Two women walk across the fields of the Terai in southern Nepal. In ‘The Woman Who Climbed Trees’, Smriti Ravindra unravels the experiences of Nepali women who leave their parent’s homes after marriage, and in the process become strangers to their own selves, and outsiders in these settings. Photo: IMAGO / Dreamstime
Two women walk across the fields of the Terai in southern Nepal. In ‘The Woman Who Climbed Trees’, Smriti Ravindra unravels the experiences of Nepali women who leave their parent’s homes after marriage, and in the process become strangers to their own selves, and outsiders in these settings. Photo: IMAGO / Dreamstime

Southasia Review of Books podcast #02: Smriti Ravindra on exploring the Madhesi identity in the literary imagination of Nepal

A conversation with the author Smriti Ravindra on her debut novel ‘The Woman Who Climbed Trees’, and how it sheds light on the long-ignored topic of the Madhesi experience, particularly that of women

Welcome to the Southasia Review of Books Podcast from Himal Southasian, where we speak to celebrated authors and emerging literary voices from across Southasia. In this episode, Shwetha Srikanthan, assistant editor at Himal Southasian, speaks to the author Smriti Ravindra about her debut novel The Woman Who Climbed Trees and the representation of the Madhesi community in the literary imagination of Nepal. 

The Nepali-Indian writer Smriti Ravindra is a Fulbright scholar and holds an MFA in creative writing from the North Carolina State University. Her fiction and journalism have been published in the United States and in India, and she is the author of The Woman Who Climbed Trees, a searing story of three generations of women and the challenges faced by them in traditional societies across India and Nepal. 

The novel begins with the story of a woman who climbed trees every night, and she gets labeled as a witch by her community. And the title also lets on, this is a story of women who break rules and will keep climbing trees despite the constraints of society weighing them down. With the lyrical use of folklore and mythology, Smriti Ravindra unravels the experiences of women who leave their parent’s homes after marriage, and in the process become strangers to their own selves, and outsiders in these settings. 

The story, set partly in the late 1980s and early 1990s of Kathmandu, also traces the major political transitions of Nepal, addressing questions of ethnicity and corruption, and in doing so, the book sheds light on the long-ignored topic of the Madhesi experience, particularly that of women, in Nepali literature – which we explore further in this conversation.

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