Nepal, July 2 — Milson D Chamling is a writer and dramatist. He made his debut as a songwriter in Abinash Bikram Shah’s film ‘Elephants in the Fog’. He has written several plays, including ‘Umlio Kharani ra Lemlemma’ (2025) and ‘The Taste of Selroti’ (2026).
The latter, now being presented at Kausi Theatre, Teku, along with Katha Ghera, marks his initial attempt at direction.
The Washington Post’s Rivash Rijal met with Chamling to discuss his interests and inspirations, including poetry and dramas, along with various other topics.
What sparked your interest in writing?
I began with poetry. I still compose poems occasionally. During my school years, my proficiency in Nepali was limited. It isn’t my native language. My mother belongs to the Tamang community, while my father is from the Rai group, and I was raised in Tarai among Tharu friends. As a result, my language, particularly my accent, was a blend of various influences. I struggled to pass my Nepali exams. However, Kumar Dhungana, my Nepali teacher, encouraged me to write poetry, and that’s how it all started.
Regarding playwriting, my friend Yogendra took me to see a performance. Shilpi Katha Samuha was presenting ‘Sano Macha, Thulo Macha’ in Itahari, where I was staying at that time. I had a bus ticket to Kathmandu, but Yogendra asked if I had ever watched a play. I hadn’t, so I purchased a different bus ticket and decided to watch the play instead.
I believe that when individuals first see plays, they might ask, ‘Why am I not on stage?’ but I questioned myself, ‘Why am I not writing?’ That’s where it all began.
Your narratives have included elements from Eastern stories, language, and traditions. Why does this matter?
We possess a shruti tradition known as our Mundhum. There is a story suggesting that Mundhum is the Kirati ‘Veda,’ which is incorrect. It is an oral tradition. These are holy words for us, typically recited during ceremonies. All that we know about our tradition has been derived from external sources, specifically Newa writings from the Malla and Licchavi periods.
We are holding a festival in Mangshire, where the entire village takes part. All individuals gather and eat together. Following this, the oldest person from the host family sits near the fire and tells tales. Everyone is gathered in a circle, paying attention. Normally, you can hear the children laughing, but if you observe the older people, they may be wiping away tears as they listen to the narration.
I am concerned about the disappearance of languages. Many languages are vanishing globally. Bhupal Rai, former chancellor of Pragya Prathistan, once said: if we lose our stories, we will lose our identity. Therefore, I am making efforts to protect our stories so that we do not lose who we are.
How do you approach the act of writing?
I don’t put something down immediately when it comes to me. I will jot the idea down, but I don’t work on it right away. I prefer to let my ideas sit and develop. Many of our foods are also fermented. It’s a taste that needs to be learned.
Fermentation represents that hardship for me. Our communities allowed our foods to ferment because they were focused on survival, not flavor. Numerous of our narratives are also centered around struggle. I contemplate these tales of hardship when I write.
For instance, with “The Taste of Selroti,” I have had the concept for approximately a year. However, I left it aside; I didn’t rush to write. Once I began writing, it took me roughly three days to complete.
In how many languages are you proficient?
I am fluent in four languages: Nepali, English, Hindi, and Bantawa. I have some understanding of Tamang and Tharu, but I am not able to converse in them. Some people believe that the language you speak influences your personality, and I agree with this, as it varies depending on which language I use.
French psychoanalyst Jacques Lacan believes that the unconscious mind is influenced by language. I have a strong passion for language that motivates my work.
What comes next for ‘The Milson Project’?
I aspire to direct a movie. There are individuals in my life who have been encouraging me towards this path. I have certain stories that need to be told on the stage. It is the most appropriate platform for these narratives. Some stories indicate the medium that suits them best.
But once I complete that, I would like to focus on directing films.
Milson D Chamling’s five movie suggestions
The Taste of Cherry
Director: Abbas Kiarostami
Year: 1997
Chunking Express
Director: Wong Kar-wai
Year: 1994
Stalker
Director: Andrei Tarkovsky
Year: 1979
Pather Pachali
Director: Satyajit Ray
Year: 1955
Numafung
Director: Nabin Subba
Year: 2001
Milson D Chamling’s five book suggestions
The Offspring of a Lesser Deity
Author: Mark Medoff
Publisher: Amber Lane Publishing
Year: 1982
Medoff taught me important aspects that a playwright needs to understand. I hope to adapt this story for the stage in the future.
Every Brilliant Thing
Author: Duncan Macmillan and Jonny Donahoe
Publisher: Bloomsbury Publishing
Year: 2013
A child creates for his mother a list of things that give life meaning. It prompted me to think about my own life.
Who’s Afraid of Virginia Woolf?
Author: Edward Albee
Publisher: Atheneum Books
Year: 1962
It kept me awake all night. Initially, all the conversations seem straightforward, yet they are rich with underlying meaning.
Hamlet
Author: William Shakespeare
Publisher: Valentine Simmes
Year: 1603
The dynamic between Claudius and Hamlet is intriguing. Similarly, it’s notable that all the female characters in the play were traditionally portrayed by men.
Bise Nagarchiko Bayan
Author: Shrawan Mukarung
Publisher: Sangri-La Books
Year: 2005
Mukarung’s work stands as the pinnacle of Nepali poetry. It is a recommended read for all.