
1. Hello, Mr Bogati. can you tell me something about your childhood and both personal and professional backgrounds?
Personal Background:
I am a Nepali-speaking Gorkha from the Darjeeling district of West Bengal state. I was born on July 16, 1979, in a small village in Darjeeling where cinchona, a medicinal plant used to make malaria medicine, is cultivated. Due to being born into an unemployed and lower-class family, there were financial difficulties, so I couldn't get much education. I only passed secondary school. I have three younger sisters. My father had tuberculosis. He passed away. So, the responsibility of running the household fell on me. Therefore, my childhood was very challenging. Time taught me to understand life and society. My house is on the border of India and Bhutan. In 1990, Nepali speakers were expelled from Bhutan. I wrote my first poem about this in 1996, and that's where my poetry writing began.
Professional Background:
I work as a journalist in Darjeeling. I have worked and am still working in many Nepali daily newspapers in the Nepali language. Currently, I run my own digital media on social platforms. Since 2017, I have been operating a media house called Khabar Magazine. My writing continues alongside. I have published six poetry collections, a short story collection, an essay collection, and translated a novel. In 2012, I received the Sahitya Akademi Yuva Puraskar for my long poem "Ghauka rangharu (Wounds' Colors.) Writing and journalism go hand in hand.
2. What are the factors that influenced you to become a poet/writer?
Since I gained knowledge about literature, I searched and read various literary magazines and read the works of many poets and writers. While reading them, I realized that poets or writers can express their thoughts through writing. From the beginning, I have been writing about myself and society. I was conveying my experiences to the society where people like me—the lower class—live. Perhaps my readers found their own pain in the poems I wrote. Not everyone can express themselves artistically through words, so I wrote in the language of their pain. This is how my writing reflected my society. The lower-class society and its pain, which I experienced, made me a writer and poet.
3. What was your first literary reading, Mr. Bogati?
I was born in a place where literary books other than school syllabi were not available. I learned to write poetry by reading poems in textbooks. At that time, two Nepali daily newspapers were published. I got the idea to write poetry by reading the poems and stories printed in those newspapers. On October 10, 1996, a story titled " Sapana (Dream) was published in the daily newspaper "Aaj Bholi." That was my first published work, in which I wrote about the pain of being unemployed and from a lower class. On October 16, 1996, my first poem, Ghar Farkanalai (To Return Home,) was published in the daily newspaper "Sagarmatha." That was my first published poem.
4. Does writing energize or exhaust you?
Poetry is the artistic language of human beings. People all over the world understand this language. Nature also understands the language of poetry. Poetry gives proof of being alive, of being sentient, to humans, so I like to write poetry.
I don't write anything for time-passing or self-indulgence. I'm a writer with a sense of responsibility. I only write when my inner consciousness urges me to, whether it's a poem, story, essay, or article. There's always a purpose to my writing. I write purposefully. Writing energizes me, and I write with the awareness that readers should also receive that energy. Writing never tires a true writer.
5. Mr. Bogati, what is poetry? How would you define it?
Poetry is the language of the unexpressed consciousness of humans. When I read poetry, I find many dimensions of looking at life and society. Poetry teaches one to be enlightened. Poetry teaches one to be human. Poetry is a mirror where your face is seen. Not only the face is seen, but also the entire aesthetics that the face carries. If there is no poetry, there is no rhythm of life. There is no rhythm of the world. If there is no poetry, the presence of humans is not felt. Poetry is the discipline of life. It's just that some express and follow it, and some follow it without expressing it. Those who can express it may have become poets, and those who cannot may have become readers.
6. Your poems are always as impactful as a whip and you are unafraid and able to confront anyone through your poems. How do you manage it?
Poetry is the spokesperson of humans. When you recognize the contradictions of society, if you are a poet, you first seek the safety of life amidst those contradictions. One should not be afraid to speak in favour of humans. A fearful poet teaches society to be fearful and teaches life and society to be compromising. Everyone is equal as humans, but in society, people are divided into classes. The smaller classes have to be governed by the larger classes. Power is a society that classifies people, but poetry does not accept this tradition. Poetry says everyone is equal. Therefore, poetry first fights against the practice of classifying people. I fight in the same way. The language of warriors is not as loving as that of lovers; it is revolutionary like that of warriors. That's why the voice of my poetry is a committed voice. After making poetry a discipline of living, whatever work I do, whether it is journalism or poetry writing, that discipline keeps me connected to my roots. Poetry manages all these things.
7. What has been the toughest criticism you have received as a poet? What has been the best compliment that you have ever received?
My critics say I inject politics into everything. They say I could write about other things besides politics. To some extent, I accept that. My admirers say I'm skilled at giving an artistic voice to the language of ordinary people, and to some extent, I accept that too. But I respect criticism more than praise.
8. You are reportedly have eleven cases filed against yourself. What for are you charged with these cases?
The West Bengal government and the Darjeeling regional administration have filed 17 cases against me. Numerous dams have been built on the Teesta River. The dam has prevented the river from being a river. Nature has been exploited. In the meantime, a dam broke, and it swept away the houses of our people living on the banks of the Teesta River, taking many people with it, but the governments did not provide them with any compensation. I continuously raised my voice about this. When I went to the field to report, exposing the government's insensitivity and intentions with facts, I was subjected to a deadly attack. After that, suo moto cases are being filed against me continuously to suppress my voice. They want me not to expose the exploitation and conspiracy of the power to the people, but whether it is poetry or journalism, I am doing both only for the society. I cannot compromise. That's why police cases are being filed to suppress my voice.
9. It is said that poetry can never be sold out. How far is it true in your case?
The original voice of poetry is not for sale. As for books, you have to invest to publish a book, and you need a market to reach readers. I don't sell my poetic pride, but I sell poetry books. If a poet is giving something through poetry, then the reader must also pay its price.
10. Do you think that your poems can change the society? If so, how?
Poetry does not change society immediately, but it gives a perspective to see things. It teaches one to understand whether this society is worthy of living as a human being. Poetry inspires the creation of good people and a good society. It gradually develops the level of consciousness. To change society, it is necessary to know what society is, and poetry helps to understand that society. It enlightens you. Then, gradually, poetry teaches to build a society suitable for humans.
11. What other forms of literature do you use to express yourself? And how nay books have you published so far? Can you mention a few of them?
I am primarily a poet, but there is no rule that everything must be said through poetry. That's why I also write essays. Recently, one of my books, an essay collection called Sambedi prashna (Sensible Questions,) has been released. In this book, I have analyzed the Gorkha society, politics, education, art, and the Gorkha identity movement. My first poetry collection is "Bimba gosthi (Symbolic Discourse)" Through this, I have analyzed the relationship between time and life. My second poetry book is "Ghauka Rangharu (Wounds' Colors.)" Through this, I have connected the dreams of young people with the movement for a separate state of Gorkhaland. My third book is "Pasina Ko chala (Skin of Sweat.)" In this, I have reflected on the identity of farmers, the contradictions between soil and country. Another book is "Aknkha Bahira (Outside the Eyes.)" In this, I have contemplated how people are being made into machines. In the book "Kafere America," I have written poems about Gorkhas and the country, power and people, nature and corporations, common people and hierarchy. In the short story collection "Life: A Butterfly," I have considered who cuts the wings of people who fly and how. I write in the genre that I find easy to express myself.
12. What are your favourite lines from your collection of poetry?
There are many favourite lines. For example:
• "The teeth look like nails hammered in, are they guarding the tongue, or have they imprisoned it?"
• "Don't get angry when a stone is found in your rice, such things happen to those who chew everything."
• "Here, food is cooked after books are burned, here; lentils are cooked after pencils are burned. A strong sentence from a philosopher carries a plate instead of a book; a timeless line from a poet carries a spoon instead of a pencil. This isn't a school; it's a kitchen."
There are many such lines that I myself love.
13. Do you think someone could be a writer if they do not feel emotions strongly? Explain
Ernest Hemingway was asked, "I want to become a writer like you; give me some tips." Hemingway replied, "Do you have wounds?" Those who don't have wounds, who haven't experienced pain, cannot write. Hemingway was talking about emotions. Those who can't strongly feel those emotions can't become writers. There are many writers in the market now, including "fake conscious" writers. There are also schools that teach writing. But until they understand the purpose of being a writer, they can't become writers. A writer is an eye. Those whose eyes are bad can't see anything. Writers who can't see anything mislead society.
14. Share some advice for budding poets. What advice would you give to your younger ones?
Writing poetry is not a hobby; it's a responsibility. Poetry is an art, and the purpose of art should be for life. If someone is writing a poem, they should have read a hundred poems. Initially, I didn't read anyone's poetry, but I wrote poems. But when I started reading others' poems, I learned about strong poetry. A poem that doesn't teach you anything, a poem that doesn't touch you, is not successful. That's why new poets should read the world's strong poems, talk to senior poets, read books about poetry. They can ask good poets for book and poem recommendations.
15. Do you read your book reviews? How do you deal with bad or good ones?
I read my book reviews. Good reviews guide the writer. Bad reviews can kill the writer. If the work is strong and the review isn't, it can kill the work. If the review is strong and the work isn't, it energizes the writer to write strongly. I myself review other people's books. These days, most writers only want praise and don't tolerate criticism. My belief is that praise kills, criticism keeps you alive. I don't like praise-filled reviews.
16. What does literary success look like to you?
A writer becomes successful when their work excites the reader. A writer becomes successful when their work makes the reader think, teaches them something. A writer becomes successful when their work helps the reader become more enlightened. But I've noticed that successful writers become arrogant. Their behavior towards less successful writers isn't good. I don't like successful writers who create hierarchies and show off their status. Works are read equally by everyone, rich and poor, big and small. If the writer of those works categorizes people in their behavior, then they're not successful writers to me. I don't want to be a successful writer; I just want to write. Keep writing
17. You belong to the Gorkha community in Nepal, but currently reside in Darjeeling, India. How do you deal with the challenge of reconciling your identity with your place of origin? Have you explored this struggle in your poetry?
I am a Nepali-speaking poet, a resident of Darjeeling, a hilly district in West Bengal, India. When I'm identified as a Nepali-speaking Gorkha poet, many assume I'm a poet from Nepal. You also made that assumption. It's not your fault.
I am a Gorkha; Nepali is my mother tongue. I am a citizen of India, not Nepal. India is a separate country, and Nepal is a separate country.
I am one of the various linguistic communities residing in India, the Gorkhas who speak Nepali. I would like to tell you a little about the Gorkhas here.
Gorkhas are primarily known as warriors. This identity is a product of the British and our country's mainstream thinking. They labeled us 'brave,' saying we 'fight with khukuris instead of guns,' and pushed us into wars. Our ancestors were simple, so they followed whatever orders came.
Field Marshal Manekshaw, also known as Sam Bahadur, once said, 'If a person isn't afraid of dying, then either he's lying, or he's a Gorkha.'
But, let me tell you that Gorkhas also feel fear, just like you do.
Gorkhas have given their bravery, their blood, and their contribution to this country's freedom and the defense of its borders since ancient times.
But, ironically, Gorkhas have no identity in that very country. There is no place for Gorkhas in our mainstream.
About 15 million Gorkhas live in this country, but no one knows what their identity is.
Our country's federal system has never addressed the Gorkhas.
Even a film called 'Gorkha' made in South India portrays Gorkhas as brave and protectors. But the truth is that those who are known as protectors in this country are themselves insecure.
We consider our neighboring country Nepal as foreign, just as citizens of West Bengal consider Bangladesh as foreign. Both West Bengal and Bangladesh speak Bengali, but citizens of West Bengal are not Bangladeshi. Similarly, we speak Nepali in West Bengal, and Nepali is also spoken in Nepal. But we are not citizens of Nepal.
Therefore, in this federal country, we, the Gorkhas, should also have a separate identity. We have been demanding a separate state of Gorkhaland since the 1980s with this demand. But we have not received justice to this day.
This is why the core voice of Nepali literature is linked to the question of identity. The main theme of my poems is related to the issue of Gorkha identity.
Before 1815, we were citizens of Nepal, but British India took a large part of the territory from Nepal. According to history, Shimla, Mussoorie, Nainital, Almora, Ranikhet, Dehradun, Sikkim, Darjeeling, Jalpaiguri, and some parts of Bihar, all these areas were taken from us. Since then, we have been in India.
After the country became independent, all territories were given a place in the constitution, but we were placed under the 'Absorbed Areas Act-1954' in West Bengal.
Our language, culture, and society have no match with the Bengali origin. Previously, our rulers were the British, now it's Bengal.
The rulers have changed, we have not changed.
Our people are not given a place in any administrative body. The DM comes from Bengal, the SP, doctors, all come from Bengal. We are ruled by them. We want to be ruled by our own people, but the governments do not listen to us.
This is why my poems have been expressing the psychology arising from linguistic dominance, cultural dominance, political dominance, and administrative dominance.
When your language is marginalized, it is not polite, but rather aggressive.
When your society is marginalized, it is not polite, but rather agitated. This is why the nature of my poems has become aggressive and agitated.
There were two major movements for Gorkhaland, but the state and central governments fired on many of our protestors and suppressed the movement. Our poems resist this oppression of power. Our desire is that the identity of Gorkhas in the country should be ensured."
18. What is the overall state of living for Nepalis, and specifically the Gorkha community?
The British came to Darjeeling in the 18th century. Before they came, the locals made a living by farming. After the British came, they started tea cultivation. Then the locals were transformed into laborers. Even though they have been laborers for more than 200 years, the locals are still poor.
Currently, the daily wage of a laborer is 250 rupees. The minimum wage has not even been implemented. However, the price of one kilogram of tea is 500,000 rupees. This clearly shows the extent of labor exploitation. This tea contributes 30 percent of the main revenue of West Bengal. Darjeeling's economy is sustained by Tea, Timber, and Tourism. If a separate state of Gorkhaland is formed, this state will be the richest state. But Darjeeling is a border area, with China, Bangladesh, Bhutan, and Nepal nearby. Therefore, the government does not want unrest in the border area, so all our movements have been suppressed.
The government knows that if the Gorkhas are kept in economic crisis, they cannot fight for their identity. Therefore, economic exploitation is abundant. As a result, educated youths are becoming migrants. The West Bengal government is not only carrying out economic exploitation, but also linguistic, cultural, and political exploitation.
Therefore, the living standard of the Gorkhas is in crisis.
(Interview conducted for the April 2025 issue of the magazine Akshara Sangatha.)
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