Trial, Tremors and Hope: The Political Economy of Contemporary Nepal by Ram Sharan Mahat
Two lines of thought have always dominated Nepal’s political landscape: democratic and communist. While the communists think democrats are capitalists, the latter would like to call themselves social democrats, along the line of BP Koirala, late prime minister and leader of Nepali Congress. It’s a different matter that the term social democracy is little understood. Even the followers of Koirala are often at loss. Explaining it is the first task Ram Sharan Mahat undertakes in his latest book Trials, Tremors and Hope: The Political Economy of Contemporary Nepal. He does it beautifully. In the initial chapters, one will get a concise picture of the concept of social democracy.
“Given the contradictions between communism and democracy, it was obvious that the two couldn’t be practically combined in the real world,” Mahat writes. “But the positive elements of the two systems could be incorporated into a middle ground philosophy of democratic socialism.”
“The burgeoning model of socialism is liberal, democratic and market-oriented, but not market-dictated,” he elaborates. That gives the gist: think of the market and help it grow, just don’t let it dictate you.
“BP [Koirala] was adamant that ‘abundant production’ must precede distribution. The goal is to distribute ‘one glass of milk’ each to all citizens, ‘not a spoonful.’ Socialism could never be seen as ‘distribution of poverty’.”
Capitalist and socialist systems are borrowing from each other based on social and economic imperatives, giving credence to convergence theory, Mahat concludes.
Nepal’s post-1990 liberal economic policy hit roadblocks in a new democracy perturbed by awful inter- and intra-party conflicts, a Maoist insurgency, and a stupid royal takeover. The perennially hung parliament and ever-changing governments stopped those policies from bearing fruit. They nevertheless gave a roadmap for Nepal, which continues till date. Mahat, a six-time finance minister, is credited as the man behind Nepal’s economic liberalism.
The Maoist conflict was indeed a serious setback for the country. Though the exact estimate is not available, the cost of the war, according to DFID, was between 8-10 percent of GDP. It simply means that instead of aiming for 8-10 percent growth and making capital investment accordingly, the country was spending almost one tenth of its resources on a violent civil war. Nepal Peace Campaign estimates that the cost of conflict between 1996 and 2003 was US $66.2 billion.
Mahat laments Nepal’s lost opportunity in hydropower as the country couldn’t start projects when investment cost was low. But hydropower is still a viable option. Nepal, however, will have to mostly depend on India for export. Antagonizing India is not an option. Mahat suggests consensus-building among political parties to negotiate with India on water rights and benefit-sharing.
But his support for the Koshi High Dam, a project India has been pushing in Nepal, can invite controversy. Also, he hails remittance as an important source of livelihood and the largest source of foreign exchange for Nepal. That can be contested too as other economists reckon heavy reliance on remittance is dangerous. 
Structure-wise, the book can be divided into four parts: chapter 1 gives brief philosophical background of socialist-democratic thoughts, while chapters 2-10 dwell on Nepal’s history of political economy starting from the BP Koirala days. The eleventh chapter, State of the Economy, talks about where we stand now and the last chapter, Challenges and Tasks Ahead, shows the way ahead. We ultimately need to act today to build the tomorrow that we want. In that sense, the last two chapters are the most important ones.
To sum up his recommendations for both today and future: make the new federal governance work; overcome the deep-rooted political culture that prevents implementation of written laws and policies; build and enable institutions at sub-national levels to perform constitutional duties, make them efficient in fiscal management; have a merit-based bureaucracy; scale up private investment; and ensure higher, sustained flow of FDI to expand Nepal’s industrial base. Populism leading to unproductive recurrent spending worries the author.
Mahat is a senior leader of Nepali Congress. But the economist in him speaks more in the book, which offers a professional analysis of Nepal’s political and economic history. It is a book worth investing in O
The 242-page book, published by Adroit Publishers, is priced at Indian Rupees 795 (NRs 1,272)
This review appeared in the print edition under the headline "A capitalist-socialist midway"
Jhamkefaal Restaurant and Bar: Cheap and good
Although pronouncing its name might feel a little hard, dining at the Jhamkefaal Restaurant and Bar can be a refreshing experience. For one, it’s located at Kapurdhara, where you won’t find many restaurants that offer such a clean and comfortable dining experience. And for its ambience and food, it is inexpensive. So inexpensive that we’re at the verge of comparing it to the local ‘khaja ghar’ food we order at work every day. The food at Jhamkefaal is an everyday affair too. It’s a bit of a multi-cuisine menu with the regular “momo/chowmein” as highlights but there’s more when you carefully go through it. And you also get freshly brewed coffee—so its way better than our “khaja ghar.”
Toyota Hilux 2.4L Edition: Mastering all terrains on a budget
The Toyota Hilux is the one of the best—if not the best-selling— pick-up trucks in Nepal. The Hilux is a name that has long been associated with utmost durability and reliability. Coincidentally Hilux is one of those vehicles rarely seen even in the second-hand market. People don’t want to sell their Hilux. But as the pick-up truck segment has seen an increase in demand and owing to high custom duties, the most popular pick-up trucks are all approaching the jaw-dropping 1 crore price tag—with some even surpassing that mark. Toyota is also on the same boat with its new generation Hilux, which is speculated to cost over a crore rupees when it launches. With the price tags rising in the segment Toyota has launched the Hilux 2.4L Edition. An affordable Hilux with the same uncompromised reliability that the company is known for. But who is this cheaper Hilux for? Does it feel like a downgrade from the regular Hilux? Is it less reliable? We find that out today.
Still a handsome looker…
Much like the more expensive model, the new Hilux has a body for every purpose. Up front the Toyota Hilux 2.4L looks like any other Hilux with a few notable and cost cutting changes. You get bold and an imposing front grille with conventional halogen headlamps instead of an LED setup. The profile of the pick-up truck is muscular with large fenders flanking the single strong character line. The tail lamps boast a sleek modern design. Other changes include an all-black electrically folding ORVMs and 17-inch all-terrain steel wheels. Coming to the pick-up bed, the Hilux boasts the longest deck space in its class, which allows ample space for load and luggage. The protective bed liner can be fitted to shield the deck form scratches. You get the Toyota Hilux 2.4L in 8 different colors.
The interior has been redesigned…
To provide more space for all passengers. At the front, there’s more shoulder room and headroom. The seat adjustment range has also been widened to suit individual body shapes. Plus, increased legroom at the rear means everyone arrives completely relaxed and ready for the next Hilux adventure. This pick-up is all about quality surroundings and attractive, durable materials paired with the latest technology to maximize your comfort. A first-in-class electronic control to reduce body pitch and bounce ensures the ride feels as smooth as in a premium SUV. Equally, the newly designed adjustable High Fabric seats offer greater comfort and support, while the height and depth adjustable steering wheel can be set to your ideal seating position.
Air conditioning and a clean air filter are also available and there’s even a 220V outlet in the center console to keep your electronic devices charged. In-car amenities include tilt and telescopic steering wheel, power windows, electrically folding ORVMs, engine start-stop button, high fabric seat material, car audio system, and many more. Apart from this, you get three airbags (a driver’s knee airbag and SRS airbags for both driver and front passenger), ABS & EBD, and a 4WD transfer dial (Easy switch from 2WD to 4WD with just a twist of a knob).
Powering this new Hilux…
…is a new 2.4 liter 4-cylinder turbo diesel mated to a 6-speed manual transmission. The High-Pressure Common Rail Fuel Injection System resulting in improved power, fuel efficiency, engine response and acceleration. The same is true for the efficient new 6-speed manual transmission, adding to the premium SUV-style driving sensation. The 2.4 liter 2GD-FTV diesel engine demonstrates excellent performance, in particular in low to mid rpm torque ranges, with outstanding acceleration as a result.
Fuel efficiency has also been enhanced, while noise levels are kept to a minimum. This motor makes 147 BHP and 400 Nm of peak torque. While pick-up trucks and narrow urban roads have never been the best of friends, the Hilux 2.4L is an amazing performer on the highways, speeds rather quickly and silently for a pick-up of this size, and you will basically be able to overtake anything in front of you provided you are a veteran.
The Hilux 2.4L also comes with a 4WD transfer case located conveniently on the console. With one twist of a dial you will easily be able to switch from two wheel drive to four high and four low, which multiplies the Hilux’s off-roading ability. Aside from larger shock absorbers that significantly increase ride comfort and stability, the overall suspension of the Hilux has been greatly enhanced to provide improved roll stiffness, off-road traction, and wheel articulation. Overall, the Hilux 2.4L doesn’t feel any different to drive than the regular Hilux—it is still full of power and the capability to overcome any terrain with ease.
The Toyota Hilux 2.4l Edition is for people…
Who want a Hilux without paying a mind blowing sum. As most pick-up trucks in their segment have already crossed the Rs. 90 lakh barrier the Toyota Hilux 2.4L Edition comes as wise choice when you consider the exceptional reliability and great performance given by the name tag, and with a price tag that is still affordable. The Hilux 2.4L Edition, at the end of the day, is for those people who want to buy a more affordable Hilux, drive it to the nearest aftermarket workshop and add a whole suite of modifications and slap 20-inch wheels on it. It is for people who want a Hilux and personalize to make it their very own. All this makes the Toyota Hilux 2.4L a worthy purchase
And ode to mothers, and daughters
There’s a scene in the trailer of “Aama” where aama (Mithila Sharma) trudges through the busy streets of Kathmandu with a desolate, distraught look, the vermillion on her forehead being washed down by the falling rain. This moment of agony caught brilliantly on camera by the film’s cinematographer and director Dipendra K. Khanal embodies the content of “Aama”—a beautiful film about the ugly realities of life.
Also written by Khanal, Aama’s story revolves from an incident that causes a serious head injury to the father of the family, Yagya Prasad Aryal (Desh Bhakta Khanal), which in turn requires immediate surgery. His wife (Sharma) brings him to Kathmandu in an ambulance. Here, her only family is her daughter Arati (Surakshya Panta) and her husband (Manish Niraula). They admit him to a hospital where he undergoes an expensive surgery. The proceedings up to and after that make up the story of the 1hr 52min-long family drama.
Aama builds around real life stories sourced from Nepali society. Khanal—a filmmaker who has had both critical and commercial success—does a brilliant job of interweaving sub-stories within the main plot and creating a screenplay that doesn’t distract from the film’s organicness. The central figure aama could be any of the mothers we see around us—aging, frail, crushed, but still unbroken.
Although the film appears to be about mothers, it actually places daughters at the center of things. The Aryal family daughter, Arati, struggles against all odds to get her father treated, and supports her mother through testing times. She quits teaching and uses all her savings to save her father. Her husband somewhat supports her, but the childless couple already face pressure from their own families and society, and he falters at times.
The sad part is, despite all her trials and tribulations, Arati cannot take the place of the family son. Arati’s elder brother (Arpan Thapa), who we only hear on the phone, is an illegal immigrant in the US and despite his parents longing for his return, he is unable to be of much help besides sending a small amount of money. The film shows how the society gives more importance to the son despite the daughter doing everything she is capable of. “Don’t you have a son?” is a question aama is frequently asked when people want to inquire about her social and financial security. The gender imbalance is clearly addressed and then cleverly shamed.
Khanal as the writer, director and cinematographer has made this film a tightly-knit story that is a mirror of the society. In an industry where comedy is the most successful and sought after genre, Aama’s premise builds on a mundane, real-life story but with Khanal’s storytelling skills, the film turns out to be an outstanding unadulterated work of art. The cinematography is brilliant too. Meticulousness oozes out of every shot as Khanal intelligently places his characters in their settings and situations, describing their inner conflicts onscreen. There’s a particular ‘half face’ shot used for the main characters which creates a sort of dissonance on screen, but aptly defines the characters’ conflicts.
As aama, senior actress Mithila Sharma stands tall. She’s a Nepali movie veteran and fits the role. But it’s Surakshya Panta, a relative newcomer, who steals the show with her artistic brilliance. She’s one of the few Nepali actors who could have performed this role with such naturalness. Surkahsya’s Arati is a strong, resolute, undaunted woman, but nowhere does she appear larger-than-life and that’s how she manages to have the entire audience empathize with her.
Aama is one of those rare Nepali films where even the supporting actors are methodically cast instead of hiring underperforming debutants. Along with the veteran Tika Pahari, a host of talented actors including Sarita Giri, Saroj Aryal, Aashant Sharma and Asmita Khanal, among others, make up the cast of one of the best Nepali movies of the year.
Who should watch it?
This is one Nepali film we can proudly label as a must-watch for everybody. Aama breaks norms, dismantles stereotypes and proves there are mature filmmakers and artists in the industry. It’s a story without theatrical augmentations that we call can relate to. Please go watch Aama and take everyone you love along with you.
Genre: Drama
Run time: 1hrs 52min
Director: Dipendra K. Khanal
Cast: Mithila Sharma, Surakshya Panta
Rating: 4.5 stars
