Geeta Tripathee is known for her contributions as a poet, lyricist, essayist, literary critic, and scholar in Nepali literature. I met her at Ratna Rajya College, where she teaches, and we enjoyed an enlightening hour on the college terrace, basking in the sunshine.

Tripathee has written two volumes of poetry and seven other books in various literary genres, including ‘Ma Eklo Ra Udaas Ustai’ (2014), a collection of essays and ‘Simal ko Geet’ (2015), a collection of lyrical poems. Her works explore women’s issues, environmental concerns, and societal injustices, and she frequently contributes to newspapers to raise awareness about these subjects.

In this chat with the Post’s Aarya Chand, Tripathee shares insights into her literary journey and discusses how her passion for writing has evolved over the years.

What inspired you to start writing poetry?

It all began when I started school at the age of five. As my home was far from where I studied, I lived with my father and saw my mother only on weekends. This separation made me feel distant from her, and perhaps this loneliness led me to write. Being surrounded by nature also nurtured my creativity.

On weekends, I would listen to the radio. At that time, I had just begun writing, perhaps unknowingly influenced by the Radio Nepal literature programmes and the songs I often tuned into. My early writings included ‘Saraswati Vandana’ and various prayer songs.

One of my greatest inspirations is Bhakta Bahadur Balayar, the former minister of Population and Environment and my English teacher. He once praised my answers in an English exam by gifting me two small volumes of poetry from his own collection, beautifully wrapped in paper. That moment deepened my love for literature.

What themes do you explore in your work, and how has your upbringing in Kavrepalanchok influenced your writing style and focus?

Age plays a significant role in shaping what writers choose to write about. While originality remains constant, themes evolve as we grow. Being a woman means I am naturally sensitive to the struggles faced by women. However, my writing is not constrained by age, religion, or gender—anything problematic captures my attention.

For instance, once on my way to college, I saw someone eating from the rubbish on the roadside. It was early morning, and I had never seen such a thing in my village. Watching him pick a small piece of food from the trash haunted me—I couldn’t eat for three days, wondering how he managed to survive. That experience led me to write the poem ‘Garib ko Astitva’.

My upbringing in Kharelthok village in the Kavrepalanchok district influenced my writing. Growing up near the Palanchowk Bhagwati Temple, I witnessed the discrimination faced by marginalised women. They could not enter certain areas to fetch water and had to rely on the so-called ‘upper class’ for assistance.

This sense of injustice inspired me to write the song, ‘Sano Huda Xuna Paina Aphnai Pani Padero Thulo Vaye Lagyo Sara Sansar Nai Adhero,’ which is part of my ‘Thunga Ban Fulka’ collection of lyrical poems. I also composed the song ‘Chhal Uthyo’ during my travels as a teacher to Trishuli-Galchi. Through experiences like these, I have learned that the environment we grow up in and the people we encounter shape our writing.

How do you approach literary criticism, especially given your experiences critiquing writers like Laxmi Prasad Devkota and Madhav Prasad Ghimire?

For me, literary criticism is personal and rooted in lived experiences. My mother introduced me to Laxmi Prasad Devkota early on. During interactions like Aincho-Paincho, a practice of give and take, she would often quote his poem: “Haata ka maila, suna ka thaila, k garnu dhana le, saag ra sishnu khayekai besa, anandi mana le.”

Devkota’s focus on nature and the Dalit population, alongside his efforts to combat discrimination, left a lasting impact on me. His writings boldly supported the marginalised, which was rare for his time.

As for Madhav Prasad Ghimire, I met him at literary events and even sought his help with my first song. He later invited me to critique his daughter Jyoti Poudel’s songs at a public event, marking my first experience as a critic. Both writers, now considered classical, were ahead of their time in addressing social issues, and their works continue to inspire me.

Your writings often address societal injustices. Can you discuss your views on the role of literature in advocating for women’s rights?

Literature plays a vital role in advocating for women’s rights by challenging harmful societal norms and raising awareness about gender inequality. In our society, many men, whether knowingly or unknowingly, write in a way that diminishes women’s respect due to patriarchal upbringing. It is our responsibility to highlight these mistakes and encourage change. Words like 'aaimai’, 'swasni’, and others that perpetuate negative stereotypes of women should be eradicated. For instance, I found that school stories often portrayed fathers as knowledgeable and active, while mothers were depicted in a passive, supportive role, reinforcing gender stereotypes.

We should remove them instead of just replacing such words to change our mentality. Words don’t have inherent meanings tied to blood, so their use should be carefully considered. Writers like Radhika Kalpit, with her short story collection ‘Sammohan’, and Jaleshwari Shrestha, founder of ‘Gunjan Nari Sahitya Sanstha’, have paved the way for discussing taboo subjects like menstruation and caste-based issues in marriage. Their works create a platform for vital conversations that can drive change, emphasising the necessity for greater representation of women’s voices in literature.

Your works have been translated into several languages. How has the translation of your works impacted the reach and recognition of your poetry?

Concerns about Nepali literature meeting international standards have long existed. However, there is a growing interest in poetry, with translation playing a key role in this development. My involvement in events like the 2010 SAARC Poetry Conference in Delhi highlighted how translation can unite poets and encourage cross-cultural exchange.

Later, I had the privilege of having my work translated into Korean, along with contributions from nine other Nepali poets. My works have also been translated into Vietnamese and Bengali and have appeared in international newspapers.

Any plans for your future publications?

My last lyrical poetry collection was published in 2015, and since it’s been ten years, my friends have encouraged me to release another one.

I will release a new collection titled ‘Geeta Tripathee Ka Kehi Kabita Haru’ sometime this year. I’ve also started translating it into English. Additionally, I’m working on a song that the late Amar Gurung helped me with. Although progress halted after his passing, I plan to finish it soon.

Geeta Tripathee’s book recommendations

Bhabuktako Suryasta Anasthako Andhakar

Author: Parijat

Publisher: Phoenix Books

Year: 2024

This book explores the challenges of Parjiat’s life and the torments she endured. Reading it helps you really understand her.

Muna Madan

Author: Laxmi Prasad Devkota

Publisher: Sajha Prakashan

Year: 1936

Devkota’s heart-touching classic is about a man named Madan who leaves his wife, Muna, and goes abroad to earn money.

Gauri

Author: Madhav Prasad Ghimire

Publisher: Sajha Prakashan

Year: 1959

As a writer, Ghimire played a vital role in raising awareness of the unjust rituals imposed on widows, including in this book.

Swasni Manchhe

Author: Balkrishna Sama

Publisher: Sajha Prakashan

Year: 1974

This iconic play features some moving dialogues. I’m genuinely impressed by its deep exploration of women’s diverse experiences.

Madhabi

Author: Madan Mani Dixit

Publisher: Sajha Prakashan

Year: 1979

Dixit’s work retells the story of Madhabi and Galav from the Mahabharata. It also highlights the plight of women.