Author Ranjan Adiga is contemplative, reflective, and self-critical—attributes adopted through years of literary pursuit. Indeed, what is a writer without introspection, and what is a good writer without rigorous self-evaluation?

Adiga embodies a distinct stillness and deep sensitivity often intrinsic in writers. For Adiga, his sensitivity is a gift, enabling him to step into the shoes of characters whose experiences differ from his own, yet resonate because of their relatability.

His distinctive empathy, refined through this sensitivity, allows him to capture the human experience in all of its nuanced complexity.

His debut book, ‘Leech and Other Stories’, explores the human feeling of displacement. His protagonists are bound by the common thread of 'dis-belonging,' a term that, while unconventional, perfectly encapsulates the essence of the book.

Adiga examines situations where his ordinary characters adapt or falter in foreign lands and unfamiliar circumstances. Often, these circumstances challenge their beliefs and fracture their worldviews.

In a conversation with the Post's Anusha Dhakal, Adiga discusses his debut book, the discipline writers require, and his portrayals of marginalised characters.

Talk me through the process of writing your book. I noticed that you had already published ‘High Heels’ from this collection in a literary magazine La Lit. Did you intend to publish a story collection?

I wrote the stories during the Covid pandemic while on a sabbatical from my university. During this period, professors are relieved from their regular duties to focus on writing and research, all while still receiving their salary.

I fully embraced this opportunity, dedicating myself to writing from morning till dusk every day. My routine began with a cup of coffee, and then I would immerse myself in writing.

I am not well-known in the Nepali literary scene. To make my presence felt, I submitted my story ‘High Heels’ to La Lit.

Do you believe that writing is more spontaneous bursts of energy or disciplined effort?

Writing requires discipline and routine because random bursts of inspiration are rare. If you wait for inspiration to strike, it may never come. Writing should be a habitual part of your personality as a writer.

Initially, I forced myself to write every day, but I soon realised such an approach was unsustainable. I found that I didn't need to write daily to be a writer. Instead, I set a goal to write a few pages each week. I adopted a weekly routine, writing for 2-3 hours every Sunday. The key is consistency.

Writing 2-3 pages a week adds up significantly over time. Depending on your writing style, ten hours can be very productive. Some writers perfect each sentence or paragraph before moving on, but I take a different approach.

I draft freely, getting my ideas down on paper, and then revise later.

It’s important to maintain a critical mind without being overly critical of yourself. Judging yourself instead of your writing can be detrimental. Writing is deeply intertwined with our identities, and it’s easy to feel low about ourselves if our writing is poor.

Writers should remember that the quality of their writing doesn't define their worth as a person.

How do you deal with writer’s block?

One way I deal with writer's block is by writing about it. Exploring why I don't want to write often gets the words flowing. Additionally, switching genres can be beneficial—if you're a prose writer, try writing poetry, and if you're a poet, try writing prose.

Did you feel any particular pressure representing marginalised characters such as women and a Madhesi male in your book?

Representation is a significant consideration in my writing. I’m aware of the ethics involved, particularly when writing about experiences that aren't my own, such as those of a Madhesi man or a woman. Marginalised characters are often defined by their struggles, oppression, and suffering.

Women, for example, are frequently depicted through their suffering or sorrow, and stereotypes suggest that a woman who hasn't internalised suffering isn't seen as "woman" enough.

While I recognise these stereotypes, I also acknowledge that conflict, including inner conflict, is essential to storytelling.

I aim to portray these experiences without generalising. Nepal remains a patriarchal society, and I cannot ignore that in my writing. In ‘High Heels’, Sarita is sexually harassed by a man, reflecting the everyday realities many women face.

Similarly, in ‘Kali’, subtle forms of patriarchy are depicted, such as the wife catering to her husband's needs. I strive to authentically represent these experiences while also showing how each character finds their agency within their societal constraints.

I critique patriarchal systems through my stories, though it may not be overt since this is creative writing, not academic writing. Some readers might pick up on these critiques, while others might not.

Writing from a woman's perspective poses challenges. While a writer needs empathy and the ability to observe, the difficulties lie in the nuances and subtleties of gender differences. While emotions might be similar, the small details reveal gender differences that aren't always obvious.

To challenge myself, I chose to write from a female perspective. I didn't want to limit my stories to my own experiences, which would be boring. Most of my stories are about people whose lives are very different from mine.

To ensure accuracy, I shared early drafts of my stories with female friends, my ex-wife, and other women. Their feedback, such as “This is not how a woman thinks,” was invaluable and helped me refine my portrayals.

‘The Diversity Committee’ in your collection may be confusing for some readers. Author Otessa Mosfegh once mentioned that writers shouldn't feel pressured to write for the betterment of society but instead should focus on broadening human knowledge and exploring all facets of the human experience. What are your thoughts on this perspective?

‘The Diversity Committee’ in this collection might be confusing and provocative for some readers. It explores a male teacher grappling with his feelings toward a female student. This is based on my observations of how men are conditioned to think and behave in a patriarchal society. The male gaze is pervasive, and this story tries to capture that.

Writing this story was challenging. I don't feel the need to explain myself necessarily, but if asked, I would clarify that it's not drawn from my own life. There should be a distinction between experience and imagination; believing otherwise diminishes the power of creativity.

When I was growing up, men frequently objectified women. This story's protagonist has grown up in a similar male-dominated environment and struggles to navigate interactions with female students.

Title IX is a federal law in the US requiring colleges to institutionalise policies against gender discrimination and sexual harassment. A man unaware of the impacts of his behaviour might think certain actions are normal, while female students might see them as harassment.

Students can file Title IX complaints directly with a campus coordinator without going to court.

The protagonist in my story is unsure how to navigate Title IX issues. Anything perceived as improper by a student can lead to a complaint. However, due to power dynamics, professors rarely file complaints. In the story, the female student treats him like any professor she's fond of, but he misinterprets her actions.

As writers, I believe that we shouldn't always have to explain ourselves, but discussing our work can be an opportunity. Books offer a window into society, and I enjoy providing context and discussing how our experiences shape our writing.

.

Ranjan Adiga’s Book Recommendations:

Purple Hibiscus

Author: Chimamanda Ngozi Adichie
Publisher: Algonquin Books Kachifo Limited

Year: 2003

Adichie threads political turmoil into her stories with a light yet layered touch. She integrates complex socio-political issues without overshadowing the personal experiences of her characters.

A Burning

Author: Megha Majumdar
Publisher: Alfred A Knopf
Year: 2020

Majumdar provides shifting perspectives on religious and political tensions. This novel contains an engaging narrative with multifaceted characters and themes, making it an engaging read.

The Paper Menagerie & Other Stories

Author: Ken Liu
Publisher: Simon & Schuster
Year: 2016

Call it fantasy or magic realism. Through vivid imagery and inventive storytelling, these tales blend reality and fantasy to capture the essence of identity, belonging and transformation.

Ghumne Mech Mathi Andho Manche

Author: Bhupi Sherchan

Publisher: Sajha Prakashan

Year: 1969

Bhupi Sherchan, a masterful commentator on Nepali society, excelled in writing with precision and economy, ensuring every word carried significant weight.

The Complete Stories

Author: Bernard Malamud

Publisher: ‎Farrar, Straus and Giroux

Year: 1998

Though the stories were set in New York City, his Jewish characters remind me of Nepali people and our struggles abroad. Their experiences reflect universal themes of identity and displacement