Bittersweet chocolate-चकलेटको समीक्षा-Raj Kumar Baral

Book Review Bittersweet chocolate (Published in Republica daily-Dec.20,2013 Friday) RAJ KUMAR BARAL Nayan Raj Pandey hardly needs any introduction to readers in Nepal. His novels “Loo” and “Ular” have already proven his mettle in writing and established him as a fine writer. His minute observations of the social surroundings and succinct and captivating art of storytelling have made readers appreciate his books. He takes writing not something he is passionate about but rather as a way to battle the ills of the society, and that is clearly evident in the story collection, “Chocolate.” Chocolate, an anthology of twenty-seven stories, is Pandey’s eighth creative work which mainly attacks the bitter realities of the societies backed by inefficient and corrupt politicians, whom Pandey has used as his characters in most of the stories in the collection. Sweet-sounding chocolate is a metaphor of false hope in his title story “Chocolate.” The false hope which politicians tantalizingly deliver through their speeches and promises. The stories also make a mockery of the “city lover” leaders who hardly visit their own villages until the time they need help and support from their “own” people.  Pandey seems dissatisfied with the selfish attitude of the city dwellers who don’t seem to remember the favors and goodwill bestowed on them by others. This is evident in the story “Mahanagar” where a high-ranking uncle fails to recognize his own nephew. He had promised never to forget him when Ramesh had donated blood and saved his life when he had been in an accident. Politicians are also the major targets of his satire. A leader delivers a high-sounding speech in the story “Tato” but those promises he makes never materialize. The tendency of making false promises and being indifferent towards keeping those very promises later on is also the subject matter of the story “Samsad Shuru” where leaders use stories of Kamaiyas in their speeches but don’t do anything to alleviate their sufferings. Nepotism, which is largely prevalent in our society, has also been touched upon in one of the stories in the collection. Ranganath, a leader of a revolutionary party and a recently appointed minister, recruits Balbire, his brother-in-law, as his personal assistant instead of Dipak, the son of Karna, who had once saved Ranganath’s life. The misuse of power and fulfilling one’s vested interests by organizing whisky party for high officials and ministers are the recurring subjects in Pandey’s stories. The stories “Shasan” and “Red Wine” are startling examples of that. Bhagiram’s search for mice, in the story “Desh,” is analogous to our irrational activities which are ultimately destroying the nation. Pandey’s satire isn’t limited to politics. He conveys his anger against the culture of bandas through a character, Harka Bahadur, who is a tempo driver. He loses his son because he doesn’t make it to the hospital in time. The doctor’s remark – “We could’ve saved him if you had arrived half an hour earlier” – really strikes a chord with all those who have ever faced emergencies during strikes. Morality, piracy and monetary issues are some of the other topics that Pandey has touched upon through various stories. However, the writer has failed to do justice to some of the characters and they don’t leave an impact as strong as some of the more developed characters. Also, due to the lack of variety in the stories, readers will sometimes easily be able to guess how the plot will develop and even be able to predict the ending. This not only kills the curiosity factor that is of paramount importance in storytelling but also makes readers impatient. But Pandey has ultimately created something of conspicuous literary importance despite the few errors and typos. The writer has used the stories as a means to fight against the sociopolitical evils prevalent in our society. As he has stated in the preface to the anthology, he is using the literary arena for a constructive purpose, hoping to bring about some change in the mindset of people, if not in the overall scenario. His book is an appeal, though indirectly, to every reader to fight against all the evil practices and work for a better future. Baral teaches at the Central Department of English at Tribhuvan University. Published on 2013-12-20 11:59:07

प्रेमका १५ कविताहरु-नयनराज पाण्डे

प्रेमका १५ कविताहरु

                                   -नयनराज पाण्डे

१)      अन्तिम फूल

तिमी हाँस्दा

एउटा फूल फुल्छ,

मैले हाँस्दा पनि

एउटा फूल फुल्छ ।

संसारमा

एउटा फूल मात्र बाँकी रहँदा पनि

हामीले बुझ्नु पर्छ,

कोही एक्लै कतै

अझै मुस्कुराइरहेछ ।

(२०१२ सेप्टेम्बर २८,शुक्रवार)

२)अर्को बाटो

बाटो

थिएन कतै

र तिमीले बाटो देखाइदियौँ ।

जीवनभरि

त्यही बाटोमा

बेटुङ्गो यात्रा गरिरहेको छु ।

भेटियौ भने तिमी कतै

म फेरि सोध्ने छु तिमीसित

अर्को बाटो

तिमीसम्म पुग्ने ।

(मार्च ६,२०१२)

३)अन्तरा

मलाई त

सिंगै काब्य चाहिएको छ,

मान्छेहरु

मेरो जिन्दगीमा

गीतको एउटा

अन्तरा बनेर नआइदिए हुन्थ्यो  ।

(२०१२ अक्टोबर ५)

४)डायरी प्रेमपत्रको

वर्षौँअघि

तिमीले उपहार दिएको

हरियो डायरीमा

केही प्रेम कविताहरु लेखेको थिएँ

तिम्रा लागि

तिम्रै सम्झनामा

र तिमीलाई नै समर्पित गरेर ।

सुम्सुम्याएर डायरीलाई

म केही दिनअघिसम्म पनि हरेक दिन

पर्खिरहेको थिएँ

तिमीलाई

आफ्नो अध्ययन कक्षमा,

ढोका खुला राखेर ।

अचानक केही दिनअघि

कुनै चोर पस्यो मेरो घरमा

र चोर्यो मेरो

सबैभन्दा किमती सामान

त्यही हरियो डायरी ।

तर खुशी छु

अचेल शहरमा

हरेक प्रेमी युगहरुले

पठाइरहेका हुन्छन्

मेरा तिनै प्रेम कविताहरु

एसएमएस बनाएर ।

एकदिन

तिम्री नातिनीको मोबाइलमा पनि

पठाउन सक्छ उसको प्रेमिले

मेरै कविता ।

नरिसाउनू ऊसित

भन्ठान्नू

मैले पठाएँ

एउटा प्रेमपत्र

तिमीलाई

त्यही हराएको

हरियो डायरीबाट ।

(नोभेम्बर ४,२०१२)

५)मनभित्र

ढोका नढक्ढक्याएरै

यो मनको चक्रब्यूहभित्र

चोर जस्तै

सुटुक्क

को पस्न खोजिरहेछ हँ ?

के त्यसलाई

मनभित्र पसेपछि

बाहिर निस्कन सकिँदैन भन्ने थाहा छैन ?

(मार्च २,२०१२)

६)तस्विर

उनैले खिचेको

एउटा तस्विर मेरो

हेर्दैछु अहिले,

तस्विरभरि त उनै छिन्

म कहाँ छु ?

(सेप्टेम्बर २७,२०१२)

७)प्रस्थान

तिमी

ब्यग्रताका साथ

पर्खिरहेकी थियौ मलाई

र त

सुनिनौ

छेवैमा आएर

मैले बोलाएको पनि

र चुपचाप गयौ

आफ्नो अन्तिम प्रेमपत्र

मेरो हत्केलामा छाडेर ।

(मार्च ७,२०१२)

८)ऐना

तिम्रा ओँठहरु

चल्मलाए,

र त मैले थाहा पाएँ

म  हाँसेको ।

मैले सपना देख्दा

चल्मलाउँदा रहेछन्

तिम्रा परेलीहरु ।

चूपचाप चूपचाप

बिस्तारै बिस्तारै

तिमी त मेरो

ऐना पो भैसकिछ्यौ ।

(२०१२ अक्टोबर १०)

९)सपनामा

धेरै पटक

आएको थिएँ म

तिम्रो सपनामा ।

तिमीले चिनिनौ

र म फर्किएँ चुपचाप

आफ्नै सपनाको संसारमा ।

(जुन ३०,२०१३)

१०)आडम्बर

प्रेमका केही

कविताहरु लेख्नुछ,

यस साल तिमी

मेरो जिन्दगीमा नआऊ ।

(मार्च ८,२०१२)

११)विश्वास

धेरै वर्षअघि

तिमीले

बिदाईमा हात हल्लाउँदा

मैले देखेको थिएँ

तिम्रो हत्केलामा

लामो जीवन रेखा ।

त्यसैले

मलाई विश्वास छ

तिमी आउने छ्यौ एकदिन

अवश्य

मेरो चिहानमा

फूल चढाउन ।

(सेप्टम्बर २४,२०१२)

१२)बजार

शेयरको भाउ

घटेछ निकै,

प्रिये,

माफ गर

म आज तिमीलाई

माया गर्न सक्दिन ।

(मार्च २,२०१२)

१३)सन् बयासीको प्रेम

तिमी रोएकी थियौ

र तिम्रो आँशु पिएर

मैले तिमीलाई हँसाउने प्रयास गरेको थिएँ ।

त्यसपछि सायद

तिमी कहिले पनि रोइनौ

र मैले

कैले पनि हाँस्न सकिनँ ।

के त्यो सन् बयासीको कुनै गर्मी दिन थियो ?

(२०१२ सेप्टेम्बर २९)

१४)हतारमा

तिमीलाई भेट्न

अत्यन्त हतार थियो मलाई,

म ओर्लिएँ

दौडिरहेको बसबाट,

म बसेकै सिटको झ्यालबाट

तिमीले हाँसेर हल्लायौ हात ।

म यसरी नै जीवनका बिसौनीहरुमा

बस चढ्दैछु र ओर्लँदैछु

र देख्छु तिमीले हात हल्लाएको

हरेकपटक

बस छुटेपछि ।

(२०१२ सेप्टेम्बर २८)

१५)हामी पनि हिजो रोएको

हिजो परेको

पानीमा

एक थोपा पानी

मेरै आँशु थियो,

एक थोपा पानी

तिम्रो आँशु थियो,

कसले भन्छ

समुद्र पानीले बनेको ?

के हामी रोएको कसैलाई थाहा छैन ?

(मार्च १४,२०१२)

Of creativity, motives, and missions

Of creativity, motives, and missions (Published In Republica,November 8,2013)
	THE WEEK BUREAU Prose writer Nayan Raj Pandey, recognized for his distinguished literary style in his much admired novels “Ular” and “Luu,” has recently published another book, “Ghamkiri,” which has also received significant praise and criticism alike. Pandey has been writing actively for the past 25 years and has written over a dozen stories, both long and short. Having written scripts for Nepali films and TV serials, he also has extensive experience in the world of screens. Mostly, he is celebrated for his simple yet elegant style and the incredible imagination he brings into this creative works. The Week’s Roshani Dhamala met Nayan Raj Pandey to talk about creative endeavors. Excerpts from the interview: You started writing quite early. How has your journey as a writer been so far? Yes, I started with poems at the age of seven. Slowly, I began reading in the children’s program on Nepal Television. That gave me great encouragement. I continued writing and got my first story published when I was 17 which also received considerable coverage. Since then, my endeavor as a writer has constantly involved my efforts to create something new and intriguing for readers. I’ve experimented with styles and subject matters. My story, Atirikta, published in 1993 (2050 BS), dealt with the issues of third gender even back then. I also try to bring in elements of fantasy and myth in my works. All in all, I try to evoke novel perspectives and new flavors in my writings. You also write scripts for films. Do you think it has influenced youas a novelist? It certainly has. I’ve written scripts for films, and many serials. That has given me some experience in dealing with the skills of narration and dramatization. And that is an asset, I believe. I have deliberately used such techniques of dramatization in my books. I do so to establish characters and make them realistic and believable. Above all, I believe that stories are always out there. What really accounts for the difference is the craft of putting them. You’ve said, “Writing for me isn’t just a hobby, but a mission.” Could you explain this a little more? Yes, writing for me is more than just hobby. Nor is it a mere means to earn a living or publicity. Through my writing I basically aim to bring about positive changes in the attitude and ideology of people, especially of those in the authority and the upper echelons. My characters belong to the subaltern class and I try my best to portray the pains and hardships of their lives. To achieve this, I need to get myself involved in their daily life and understand the sociopolitical contexts shaping them. And once you do this, writing ceases to become just occupation or hobby; it turns out to be a mission. You deal with political subject matters in your work. What do you think should the relationship between literature and politics be like? Every writer should have thorough understanding of politics. Politics may operate at various levels: local, national, party, or even multinational, all of them affecting the dynamics of human conditions. Without this understanding, it’s hardly possible to create real and credible characters. I’ve been taken as someone who brings in political perspective in his works. Nonetheless, I try to abstain from propagating any agenda or offering any obvious solutions or suggestions. All I aim is draw the best possible accurate picture of the scenario. For the rest, readers are to form their own conceptions of the matter at hand. Mythical characters frequently appear in your writings. What is behind your choice for myths? Myths are a potent yet unexplored source of knowledge. Especially, Eastern myths remain an absolutely unexplored realm. The West, on the other hand, has achieved considerable success by counting on their myths and fantasies. The The Harry Potter and many other ventures thrive on the elements of myths and fantasy. Hence, they are invaluable. If used properly, they bring new taste to the works. And if such works are translated, they also expose our antique knowledge to the world. In your view, what makes a good writing? Judgment is always a subjective enterprise, I believe. What holds good for me may not necessarily do so for others, and vice versa, but generally, for any piece of writing to be good, I think, requires to be realistic and trustworthy. It should reach out to the common audience. The subject matter must be resonating and the craft intriguing. And in order to achieve this, one needs to put in a good deal of research, time, and passion into the work. On Pandey’s bookshelf The Mahabharata The epic Mahabharata is one of the richest sources of Eastern philosophies and myths. It comprises some of the greatest narratives articulated in the finest manners. And the exceptional way these narratives are infused with knowledge and wisdom, ranging from politics and philosophy to the dynamics of human and kin relationships are exceptionally overwhelming. I think the level of fantasy, imagination, and grandeur emanated by the text are just unsurpassable. City of Joy  by Dominique Lapierre Again, City of Joy is exceptional for its style of storytelling. There are various subplots interwoven into the main storyline. But all of them harmonize with the seemingly inevitable climax. The story describes the hardships of poor people in the then Calcutta (now Kolkata). The mood it evokes is sad, yet the presentation is outstanding. Muna Madan  by Laxmi Prasad Devkota Muna Madan is a moving love story narrated in the mode of flawless poetry, which makes it even more beautiful. Every time I read Muna Madan, I feel I’m reading a story set in the present time. The concerns it deals with – poverty, paucity, migration – hold equal relevance in today’s time as well. It also reminds me that trade was as crucial to Nepali economy back then, as it is now. War and Peace  by Leo Tolstoy Russian writers are famous for their long form narration wherein they relate their stories to considerable length, and so is Leo Tolstoy. Besides this, what I particularly find arresting about War and Peace is the way Tolstoy portrays his characters against the backdrop of a vast canvas. There are many characters who come and go along the colossal plot of the narrative, and yet all of them succeed in achieving special positions and impressions in the reader’ mind and heart. Mother  by Maxim Gorky I find the characterization skill of Gorky in Mother admirable. He casts a few characters in the story, but all of them are well established. What also draws me to the book is the particular sociopolitical context it is set in. It describes a rebellion and depicts extraordinary revolutionary characters. All these, I think, resonate well with the Nepali politics too. Also, I highly admire the book for its simple, yet intriguing style.
Published on 2013-11-08 11:14:03

An Eddy in the Maze: Subaltern Subject in Pandey's Ular by Komal Prasad Phuyal

An Eddy in the Maze: Subaltern Subject in Pandey's Ular

by  Komal Prasad Phuyal

Abstract

Nayan Raj Pandey'sUlar (1998) presents a typical Nepali subject, Prem Lalwa, inquest of his rightful position that he believes guarantees him with real bliss in life. Thepursuit for happiness encounters many puzzling circumstances through which to observe thefunctioning of society, whereby enriching his life with experience of divergent dimensions of human nature at three levels: local, regional, and national. He passes through all the layers of society like an eddy in the maze of politics in democratic Nepal of the 1990s. Unlike GayatriChakravorty Spivak (1998) who postulates that the subaltern cannot speak, the paper arguesthat the subaltern speech carries symbolic codes and significance in that the pursuit of theeddy in the maze enables him with power of decision, resulting in realization of the missedcourse in life. In other words, the eddy in the subaltern subjectivity turns into a boldpersonality, having adequately acquainted with the maze of local, regional, and nationalpolitics.

Eddy

Ular (1998) presents a Tonga man, Prem Lalwa, as a typical Nepali subaltern subject,whose journey unfolds the happenings in the novella. The defeat of his patron in electionbegins his quest for rightful position. He suffers from ignorance and goes on to accept thingsas they happen, whereby presenting himself a weak subject controlled by circumstances andouter forces that result in a state of flux in him. The unrest of mind directly corresponds to thesocio-political atmosphere of the liberal politics of the 1990s in Nepal. The new wave of change, since it is not well-adopted, produces an eddy in Prem, positioning himself in thelabyrinth of local, regional, and national politics; yet, unlike Spivakian postcolonial subject,he explores a meaningful approach to assert himself after gaining adequate experience of ways of the world.The subaltern in Prem appears in the novel as a political subject as well in that heattempts to shape a new reality, albeit with limited resources. He whole heartedly supportsRajendra Raj in election (Pandey 10), for the latter has provided the former with patronage inthe society: Rajendra Raj assisted him to acquire citizenship certificate and driving licenseafter both his parents died. Illiterate Prem is quite impressed by his benefactor for his abilityto speak English. However, he never questions the political patron even when he sells land tothe party for the first time and gets cheated. The ignorance in Prem further adds to the state of vagueness: he fails to recognize and accept the doubtful play of Rajendra Raj in local andregional politics even when he is told that Shanti Raja –Rajendra Raj’s opponent in theelection – won the election with Rajendra Raj’s support. In fact, he appears really like aSpivakian subject screened at multiple layers in the maze (Spivak 298).The contentment that accompanies Prem in the pursuit is seen in Draupadi. Sherepresents the whole Badi Community that practices prostitution as a means of livelihood.Her deaf father and ASI Bishne treat her body as object, for she is exploited for survival and

1MLA Citation: Phuyal, Komal Prasad. “An Eddy in the Maze: Subaltern Subject in Pandey’s

Ular.” Literary Studies

26 (March 2012): 63-66.

 The author currently teaches at Lalitkala Campus, Tribhuvan University, Kathmandu, Nepal. He cannot reachedat komalprasadphuyal@gmail.com

pleasure respectively. Nevertheless, Pandey sees purity in these people: “Draupadi does notknow her mother’s name. However, when Draupadi asked her, ‘Is your name Sita?,’ hermother replied with surprise, ‘How did you know?'” (21). Every Draupadi is born Sita. Thepotential of remaining ‘pure’ is lost in the society where the subaltern subject encounters theignorance of the state. Yet, certain fundamental values like shame still continue with them:Draupadi feels ashamed to “stand naked in front of Prem” (27). Both of them celebrate moralvalues as they are put into practice elsewhere in the elite society.

Deferral in the Maze

Prem enters the maze of local politics by accepting guardianship of Rajendra Raj. Thedefeat in election hits him profoundly in that his campaign could not succeed. Besides, thecircumstances force him to participate in opponent candidate Shanti Raja’s procession whereto “encounterular 2”(31). In other words, the state of directionlessness results in his life after the ular since Basanti, the Tonga horse, dies in it. The ular symbolizes state of the nation thathas lost its internal dynamics in the 1990s. Ironically, Pandey’s subaltern subject pursueshuman essence of togetherness in this society so as to attain the fulfillment in life.Furthermore, the subject enters into the labyrinth of larger domain of politics with the ular.

Prem’s hope and trust in Rajendra Raj generate additional confusion. On the onehand, he harbors shock after Rajendra Raj’s defeat in election; on the other, he comes toknow that Shanti Raja could not have won the election without Rajendra Raj’s consent andassistance. Prem can never believe political rivals lending a hand to each other! Trapped inthe communal violence resulting in “local Hindu-Muslim riot” (36), he falls prey of localpolitics. The climax of such foul play occurs when his Basanti –the only source for his living–dies. Very aptly, the author weaves tangles of questions at this point:

For a moment, Prem Lalwa stood dead-still, confused. Who died?

Basanti or he?

He or Basanti?

At last, Prem Lalwa realized it was Basanti that died.(37)

With a hope of overcoming the unexpected circumstance, Prem travels further into the web of local politics that just pushes him into deeper flux. Rajendra Raj writes a note to Shanti Raja,asking to “provide some financial aid to Prem” (42): morally, Shanti Raja has to compensatethe death of Basanti in that the Tonga horse dies in Shanti Raja’s victory procession. On thecontrary, Shanti Raja’s “Come tomorrow” (44) and “Come to Kathmandu” (47) completelythrow him into the center of illusory entrapment of national politics. Moving from margin tothe center, he arrives at Kathmandu in search of the lost horse, but just to be “tired of thinking” (54) and rejected by/in Kathmandu. The eddy journeys in the core section of labyrinth: he moves in the inner passage of Buspark-Pulchwok-Singha Durbar-Baluwatar-Party Office-Pulchwok-Ministry of Transportation section of national politics (56-8). It is inthis web where his quest is deferred.

The deferral of object sought leaves Prem empty: he is left without any answer. Back home, the house is ruined in the rain; and the Tonga, stolen. Nevertheless, he possesses onemore thing: will to live. Strengthened by the observation of politics at various levels fromlocal to national, he is rewarded with realization that he has got to break free from the chains of assumed patronage of Rajendra Raj. The eddy paves a road for a politicallyaware and bold subjectivity, capable of understanding the process of marginalization (78). Infact, he fails to speak and act as long as he is afraid of the society that is full of RajendraRajs, aiming at robbing from him his land. Selling the land, he regains all he lost during his journey in the maze: horse, Tonga, and house. For one thing, he is further pushed to themargin from his central location at the bazaar since he buys house and land away from hisprevious place. For the other, he is rewarded with the power of decision: he makes decisionon his own now. Hence, he accepts and declares Draupadi his wife. Having been adequatelyacquainted with the world, he takes a bold decision by rejecting Rajendra Raj as hisbenefactor.

2Imbalance due to the load only in the back part of tonga or cart.

Subaltern Subject

Spivakian subaltern subject is basically situated in the discourses as produced in themetropolitan academia of the West so far as she seeks to locate the representation of thesubaltern in the discourses of the West. For her, the subaltern speech turns meaningful,provided it is well-represented in said discourses; besides, her problems lie with the layers of screening the subaltern is surrounded with. She illustrates a case of  Sati in India: it is knownin the west through English and in India through the discourse of dominant Hindu men(Spivak 298). In this sense, whatever sati means emerges as the produce filtered throughthese discourses. Similarly, Spivakian subject must be dealt with “the position of reader/writer vis-à-vis the subaltern and the dominant discourse” (Maggio 425-6). The broadcivilization differences and the position of the subaltern subject in the western academicdiscourses help to deny the voice of the subject because of issues relating to therepresentation and translation.

Originally, Gramsci made use of the term “‘subaltern’ with regard to social class”(Green 2). Reading Marx through Derridian post structuralism and following Saidianintellectual frame of civilization differences in representing the ‘Other,’ Spaak’s subalternfails to emerge as a social class, but as a civilization group dominated and depicted in thediscourses of the colonizers. She also notes that “the subaltern as female cannot be heard orread” (308). On the one hand, she emphasizes on extensive civilizational categories like thecolonizer and colonized; on the other, she seeks to scrutinize the social class on the ground of gender alone. Furthermore, Maggio states that “the production of the postcolonial subject isdependent on the intellectual creation of the West as a subject of study, as well as Said’sOrient” (425). Thus, the subaltern’s voice is measured on the scale of how the westunderstands it: the failure of representation of the subaltern for Spivak turns silencing of theentire social class. In fact, she assumes a very elitist position to deny a specific social classtheir voice when the western discourses –she attempts to build her methodology on thefoundation of her Derridian reading of Marx –utterly fail to represent the subaltern. Also, thelimit of the western discourses cannot be measure of subaltern in every society.

 Nayan Raj Pandey’s subaltern subject in Ular does not succeed to assert what hewants as long as he does not fully observe the functioning of social phenomena. Thedominant group as represented by Rajendra Raj and Shanti Raja (later minister) always wantsto put people like Prem Lalwa at their service and continuously exploit them. UnlikeSpivakian discourse of the subaltern that denies them with power of agency (299), Green  notes, “Subaltern groups have to become conscious of their social position, organize, andstruggle to transform their social positions, since organization and representation alone willnot transform the relations of subordination” (19). Prem Lalwa also possesses potentialagency to bring about transformation in his life. The journey to Kathmandu in quest of thelost horse is not a mere act of a patient: it has vigor of gaining his rightful position though itends in realization that he has to act for his happiness. The eddy’s search in socio-politicallabyrinth results in the bold speech in that unlike Spivakian subject with its deaf Eurocentricaudience, Prem Lalwa, as a typical Nepali subaltern, speaks very meaningfully in his owncontext: he accepts Draupadi as his wife and rejects Rajendra Raj’s patronage, wherebyenabling himself to make decision on his own.

Works Cited

Green, Marcus. “Gramsci Cannot Speak: Presentations and Interpretations of Gramsci’sConcept of the Subaltern.”

 Rethinking Marxism

14.3 (Fall 2002): 1-24.Maggio, J. “‘Can the Subaltern be Heard?: Political Theory, Translation, Representation, andGayatri Chakravorty Spivak.”

 Alternatives

32 (2007): 419-43.Pandey, Nayan Raj.Ular.

Kathmandu: Fine Prints, 1998.Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?”

 Marxism and the Interpretation of Culture

. Eds. Cary Nelson and Lawrence Grossberg.Urbana,IL:University of IIIinois Press,1998:271-331.