Committee’s member-secretary Laxman Panthi told RSS that the auspicious time for Bijaya Dashami 2081 BS has been made public as there have been increasing concerns from the Hindu religious people living in different countries about the auspicious time of Bijaya Dashami Tika.

According to the recommendation of the committee, 11:36 am is the most auspicious time for Kathmandu, Nepal on October 12 (Asoj 26). Similarly, 11:42 am (October 12) is the best time for India; 10:01 am (October 12) for New York, USA; 10:39 am for Frankfurt Kentucky, USA; 10:05 am for Texas, USA; 10:05 am for Washington DC, USA and 09:55 am for California, USA, the committee informed. 

Likewise, it is 10:15 am (October 12) for Toronto, Canada and 10:27 am for Vancouver, Canada on the same day, member-secretary Panthi said.

The auspicious time for Bada Dashain tika is 11:35 am (October 13|) for Tokyo, Japan; 11:21 am (October 13) for Sydney, Australia; 11.27 am (October 13) for Melbourne, Australia; 11:27 am for Brisbane, Australia; 11:29 am for Canberra, Australia; 11:15 am for Wellington, New Zealand, committee chairperson Dr Madhab Bhattarai informed.

According to the official information, the best time is 10.24 am (October 12) for Lisbon, Portugal; 10:21 am for London, Uk; 10.23 am for Paris, France; 10.19 am for Oslo, Norway; 11.21 am (October 12) for Bangkok, Thailand; 11:57 am for Kuala Lumpur, Malaysia; 11:45 am for Abu Dhabi, United Arab Emirates; 12 am for Doha, Qatar and 09:16 am (October 12) for Tel Aviv, Israel.

Similarly, 9:15 am (October 13) and 11.43 am (October 13) for Hong Kong is the best time for Seoul, South Korea. 

Committee President Bhattarai said that it is best to receive the Bijaya Dashami tika at 11.45 am (October 12) for Singapore; 11.23 am (October 12) for Saudi Arabia; 11.21 am (October 12) for Yangon, Myanmar; 11.55 am (October 12) for Geneva, Switzerland and 10.45 am (October 12) for Malta.

He shared that the committee took the decision after the demand for determination of auspicious time for Dashain tika from the Vedic Sanatan Hindu religious people spreading all over the world. (RSS)

For me, Shambhala is not merely the ‘Himalayan story of polyandry”. It is about the protagonist Pema’s pursuit of acceptance and the process of liberation that leads her to the symbolic Shambhala– a place of peace and happiness. Filmed with an ethnographic approach, Shambhala has gendered sociocultural elements woven into its fabric.

I will discuss this movie from the feminist perspective. This article is my subjective analysis which does not denounce that movies as such are open to multiple interpretations.

In a polyandrous setting, Tashi is the only breadwinner in a house amongst the three brothers Pema is married to. One of them, Karma, is on his way to becoming a monk, so he goes to live with Rimpoche (priest) in a Gumba. The youngest Dawa, an adorable playful groom is still a kid. For obvious reasons, Tashi is the one who consummates marriage with Pema.

Pema does the chores, prepares food, and takes care of Dawa- conventional gender roles. Tashi works in the field and plans to go to Lhasa for work- again, quite normative. But, and I want to stress this, nowhere amidst their household interactions and chores did the movie evoke savior syndrome in me. There is an absence of an oppressive male—oppressed female dichotomy. Bham’s treatment of Pema, in this sense, is that of a woman who is situated in a gendered social context but stands unapologetically firm, and equally compassionate. This way Bham refrains from essentializing Pema into gender stereotypes — the mistake that could have occurred even in confines of a polyandrous setup.

Things aren’t so smooth in an otherwise picturesque ethnographic tale after Tashi leaves for Lhasa for work. Now, Pema is left alone with Dawa’ responsibilities. Dawa’s teacher helps Pema with his studies by home-tutoring him. One night, Ram gets drunk and sleeps outside Pema’s door.

The movie shows there is a definite rapport between Pema and Ram, but no two-way romance. So, when Pema discovers she is pregnant, it’s Tashi’s. Dawa, who found a mother in Pema and revered her, accused her of having an affair with Ram as rumors had already spread. “Don’t treat me like a son, you are my wife and I am your rightful husband”, he says as he feels the need to establish authority. It is interesting to see at this point how hidden gender politics surfaces during the intra-familial conflict. Little Dawa is conditioned to think that a woman’s loyalty should be questioned upon her rendezvous with any strange man.

Pema finds Tashi had heard the rumor on his way home and decided not to return out of anger, shame, and heartbreak. She decides to find Tashi to get his trust back and raise the child together. It’s also her attempt to clear her name through Tashi’s acceptance.

Pema’s decision to embark on an arduous journey is a very important event in the film. When she receives the token of love returned by once doting Tashi, her distressed and confused state marks what constituted love for her at that point. It’s the validated loyalty and Tashi’s acceptance. Right before her marriage, her mother had told her to be a loving, good wife to her grooms. Because it’s her world now- she has to nurture it.

Karma leaves Gumba to accompany Pema- as a guardian husband upon Rimpoche’s insistence. But he is not cut out to be a husband, he is a to-be-monk. So, Pema plays the assertive and protective one when needed. One’s performance of gender roles, in reality too, is contextual Versus the widely constructed and believed dominant narratives about masculinity and femininity.

Speaking of which, it’s intriguing how Bham juxtaposes two masculinities in the movie- the one displayed by Tashi and another by Karma. Tashi displays aggressive ‘hegemonic masculinity’, the term coined by sociologist and gender scholar R.W. Connell. This form of masculinity is dominant and more mobile across cultural groups, hence hegemonic in effect. It is widely internalized as the only form of masculinity- exhibited through aggression, bravery, and protectiveness. Historically produced patriarchal values reinforce this tendency as most men become more aware of their authoritative status and many women are conditioned into believing it.

Karma, on the other hand, displays a thoughtful, secure masculinity. Deeper engagement with his spirituality and Rimpoche’s teachings away from the normative way of life informs his conscience. He says, “It doesn’t matter whose child is in your womb. Creation of life is a far greater process”.

As the movie progresses, it’s evident that Pema’s journey is intrinsic to her self-discovery. First, through Karma, she witnesses the kind of acceptance, that is more accepting and honoring of her being. Here, Bham is careful not to portray Karma as Pema’s savior. It’s the otherwise, as she persuades him to go back to Gumba and follow his calling.

Second, she encounters an incident where a woman is being tested to prove her loyalty towards her husband through a ritual. She fails and is deemed the culprit of cheating on her husband. Ostracised by her community, she kills herself. This particular event depicts the patriarchal gender dynamics of that community. Pema witnessing this adds to the ways her internal sense of love and acceptance was being reshaped. Thus, Bham says without telling how along this journey, Pema is gradually finding herself, liberating from her past beliefs shaped by the gender expectations and masculinities around her.

Pema finds Tashi has already returned home. She too returns and confronts Tashi. But she has to go through the same ritual of proving her loyalty. She does perform the ritual because the barren land is not just a scenic marvel. It’s a confined society, situated far from alternate prospects. There is no clear indication of whether Pema passed the test. But there is a symbolic insinuation at the end that she reached her Shambhala- through liberation from her relentless pursuit of what she thought was love and acceptance. The post-credit scene shows Pema’s child being cared for by Karma, not Tashi. We don’t know if Pema died during childbirth or is alive.

Quite rarely one gets to immerse into the world created through great conviction in telling a woman’s story of self-exploration. Pema is Bham’s muse in Shambhala. After watching it, I couldn’t agree more with the Indian movie critique SucharitaTyagi’s observation– “For Min Bahadur Bham, Pema is goddess-like, a bringer of life, the giver of birth in a barren landscape, but above all a woman.”

Worldwide, in films, writers and directors express themselves through the characters they are obsessed with. The way Pema as a woman and her journey is represented in Bham’s directorial is indicative of his sensibilities as a creator and something Nepali society needs to see more of.

Entitled Vital Force, the exhibition includes works by El Anatsui, Kenji Yoshida, LR Vandy, Romuald Hazoumè, Golnaz Fathi, Jukhee Kwon, William S. Burroughs, Brion Gysin and Govinda Sah ‘Azad,’ amongst others.

Vital Force gives space for the innate energies of each unique artwork to manifest before bringing them together in a powerful drama of luminous interactive forms. While each work contributes its own distinctive notes to the ensemble, the orchestral effect of the totality builds to a higher climax resulting in a Gesamtkunstwerk, according to Elisabeth Lalouschek, Artistic Director of October Gallery. ‘When combining dramatically dissimilar art from diverse origins, unpredictably spectacular effects can occur, and one must be alert to catch those special moments of resonance that draw the works together,’ she added.

Highlights include Govinda Sah’s latest canvas comprising subtly interwoven layers of acrylic marks and traces. Effortlessly balancing traditional eastern metaphysical insights about the nature of reality with visual realisations that are in accord with the contemporary formulations of western science, Sah is fascinated by the universes within and beyond our earth-bound vision.

Kenji Yoshida’s magnificent large-scale work, La Vie (Life),1993, which employs an elliptical language of coloured forms rendered in gold and silver leaf. This extraordinary piece marries modernist abstraction with the delicate gilding techniques of Japanese tradition. Having narrowly survived the Second World War, Yoshida worked from his studio in Montparnasse, Paris, to create his instantly recognisable canvases, founded upon themes of ‘Life and Peace.’ One of the most distinguished artists of his generation, in 1993, Yoshida became the first living artist ever given a solo exhibition at the Japanese Galleries of the British Museum, London.

This large-scale panelled piece is being juxtaposed with a shimmering wall-hanging by El Anatsui. El Anatsui is best known for his mesmerising metallic installations, composed of thousands of individual pieces fastened together with copper wire. Anatsui was elected for the Hyundai Commission at Tate Modern’s Turbine Hall, 2023 – 2024, where he presented the highly acclaimed, monumental installation, Behind the Red Moon.

Romuald Hazoumè is being represented by one of his signature masks. These provocative works, assembled from found and repurposed objects, operate as impromptu portraits of

individuals, highlighting the artist’s astute social commentary and witty sense of humour. Rossy reveals the intense poise and dramatic flair of an 80s actress about to take centre stage crowned in a brilliantly plumed headdress.

Taken from her Hulls series, LR Vandy’s Resistance is an impressive large-scale wooden work that incorporates manilla rope tied into knots set delicately into its frame. These knots evoke the clenched fist, a symbolic nod to the Black power salute, the feminist movement of the 80s and the braided African hairstyle of Bantu Knots.

Iranian artist Golnaz Fathi’s bold gestural work, When the rain comes, we can be thankful, 2021, and Jukhee Kwon’s intricate sculptures out of unused and abandoned books are also on display.

Nierica – Caressed By Fire, a vibrant work by Elisabeth Lalouschek painted in Puerto Vallarta, Mexico, is also on display. Lost to sight for thirty years, the painting will be shown for the first time since 1990. Finally, ink and spray paint works by artist and author, William S. Burroughs, are exhibited in conversation with longtime collaborator and fellow artist Brion Gysin’s work De la Cité des Arts.

The exhibition will continue until 28th of September, the Gallery said.

The day is observed on the 12th day of Rabi’ al-awwal, the third month of the Islamic calendar, by organising with various religious programs, said Islamic religious leader Maulana Abdul Jabbar Manjari.

On Muhammad’s birthday, various Naat Sharifs are recited and his sermons and speeches are remembered.

Halim Shah, Muslim leader of Banke, shared that a rally will be held this morning on the occasion of Muhammad Jayanti.

 Meanwhile, Nepalgunj Sub-Metropolitan City, Narainapur and Janki Rural Municipalities, with a majority of Muslim community in Banke, have declared a public holiday today.

Likewise, the federal government has also announced a holiday today for the Nepali Muslims to mark the occasion.

  The Ministry of Home Affairs issued a notice on Sunday stating that today is a public holiday as per recommendation of the Muslim Commission for Muhammad Jayanti. (RSS)

The festival is celebrated by worshiping Indra, revered as the god of rain and good times. It is called Yenya Punhi among the Newar community.

The festival begins after a pole with Indra dwaja or flag is erected in front of Hanumandhoka in Basantapur. It is celebrated for eight days with various dances, chariot processions and worshipping of gods and goddesses.

In addition to Kathmandu, the festival is also observed in Lalitpur, Bhaktapur, Dhulikhel and Dolakha districts.

The major day of the festival falls on coming Tuesday i.e. September 17, when chariots carrying Ganesha, Bhairav and Kumari are taken around the thoroughfares of Kathmandu. These chariots are also observed by the Head of State and other dignitaries during a special ceremony to be held at Basantapur Durbar Square premises.

Meanwhile, the federal government has declared a public holiday in Kathmandu Valley on Tuesday. (RSS)

This time-honoured festival is believed to foster mutual goodwill, unity and community relations. The festival is observed by the Dagaura Chaudhary community in Dang, Banke, Bardia, Kailali and Kanchannpur districts with elaborate ceremonies, cultural performances and feasting.

During the festival, which follows monsoon farming, the community indulges themselves in cultural programmes in every junction of their settlements. They feast on delicacies, especially made from ‘Andi’ specie of rice.

Other highlights of the indigenous delicacies consumed during the festival are khurma, phulauri, khariya, ghongi, geta tina, acchi tina and surik sikar among others.

Additionally, preparation of “Agrasan”, a dish made and reserved for daughters and sisters to savor on the second day of the two-day festival is one of the culinary customs of this Festival.  The festival concludes offering the “Agrasan” to sisters and daughters.

The festival falls on the first Sunday of Bhadra Shuklapaksha following Shree Krishna Janmaastami and is a reflection of vibrant cultural heritages of the community.

The Dagaura Chaudhary community traces the origin of the festival to Vedic era and observes it in celebration of bravery of Bhima, one among the five Pandava brothers, during their exile in forest following their defeat in the battle of Mahabharata.

It is believed by the Dagaura Chaudhary community that the ‘Badkimar’ i.e. the time for reading out the Mahabharata epic’s stories, begins from the day of Atwari festival.

The Sudurpaschim Provincial government, in recognition of the festival, has declared public holiday in the province today. (RSS)

Rakhi (an ornamental wristband) is offered by sisters to their brothers on this day to wish their brothers long life and success.

 Judged by the Guild of Fine Food’s expert panel, Hot Momo Sauce and Chilli Oil with Shrimp are awarded a Great Taste 2 star in the world’s most trusted food and drink accreditation scheme. Likewise, Chicken Momo and Flaming Akbare Sticks are Awarded a Great Taste 1 Star.

13,672 products were put through the competition’s rigorous blind judging process; and Nepal Foods products received amazing feedback. Hot momo Sauce was described as “beer hug of a chilli sensation”, Chilli oil with shrimp was described as “well balanced in the mix and the heat is a flavoursome”, Nepali Chicken Momo was described as “juicy, textural delight and enjoyed the tenderness.” Similarly Flaming Akbare Sticks was described as “unique and interesting snacks perfect ratio of salty, spicy, fruity and sour” at the world’s most coveted food and drink awards.

A total of 3,938 products were awarded a Great Taste 1-star – ‘food and drink that delivers fantastic flavour’, 1,386 were awarded a Great Taste 2-star – ‘above and beyond delicious’, and 266 were awarded a Great Taste 3-star – ‘extraordinarily tasty food and drink’. Described as  a distinctive aroma of timmur pepper on the nose, a sweet- and sour vibe, more strong floral notes, and a tongue tingling and numbing heat”, this Nepal Foods Hot Momo Sauce was a big hit with the Great Taste judges.

These above four listed products were one of 5,590 products to receive a Great Taste award in 2024.  “We are thrilled to have won a Great Taste award for our 4 products. It is a matter of pride for us to win on those products which we imported from Nepal.

We have won Great Taste Awards for the last three years but never for 4 products. It is a huge success for Nepal Foods,” said Bikash Nepal from Nepal Foods, a London-based company, adding  “Our aim is to make Nepal known for our food globally. We have dreamt of this moment and are so proud to be adding the prestigious black and gold Great Taste badge of honour to our products. Winning these 4 awards is truly a dream come true.”

What is Great Taste?

Recognised as a stamp of excellence and actively sought out by food lovers and retailers alike, Great Taste, organised by the Guild of Fine Food, values taste above all else. All products in the line-up for judging are blind-tasted: every product is removed from its packaging so it cannot be identified, before entering a robust, layered judging process. This year, judging took place over 92 days in Dorset and London, with a panel of more than 500 judges putting the products to the test.

The line-up saw food and drink products submitted from 115 different countries across the world.  The full list of this year’s winners and where to buy them can be found at www.gff.couk/directory and a wide range of the award-winning products are available to buy in delis, farm shops and independent retailers across the country.

“We are thrilled to have hosted the first Book Signing and Author Meet event featuring Sangita Swechcha as part of the ‘Blending Literature with Cuisine’ campaign. This initiative not only promotes Nepali literature but also celebrates our love for cuisine,” said Suraj Pandey, owner of The Gurkha Woodcock Inn Felbridge. “Nepali food is already popular in the UK, and now we’re giving our customers a taste of Nepali literature through these book signing events. Today’s event is just the beginning, and we look forward to many more in the coming days.”

One customer expressed their excitement about the opportunity to meet the author and purchase a signed copy of the book, saying, “We don’t often get the chance to meet authors, so this is a wonderful opportunity.” Another enthusiastic attendee added, “We love Nepali food, and introducing us to Nepali literature is fantastic. I can’t wait to read the book and leave a review on Amazon.”

Jayant Sharma, a translator who joined the event virtually, shared his excitement: “This initiative is amazing. As a translator, I am thrilled to see our collaboration in bringing Nepali literature to the world taking shape.”

Sangita Swechcha expressed her gratitude, saying, “I am deeply thankful to The Gurkha Woodcock Inn Felbridge for providing this platform to share Nepali literature through my stories. I’m excited for the upcoming book signing events here. She continued, “The support I have received has been overwhelming.”

Sangita Swechcha’s short story collection, Rose’s Odyssey: Tales of Love and Loss, published by Book Hill International, was launched in the UK in April 2024. The book is gaining popularity among non-Nepali readers, with many copies sold at book signing events. With six successful book signings across the UK, including at venues like the Universal Peace Federation and Feed the Minds, the upcoming event at the Foundry in London, where over 30 NGOs and INGOs are based, is another exciting milestone for Rose’s Odyssey. The journey of Rose’s Odyssey continues with invitations for book signings from academic institutions, restaurants, charity organizations, and other business institutions.

“Bendy-Bendy Road” is published in both English and bilingual (English and Nepali) languages. Dr. Merina Lohani translated English to Nepali for the bilingual version. It is a fun story about a young boy who visits his grandma’s new home and sees a long, bending road coming from up the hills with twists and turns running down toward somewhere. He wonders what’s at the end of it and, with his grandma’s help, he finds out. This book is perfect for kids who love imaginative stories.

“Forgetful Freddie” is a hilarious story of a boy who is aware of his weakness of forgetfulness. He loves playing soccer but forgets something very important just before a game starts. The concept of the book is very familiar to Nepali parents and readers as it is adapted from one of the popular Nepali fables. The story is skilfully presented for English readers. With charming illustrations, the picture book is enjoyed by any age group.

Her third picture book, “One Last Time,” tells the story of a young boy who has to leave his home for safety reasons. He feels sad about leaving behind all the things he loves, like his friends and favorite places. But even though it’s hard, he learns to be hopeful about starting a new life somewhere else. The story shows that even when things are scary and uncertain, we can still find happiness and new beginnings. 

Manisha relocated to Australia at her age 19 to study Computer Science. Despite living in Australia, she cherishes her heritage and wishes to infuse Nepalese spirit into her writing. Manisha aims to simplify complex ideas for young readers. She gives credit to her 7-year-old son, who inspires her to write more interesting picture books. I wish her the best.

Book Title: Bendy-Bendy Road

Author: Manisha J Poudyal
Language: English
Genre: Picture book for children
Book Design and Illustration: YouTbooks.com
Manufactured by: Amazon.com.au
Published Year: 2022
English Price: $ 14.99 AUD, Bilingual (English and Nepali) Price: $ 18.66 AUD
Pages of Bilingual Version: 64

Book Title: Forgetful Freddie

Author: Manisha J Poudyal
Language: English
Genre: Picture book for children
Book Design and Illustration: Jon Klassen
Manufactured by: Amazon.com.au
Published Year: 2022
English Price: $ 14.99 AUD
Pages: 28

Book Title: One Last TimeAuthor: Manisha J Poudyal
Language: English
Genre: Picture book for children
Book Design and Illustration: YouTbooks.com
Manufactured by: Amazon.com.au
Published Year: 2023
English Price: $ 14.99 AUD
Pages:36

The opening of the 2024 NEUFF will take place at the CDC Cinemas, CTC Mall in Sundhara Kathmandu on 20 March and continue until 23 March in the same venue.  Upsana Singh Thakuri has been selected as the brand ambassador for this year’s s Nepal European Union Film Festival (NEUFF).

Participation in the opening day of the film festival is by invitation only while other festival days will be open to the public. The award-winning film ‘The Banshees of Inisherin’ directed by Martin McDonagh will be screened on the opening day along with a Nepali film ‘Dhye Dreams’ directed by Shanta Nepali.

There will be a second screening of ‘The Banshees of Inisherin’ on 22nd March at 1:30 pm. This film with several international awards to its credit is a simple but impactful plot delivered with the most beautiful and serene backdrop of the Irish countryside.

Each screening of the festival will have a ‘double bill’, one Nepali and one European film. A short film competition for young Nepali filmmakers was organised to select films for the festival. The director of the winning film along with one other young director, who are yet to be selected by the EU Delegation to Nepal, will be travelling to Brussels in autumn to participate in a mirror festival of Nepali films. The ten Nepali films for the festival were selected through a film competition, which received a large number of entries from young filmmakers.

 “I am happy to share the diverse culture, lifestyle and cinematic creativity of Europe with the Nepali audience in Kathmandu, Lumbini, Karnali and Sudurpaschim as we mark the 50 years of EU-Nepal diplomatic relations,” said Dr Joelle HIVONNET, Deputy Head of the Delegation of the European Union to Nepal.

A total of nine European films and eleven Nepali short films will be screened during the festival. The European films include ‘The Banshees of Inisherin’ (Ireland) directed by Martin McDonagh, ‘Miss Viborg’ (Denmark) directed by Marianne Blicher, ‘Mikado’ (Romania, Czech Republic) directed by Emanuel Parvu, ‘School Girls’ (Spain) directed by Pilar Palomero, ‘Luxembourg Luxembourg’ (Ukraine) directed by Antonio Lukich, ‘Servants’ (Czech Republic, Ireland, Romania, Slovakia) directed by Ivan Ostrochovský, ‘The Naked Truth About Zhiguli Band’ (Bulgaria) directed by Victor BojinovI, ‘Tove’ (Finland) directed by Zaida Bergroth and ‘The Beast’ (Spain)  directed by Rodrigo Sorogoyen.

Similarly, the Nepali films to be screened in the festival are ‘Dhye Dreams’  directed by Shanta Nepali, ‘Divination’ (Aakhat) directed by Gopal Acharya, ‘Hawaman’ directed by Samal Bajracharya, ‘Kathmandu Monsoon’ directed by Nigma Gelu Sherpa, ‘Makhmali Udaan’ directed by Atin Shrestha, ‘Let’s Talk Period’ directed by Rajin Maharjan, ‘Rato Paccheuri’ directed by Miraz Roshan Thakuri, ‘Sanai’ directed by Akanchha Karki, ‘The Bull, the Cow, the Calf’ directed by Swoyan Maskey Manandhar, ‘The Mirage’ directed by Santosh Dahal and ‘Whril’ directed by Anil Kurmi.

The festival will travel to the Sudurpaschim province where screenings will continue in the hall of the Far Western University on the 10th and 11th of April. The next destination will be Lumbini province, where there will be screenings on 15 April followed by the Karnali Province where screenings will take place on the 19th and 20th of April.

The Delegation of the European Union to Nepal is also organising a ‘Film Critics Competition’ which will culminate into the giving away of a ‘Film Critics Award’ for the best critic. The EU will publish a call for entry for the film critics competition very soon. The winner of the film critics competition will also be able to travel to Brussels in autumn this year to participate in the mirror festival of Nepali films.

In such a scenario, it feels borderline immoral to criticize equality or even question the pursuit of it. And that’s precisely what Eamonn Butler has attempted to do in his book “An Introduction to Economic Inequality”. In this short introductory text, Butler lays out the multifaceted nature of economic inequality and manages to question and counter all the major assumptions and arguments made in the current bandwagon for the pursuit of economic equality. He meticulously dissects the major arguments made in favor of economic equality, providing a thorough critique, and offering insightful counterpoints. Butler’s book is an important reminder that if we allow the popularity of an idea to overshadow its merit, we not only have a poor understanding of it but also risk disastrous consequences from our misguided efforts. As the readers reach the end of the book, they will undoubtedly gain a deeper, more nuanced understanding of economic inequality and our endeavours to overcome it.

Butler begins the book by questioning the narrative itself – the veracity of the claims made about the prevalence and severity of economic inequality in the world. The shocking statistics on economic inequality we so frequently hear in the popular media are misleading, to say the least. Butler points out that these claims are based on pre-tax incomes which are taxed much higher than the poor segment of the population and do not include the state-sponsored benefits that are mainly utilized by the poor. What people get to consume ultimately is much more equal, he argues.

A more compelling argument he makes is the fact that people’s economic status changes over their lifetime. People in general get wealthier as they progress through life and accumulate more savings and investments. He argues that inequality statistics usually present a panoramic snapshot and do not represent the full picture. Therefore, it would be unfair to economically compare the people at different stages of life. Furthermore, economic indicators often fail to encompass the multitude of factors that contribute to overall quality of life, nor do they adequately capture the crucial influence of individuals’ preferences on their income levels. It is not uncommon to find people who opt for economically less rewarding jobs in favor of more leisure time or more flexibility. Neither is it rare to find people who sacrifice these other rewards in life in pursuit of higher earnings. Some people prioritize immediate higher earnings, forgoing future opportunities for higher income (e.g. those who forgo college) whereas others would rather sacrifice present earnings to ensure higher future earnings (e.g. individuals who go to college or acquire training). To put it succinctly, people make different choices based on their preferences, which has a bearing on their income level. The equality advocates seldom acknowledge this factor.

Butler then goes on to question the accuracy of income measurements including the Lorenz Curve and Gini Coefficient, noting their high sensitivity to outliers in the data. He also points out that ratios such as the Gini Coefficient and Palma Ratio do not provide a clear understanding of the precise nature of the inequalities within a country. He therefore reminds the readers that economists generally quote Gini Coefficients based on post-tax disposable income and warns them to be wary of activists quoting the pre-tax Gini Coefficients. Additionally, the wealth calculations, especially in the developed economies with welfare states, are distorted because they do not account for the value of state benefits and services, and these constitute a significant component of personal wealth.

Moreover, Butler delves into the question of inter-country inequality, highlighting that capital accumulation is a time-consuming and arduous process. He points out that today’s developed countries took more than two centuries of capital accumulation to reach their current status. Therefore, rather than trying to equalize countries, it is better to help the developing countries accelerate their capital-building process, he suggests. Along the way, Butler also responds to the French economist Thomas Piketty’s claim that economic inequality tends to increase over time, especially when the rate of return on capital exceeds the rate of economic growth, leading to a concentration of wealth among the already wealthy. 

This idea, which was central to his widely popular book “Capital in the Twenty-First Century”, garnered significant attention upon its publication in 2013. Piketty argued in his book that it is only because of wars which dissipate the accumulated wealth that the capitalists have not been able to capture the world’s entire wealth. Butler counters this argument by emphasizing that managing and ensuring returns to capital is not an automatic process and the outcome of such an undertaking is far from certain. 

The capital has to be carefully created, managed, and invested for it to grow, and the owner of the capital could fail at any stage of the process, potentially leading to its depletion. Similarly, there is also no guarantee that the heirs of an individual who has accumulated certain capital will succeed in maintaining or growing it. Butler refers to the findings of a study by Robert Arnott, the investor and writer, and his team, revealing that only half of inherited family wealth is sustained beyond a decade. In Nepal, too, while there are stories of generational wealth persisting and keeping certain families exceedingly rich, it is also quite common to find examples of family wealth being squandered by the heirs.

These are just a few of the claims that Butler debunks in his book. Besides these, Butler also refutes the assertions that inequality is linked to various other social problems such as lower life expectancy, poor education, mental illness, obesity, and political instability. Additionally, he challenges the notion that wealth accumulation is a zero-sum game, that open economies and free markets necessarily lead to higher economic inequality, that poverty has increased in the past three decades and so on.

Two of his major arguments, however, merit further discussion here. First, should economic inequality be our concern as long as everyone is getting richer or as long as everyone has enough? Butler poses a question that is at the core of his book’s message – what if we could instantly double the wealth of the world’s poor, even if it meant doubling the wealth of the rich people as well? Wouldn’t that be a preferable scenario? Yet from the perspective of current economic equality advocates, a scenario where both of these groups of people are poorer but more equal would be more desirable. Then this begs the question – is our crusade against economic inequality primarily driven by an envy of the rich rather than a concern for the poor? Moving on to the second major argument of the book, most of the solutions proposed by equality advocates are government-oriented i.e., more regulation, expansion of the government’s role in the economy, expansion of the tax regime, expansion of the welfare state, more government control of the economy, etc. However, as Butler points out in many cases, it is the government that is the problem. 

Government action is behind many of the inequalities that exist. Examples include regulations that favor the larger businesses, regulations that create hurdles for entry of the new actors in a market, regulations that prevent the increase in the supply of products and services which could lower the cost for the poor, high inflation, corruption, and burdensome regulations that prevent the poor from engaging in entrepreneurial activities. Butler provides the example of housing regulations in the UK that have restricted the supply of new houses, driving up rents and making the lives of people, especially the poor, more difficult. In Nepal’s case, we see the government promoting or aiding corporate monopolies in various sectors of the economy. In such a scenario, asking for government solutions to address inequality is essentially asking to concentrate the power in the hands of a select few politicians and bureaucrats who are likely to be influenced or controlled by the largest corporations. Therefore, Butler argues that as a society we should aspire for economic mobility rather than economic equality. We should be more focused on ensuring that everyone has enough – not that everyone has an equal amount.

In “An Introduction to Economic Inequality”, author Eamonn Butler has attempted to create a short but very comprehensive rebuttal to the major claims made by the economic equality advocates. The book’s strength lies in the author’s ability to address all the major claims in favor of economic equality despite it being a short book. Additionally, the inclusion of some real-life examples has bolstered the arguments presented in the book. However, while Butler adeptly outlines the complexities of economic inequality, some readers may find his analysis lacking depth. The book covers a broad range of topics within a relatively short span, sacrificing depth for breadth. As a result, certain aspects of the issue may feel underexplored, leaving readers craving more detailed analysis and discussion.

Furthermore, some of Butler’s arguments appear superficial and weak. For example, he struggles to present a convincing case against initiatives aimed at ensuring equality of opportunity. His reliance on the anecdote of a few immigrants succeeding against the odds only proves the exception rather than the rule. The overall book lacks comprehensive solutions. While proposed free-market solutions and limited government interventions could be major components of a solution, they may not be sufficient. Critical readers, especially those who have been inundated with the inequality narrative, are unlikely to be persuaded without further elaboration and examples demonstrating how the free market would effectively address the problem.

Nevertheless, Eammon Butler’s “An Introduction to Economic Inequality” serves as a valuable primer for anyone seeking to understand the complexities of this pervasive societal issue. Butler’s accessible writing style and the integration of real-world examples make the book an engaging and informative read. For anyone curious to hear the alternative viewpoints on the prevailing economic equality narrative, this is the perfect starting point.

Surath Giri is an entrepreneur who oversees business growth and social initiatives at Onion Films Nepal, an audio-visual production company, and Nepal Language and Research Solutions.

Vivek Kumar Shah’s Darbarbata Dekheko Nepal (“Nepal as I saw from Royal Palace”) was released in Kathmandu on Saturday. Shah was Military Secretary to the King of Nepal. His 2010 book Maile Dekheko Darbar, which was translated into English as Witnessing Palace Power and Politics, was among a best seller in contemporary times. Darbarbata Dekheko Nepal can also be read as a sequel or addendum to Maile Dekheko Darbar. “I received many messages calling on me to write about what I saw from the palace. In a way, this book is an address to those requests,” said Shah during launching of the book.

The book was jointly unveiled by Professor Dr Bipin Adhikari, former secretary of the government of Nepal Dr Dwarikanath Dhungel, Senior journalist Dhruba Hari Adhikari, former AIG of Nepal Police Dr Govinda Prasad Thapa, Vivek Shah (the author himself), Akashi Shah (his granddaughter) and Kritanya Bikram Shah (his grandson) at the ceremony attended by officials, intellectuals and civil society leaders in Kathmandu.

Maile Dekheko Durbar provides views about Royal Palace Massacre, King Gyanendra’s takeover of power, Maoist war, peace process, among others.

Darbarbata Dekheko Nepal chronicles, among other things, Shah’s experience of working with Nepal’s last monarch king Gyanendra, King Birendra and King Mahendra.

In ‘Key to Happiness,’ Acharya Rajan delves into a variety of practical topics through 24 short articles that explore the philosophical and spiritual aspects of life, rooted in Eastern concepts. He intertwines these with quotes from Western thinkers and presents evidence to support his discussions. The primary message the author aims to convey through this book is that ‘it is 100 percent possible to find happiness within, and you can achieve that.’

In one of his essays, he poetically describes life as water, emphasizing the power to color it and shape it as one desires. He encourages readers to recognize their immense capacity to dream and turn those dreams into reality, advocating for a life led with commitment rather than mere wishes.

Several articles stand out, such as ‘Let’s Count Life by Smiles,’ ‘Life can thus become Festive,’ ‘Mug up these Tips – You will Never be Unhappy,’ ‘Colossal Hardship for Brief Pleasure,’ and ‘Hardship is a Boon, not a Curse.’

The article titled ‘Best Tips from the Srimad Bhagwad Gita for a Successful Life’ sheds light on Hindu scriptures and religious beliefs. This may pose a challenge for readers with diverse religious backgrounds, and some atheists may choose to overlook it. Nevertheless, the article highlights several prescribed methods to attain complete wisdom and happiness that are universal and acceptable, such as consistently embracing goodness and virtue, engaging in selfless service, action, and contribution, and making sacrifices by letting go of rage, obsession, greed, aversion, intoxication, and jealousy. Additionally, the importance of cultivating friendships and connecting with a god, teacher, guru, or wise and learned person is emphasized.

The book concludes with a brief yet powerful article, ‘Let’s Celebrate Every Breath,’ where Acharya Rajan advises readers to embrace death with the same acceptance as they welcomed their birth.

Beyond his literary contributions, Acharya Rajan, also known as Bhimsen Sapkota, has been actively involved in serving communities in various roles, from a spiritual leader and yoga teacher to an author. His other publications include ‘Yoga Philosophy and Ancient Healing,’ ‘Bhatkeyko Parkhal,’ ‘Prashnama Ishwar,’ and ‘Safaltako Shutra.’

Acharya Rajan serves as the Cultural Ambassador of Nepal-Republic of Fiji and the Peace Ambassador of the World Peace Council. He is the founder of the Global Society for Peace and Spiritual Science Inc (GSPSS), NSW, tirelessly working to establish the Pashupati Baudha Dham & Bishow Shanti Ashram in Lyndhurst, NSW—a place for Nepali temple, meditation, yoga, and Ayurvedic services. Best wishes to him for his dynamic efforts in bringing multicultural communities together through literature, spirituality, and yoga in Australia and around the world.

Book Title: Sukhasutra (English Translation: Key to Happiness)
Author: Acharya Rajan Sharma
Language: Nepali
Genre: Collection of articles
Publisher: Global Society for Peace and Spiritual Science Inc (GSPSS), Nepal
Published Year: 2018
Price: NRs 400.00
Pages: 140

English Version: Key to Happiness
Author: Yogi Acharya Rajan Sharma
Translator: Mahesh Po
Language: English
Genre: Collection of articles
Publisher:  BN Pustak Sansar Pvt. Ltd. Nepal
Published Year: 2022
Price: NRs 300.00
Pages: 148