosquito can detect carbon dioxide, heat, and the odour that the human body gives off, a trait the dengue virus uses to propagate itself. Odomos creams do not drive away mosquito vectors, they only repel mosquitos after the taste receptors in their feet find DEET disgusting. The insect’s eyes also send signals to its brain in time-lapse, so everything appears in slow motion -- which is what makes it so difficult to swat mosquitoes and flies. Animals use receptors to make sense of the stimuli in their surroundings. Chemoreceptors in the nose and fingertips detect molecules that trigger smell and taste. Mechanoreceptors sense texture and vibrations through touch. Photoreceptors make sense of light. Read more: <a href="https://www.nepalitimes.com/banner/kathmandus-street-smart-dogs/">Kathmandu’s street-smart dogs</a>, Sonia AwaleEyes send electric signals to the brain through the optic nerve, and it is the occipital lobe that assigns wavelengths of light a colour. So, there is nothing really ‘green’ about a leaf, Yong explains: ‘Colour, then, is fundamentally subjective.’There is so much more awe and wonder in An Immense World. Ed Yong devotes his last chapter to how human activity in this bright and noisy world is threatening the planet’s sensescape. His plea is to ‘save the quiet and preserve the dark’, advice that the government and tourism planners in Nepal may want to take to heart.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5089c7e80680e0d30cdjpeg.jpg" alt="" width="352" height="449">

Kunda Dixit

In realms of the senses

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4df9c7e80680e0d30c3jpeg.jpg" alt="" width="3328" height="2496"/><figcaption>All photos: JOY STEPHENS</figcaption></figure>In October 2018, Gurja Himal in one of the most inaccessible parts of Nepal came to sudden world attention. A Korean expedition attempting to climb the sheer south face of this magnificent peak in the Dhaulagiri massif was <a href="https://www.nepalitimes.com/latest/gurja-himal-tragedy/">hit by an avalanche</a>. The entire Base Camp at 3,500m was blown away by the air blast, killing five Korean and four Nepali climbers.Even so, very few know about Gurja Khani, a former copper mining village at the foot of 7,193m Gurja Himal. The nearest village of Lulang lies a full day’s walk to the south across steep ridges and deep gorges, and from there it is another few days walk to the road from Beni.The shortest and easiest trail to the village is across the 3,250m high Gurja Deorali pass, writes social researcher Joy Stephens in the first few pages of her new photo book Gurja Khani: Hidden village of the Himalaya. She adds, ‘Such isolation has slowed the pace of change and built a community of resilient mountain people.’<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4e69c7e80680e0d30c4jpeg.jpg" alt="" width="1611" height="2069"><figcaption> </figcaption></figure>It was the search for mineral ore that first drew Chhantyal miners to the <a href="https://www.nepalitimes.com/banner/the-clouds-are-lifting-below-dhaulagiri/">Dhaulagiri area</a>, and Gurja Khani owes its existence to the discovery of copper lodes in the mountains. After the indigenous Chhantyals came the Biswakarma metal-workers, forging a unique copper extraction partnership between the two.Before long, mining ceased due to the high taxes and cheap Indian aluminium utensils. Villagers turned to subsistence farming and wage labour but increasingly, youth from this village of 260 households are migrating to the cities or abroad.Stephens divides Gurja Khani into the lives of women, men, children and the elderly, and is an intimate look at a forgotten people from a <a href="https://www.nepalitimes.com/banner/trails-less-travelled/">forgotten part of the country</a>.In one chapter, Belmoti Pariyar of Road of Life Homestay recites from her daughter’s poem: ‘Life is like a trek in Nepal, up and down, up and down.’ This is in essence life in Gurja Khani, beautiful but difficult.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4ea9c7e80680e0d30c5jpeg.jpg" alt="" width="1500" height="979"><figcaption> </figcaption></figure>When Belsara Biswokarma, 22, went into labour she bled profusely, passing in and out of consciousness. A junior paramedic in attendance could only do so much. Villagers then put her in a cloth sling between two poles to carry her to a health post in Lulang.‘They ran down the treacherous zig-zag steps to the river, and I was swinging from side to side. I was terrified they were going to stumble and fling me into the gorge,’ Belsara tells Stephens. ‘But we crossed the river and halfway up the mountain, I felt these enormous contractions. I could feel the baby’s head between my legs.’Amrita Biswakarma was abducted by her husband when she was 16, as per the common practice of ‘kidnap marriage’ which Stephens is not so judgemental about. ‘Even though they are traumatised at the time, it appears that once married they are well-treated by their husbands, and love or happiness grows with time,’ she writes.After 13 years of marriage, Amrita is happy with three children, but is sad that her husband is once again leaving to work in Qatar. Many men even from these remotest regions of Nepal <a href="https://www.nepalitimes.com/banner/migration-not-a-wish-but-necessity-for-nepalis/">migrate to India or the Gulf for work</a>.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4ee9c7e80680e0d30c6jpeg.jpg" alt="" width="2736" height="2446"><figcaption> </figcaption></figure>Children attend the local public school but most drop out. From an early age, they have to help parents with household chores, herding and fieldwork. Baby-sitting is an after-school activity.Ward chair Jhak Bahadur Chhantyal is ever occupied, pleading and cajoling people in his effort to improve life in the village. He ran as the Maoist party candidate in recent elections and says he joined the Maoists because they represented change.‘But I don’t believe we can realise our vision by force. First, we must win the minds of the people. In hindsight, the People’s War was not right,’ he tells Stephens. Jhak Bahadur once tried to go abroad for work, but a recruiter absconded with his borrowed Rs800,000 down payment. Besides being an elected official, he is a teacher in Gurja Khani.The last few pages of the book are dedicated to the Chhantyal’s reverence for nature and ancestor spirits, and faith in Shamanism. They consider the 2018 Gurja Himal tragedy as the wrath of the mountain deity for humans defiling nature.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4f39c7e80680e0d30c7jpeg.jpg" alt="" width="484" height="496">

A mine of stories from Gurja

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4bc9c7e80680e0d30b9jpeg.jpg" alt="" width="3745" height="2303"/><figcaption>Wazir Khan Mosque in Lahore, Pakistan. Photo: HOMOCOSMICOS</figcaption></figure>Saba Karim Khan’s debut novel Skyfall begins like the book of Genesis: with a god. Like the Biblical All-father, Sherji too has put his words and intent to action – or, at least he thinks so – and out steps Rania. He is determined in his plot, inflated and Machiavellian. Yet, for the first six months, he is disappointed. Rania is a ‘misfortune’, his ‘grand trial’. Has her mother, Jahaan-e-Rumi, anything to do with it?Jahaan-e-Rumi too has her own scheme. In a kind of balancing act, she picks up a pen and paper in the hospital, and writes for Rania: ‘She will be no stubborn, malevolent lunatic, but the fiercest girl in all the galaxies – a tempest, but never unkind.’The scene shifts and we are whisked from Lahore to the Metropolitan Correctional Facility in Manhattan, where we find Rania is an inmate. The reason for this could be anything, but Khan does not dwell on them yet. All will be revealed in good time. For now, in the cold, solitary, and sleepy pace of the prison, Rania thinks back to her past, growing up in Lahore’s famous Heera Mandi, the shadows of Kashmir, and falling in love. Thus begins Skyfall.There is an uncanny mix of hope and dread from the very first page, which goes on to characterise much of Khan’s novel. Here, Henry David Thoreau’s quote 'The mass of men lead lives of quiet desperation' from Walden, and its famously misquoted addendum 'and go to the grave with the song still in them' is central.Set in two seemingly disparate worlds, the novel moves fluidly across the <a href="https://www.nepalitimes.com/review/the-women-left-behind/" target="_blank" rel="noopener noreferrer">walled city of Lahore</a>, through the streets that switch identities every 12 hours, and later in starkly different New York. The times are desperate and dangerous, and the book raises questions on freedom and autonomy, while, under the lights, music and memories become the bridge between the past and the present, East and West.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4c09c7e80680e0d30bajpeg.jpg" alt="" width="233" height="300"><figcaption> </figcaption></figure>Rania herself grows up in two different worlds. Sherji, her father, a resolute fundamentalist, sends out her mother and sister every night to dance and sing for, and sleep with, rich customers to make money for his madrasa. By day, she works as a tourist guide. The past is wonderful while the present cursed, and it is in music and a young Indian Hindu boy Asher that Rania finds refuge while she loathes her abusive father and her own incapacity to help her mother and sister.At the outset, the novel seems like a classic retelling of doomed romance. It checks all the boxes: violent families, star-crossed lovers, a historic and beautiful setting, mujra, India and Pakistan, Pakistan and America. But under the surface runs a searing fire. Skyfall is indeed a love story, with even higher stakes. The self struggles not just for its own independence but for an entire country’s, against injustice and violence.When Sherji finally sends Rania into the underworld because he is running out of money, it is strangely reminiscent of when God tells Abraham to sacrifice his prized son Isaac on Moriah. Things go well for Isaac, naturally, and Abraham is rewarded.But as Rania fights the men who throw her around the room, slapping her and trying to kiss her, no angel appears, no Ram. Between the two thousand years that separate Sherji from Abraham, faith is no longer a leap into the unknown but calculated and capitalist, sentenced by men, and women, in blindfolds, the innocents always under the yoke.Then later in detention, Khan pulls back the curtains on the delusions of the land of so-called freedom, as officers hurl questions at the racially profiled Rania that are leading to a conclusion drawn well before the interrogation. “Do you know the Quran by heart? Do you believe in jihad? Love jihad?” they ask. “Who forced you to fall in love with an Indian? Don’t you believe Hindus are non-Muslims?”For <a href="https://sabakarimkhan.com/" target="_blank" rel="noopener noreferrer">Khan</a>, who teaches at New York University in Abu Dhabi, Skyfall is the soul of a Sufi love song and an attempt to imagine a world where coexistence is the currency. In the pages, the victory of light over darkness is in fact be possible, and we can outdo our starting points."Literature becomes even more important in an increasingly polarising milieu," she says, "not least of all because it allows us to address uncomfortable issues without pedaling or peddling an agenda or reducing things to a headline ticker." In fact, it is rather an act of co-creation between reader and writer, an invitation to go for a walk or dance or recite a piece together.As such, Skyfall is an entirely enthralling book. It weaves the reality of brutal violence with love and hope: engaging and beautifully written, interspersed with Urdu verses, following the journey of a young singer from the mohalla half-way around the world. As one delves deeper, the reader reckons with injustices fuelled by cults and mobs, by governments and families. Adds Khan: "I didn't want to downsize the problems but also didn't want to craft a world without the glimmer of hope and possibility."Skyfallby Saba Karim KhanBloomsbury, 2021290 pagesPaperback: INR599<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd4c29c7e80680e0d30bbjpeg.jpg" alt="" width="666" height="1024">Read also:<a href="https://www.nepalitimes.com/banner/look-back-deal-with-our-past-and-learn/">“Look back, deal with our past and learn”</a>, Ashish Dhakal<a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Kathmandu-wont-let-go-of-me-samrat-upadhyay,3649">“Kathmandu won’t let go of me”</a><a href="https://www.nepalitimes.com/banner/novelist-returns-to-non-fiction/">Novelist returns to non-fiction</a>, Sewa Bhattarai

Let the sky fall

In Mohsin Hamid’s new novel, a white man wakes up to find that he has turned a “deep and undeniable brown.” It is a Kafkaesque premise that perfectly captures the stranger-than-fiction surrealism of our current moment. Hamid has swapped the lyrical and libidinal prose of Moth Smoke (2000), and the overt engagement with identity of The Reluctant Fundamentalist (2007), for a more abstract and austere style.&nbsp;
In doing so, he offers a conscious exploration of the novel as a mode of social engagement, transferring the burden of imagining an alternate, post-racial reality to the reader.
But The Last White Man is also a paradigmatic pandemic set piece, evoking all the tensions of the summer of 2020. It depicts a society seized by an eerie, inexplicable (and deliberately unexplained) biological event that refuses to be contained until it has affected the entire population. Fear and violence force people into retreat, and fundamental change – like the renegotiation of race relations – occurs by circumstance rather than by choice. Yet with its notable absence of raw drama, the novel reminds us that the re-equilibration after an upheaval is often poignantly mundane. Ultimately, our characters are denied the operatic arcs that poetic justice would seem to demand.
ANTARA HALDAR
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This is the most eye-opening climate book I’ve read in a long time. A longtime journalist and activist, <a href="https://www.project-syndicate.org/columnist/bill-mckibben">Bill McKibben</a> has written his fair share of books covering climate change and other environmental issues directly.
But this one goes further than any of his previous titles in explaining exactly why we – both America and, by extension, the world – are where we are. As is usually the case, the answer does not lie with any single development. There is no unifying theory of everything. Instead, a series of small events – many of which could have turned out differently – led us down the road to monster SUVs, suburban sprawl, and an information environment that has been saturated with “fake news” and cynical opposition to climate action.
GERNOT WADNER
Pundits tend to focus on the Crusades as the defining development in medieval Islamic history. But eleventh-century Muslims were more consumed with internecine conflict – the still-salient Sunni-Shia divide – than with barbarian European invaders. And when it came to relations with outsiders, the most important event, post-Muhammad, was the thirteenth-century Mongol invasion. As historian Nicholas Morton of Nottingham Trent University explains, it was these invaders who shattered the various principalities that constituted Islamic civilization, ushering in five centuries of inertia that did not end until Napoleon landed on Egypt’s shores in 1798.
BARAK BARFI
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Everyone who is interested in the Chinese tech sector should read journalist Lulu Yilun Chen’s new book tracing Tencent’s rise. The company, China’s largest internet giant, now has a massive portfolio of internet firms across a wide range of sectors, including social media, e-commerce, ride-hailing, gaming, and tutoring. But the future of Chinese Big Tech is very much in question, making the many fascinating stories in Chen’s book essential reading for China watchers.
ANGELA HUYUE ZHANG
This is a splendid combination of economics, sociology, psychology, and biology that calls attention to some large problems facing boys and men, including growing educational gaps, declining employment, and increasingly uncertain social roles. A senior fellow at the Brookings Institution, Richard V. Reeves both explains the problems he diagnoses and suggests policies to help address them.
JASON FURMAN
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This book about money and finance offered a welcome and instructive change from my usual reading in Asian geopolitics. A financial journalist and historian by training, Edward Chancellor provides a sweeping account of how interest – as the time-value of money – has been conceived and dealt with over millennia. Focusing on the last two decades of ultra-low interest rates, he shows how rising inequality and polarisation came to underpin the Arab Spring, the resurgence of populism, and mass protests around the world. Central to his narrative is the fact that wealthy elites and big corporations could tap oceans of risk-free capital at the expense of ordinary people’s savings.
This intoxicating period of easy money was always likely to be followed by hard times. Looking ahead, one partial solution – admittedly a long shot – may be to reintroduce a gold standard of sorts, through well-managed central bank digital currencies. But whatever happens, with books like Chancellor’s, at least we have a better understanding of the political mess we are in.
THITINAN PONGSUDHIRAK
Set sequentially in 1893, 1993, and 2093, Hanya Yanagihara’s novel imagines a different ending to the Civil War and explores a future in which repeated pandemics slowly render democracy impossible. She thus shows us what could have been, and what could still be. With a gift for creating characters who become friends and companions to the reader, Yanagihara walks us through what it actually feels like to live under the pall of constant heat and disease. To Paradise drives home what our current choices mean for our possible futures, and it does so more vividly than a truckload of policy briefs and scientific reports ever could.
ANNE-MARIE SLAUGHTER
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<div class="embed-block"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100132/63bfd4789c7e80680e0d30a9jpeg.jpg" alt="" width="296" height="450"></div>

Year-enders from climate to global finance

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd3209c7e80680e0d304ajpeg.jpg" alt="" width="1500" height="1000"/><figcaption>All photos: TASHI R GHALE</figcaption></figure>Brown eyes meet green eyes in the icy crags of Upper-Manang. Tashi R Ghale is camouflaged like a commando, and keeps perfectly still, just 4m from the mother snow leopard and her two cubs as they feast on a Himalayan thar.Ghale knows that even though <a href="https://www.nepalitimes.com/banner/trekking-to-save-nepals-snow-leopards/" target="_blank" rel="noopener noreferrer">snow leopards are shy creatures</a> and do not attack humans, a provoked mother can defend her cubs. Imperceptibly, he raises his camera and takes a burst of shots, the clicks muffled by the wind and din of Griffon vultures wheeling overhead.Growing up in Manang, Ghale found it difficult to discern the panje (as snow leopards are known in his mother tongue)because their spotted pelt blended so well with the cliffs they climbed.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd3279c7e80680e0d304bjpeg.jpg" alt="" width="1500" height="1000">It is still difficult to catch a glimpse of the endangered Himalayan big cats, but Ghale has since trained himself to track them. He has had close encounters at least 30 times since first photographing them in 2006 and this has earned him the moniker, Snow Leopard Whisperer.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd32b9c7e80680e0d304cjpeg.jpg" alt="" width="200" height="109">“I know the terrain in Manang like the back of my hand,” says Ghale, showing us around his exhibition, ‘Melting Paradise’ that uses his photographs of snow leopards over the years to highlight how <a href="https://www.nepalitimes.com/latest/satellite-tracking-snow-leopards-in-nepal-to-study-climate-impact/" target="_blank" rel="noopener noreferrer">climate change is impacting the Himalayan habitat</a>.In Manang, like elsewhere in the Himalaya, the glaciers that drain the north slopes of the Annapurnas are shrinking and the snowline is receding. The Gangapurna glacial lake was expanding until it got swallowed up in sediment after a flood last year -- also depicted in Ghale's photographs.Snow leopard photography got some bad press recently with photoshopped images by an American trekker ostensibly taken in the Everest region.But genuine Nepali field biologists like Tashi R Ghale know how difficult it is to get a good shot, and the reward in terms of personal fulfilment.The careful patience of a wildlife photographer shows through Ghale’s work. In Lone Tree II he combines six shots to create an expansive panorama that immerses the viewers in the wilderness habitat of the snow leopard.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd32d9c7e80680e0d304djpeg.jpg" alt="" width="2167" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd3329c7e80680e0d304ejpeg.jpg" alt="" width="2156" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd3369c7e80680e0d304fjpeg.jpg" alt="" width="3600" height="2400">Ujen Norbu Gurung, the curator of Windhorse Gallery that is exhibiting ‘Melting Paradise’ says he immediately recognised the importance of Ghale’s work: “To talk is one thing, but to show is another. Tashi’s exhibit does just that.”The exhibition includes photographs of snow leopard prey from Dolpo and Humla as well as the predator in the wilds of Manang and Mustang.The Snow Leopard (Panthera uncia) is in the IUCN’s global Endangered C1 red list with only 300 to 500 left in the wild in Nepal. Globally, there may be up to 7,000 left, but these populations are threatened by poaching and habitat decline due to climate change.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd33a9c7e80680e0d3050jpeg.jpg" alt="" width="2492" height="1800"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd33f9c7e80680e0d3051jpeg.jpg" alt="" width="1667" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd3439c7e80680e0d3052jpeg.jpg" alt="" width="1500" height="1000">“Being the top predator, the snow leopard is an indicator species of the health of the Himalayan ecosystem,” says Ghale, and that is the biologist in him speaking.With global warming, he says, the tree line is creeping up the mountains, and this means the snow leopard habitat is slowly being encroached upon by competing common leopards of the lower valleys. Human disturbance with new roads and settlements are also driving away the snow leopard.“A snow leopard is needed for every 150 blue sheep to cull their wild population and reduce pressure on the grasslands,” explains Ghale. A decline in snow leopard population will also affect Himalayan vultures which clean up the carcass that the cats leave behind.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd3489c7e80680e0d3053jpeg.jpg" alt="" width="1071" height="1500"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100128/63bfd34c9c7e80680e0d3054jpeg.jpg" alt="" width="1500" height="1000">Tashi Ghale and his team employed his award-winning camera-trapping techniques to conduct a census of predators and prey, as well as employ a team of observers to calculate the population in blocks. Ghale reckons there are approximately 2,200 blue sheep in Manang alone. Snow leopards are studied <a href="https://www.nepalitimes.com/here-now/nepal-leads-in-snow-leopard-study/" target="_blank" rel="noopener noreferrer">most intensively in Nepal</a> and there are signs cat numbers are increasing in some pockets despite the threats.Besides snow leopards, Ghale’s camera traps have led him to discover new and lost Himalayan species like the Pallas Cat and the Himalayan Grey Wolf of which there are said to be only 50 remaining in Nepal. In fact, the Pallas Cat has been renamed Tashi Cat to honour his discovery. Ghale founded the Third Pole Conservancy and has contributed to the Destination Manang eco-tourism campaign.Tashi Ghale's father had taught him to fear the panje, which would often kill livestock and leave paw prints near the family home. Today, rather than fear the animal, Ghale is in awe of them.He teaches secondary students in Manang to set up camera traps and <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Studying-Cat-Scat,3559" target="_blank" rel="noopener noreferrer">recognise snow leopard droppings</a>. He says: “Just like we have distinctive fingerprints, snow leopards have individual spots. Recognising individual snow leopards is the first step in co-existing with them.”