Creators do not have a fixed geography. No creator belongs to any particular place. Therefore, it is difficult to distinguish the literary boundary, just like distinguishing the geographical boundary as the literature of a particular district or province. Even in that, Chitwan is more difficult.

Chitwan, the birthplace of the Tharu and Chepang, is a new place in terms of settlement expansion. Although there are thin settlements of Chepang and tribes in the hilly areas of Chitwan and Tharu along the plains and river banks, after the Raptidun development project of 2013, they started to settle down the forests and settle them in an orderly manner. Settlement in Narayangadh has started since 1970. There was a market for those who came from the hills to sell ghee and buy salted oil, clothes and household goods.

Because of the heat and the jungle, those who came down from the mountains got malaria here. Those who are struggling to find food and support their families in the mountains came down to Chitwan risking malaria. Especially the people of Kaski, Lamjung, Tanahun, Gorkha, Baglung, Syangja, Parbat, Dhading etc. districts migrated.

When they migrated, they not only brought their families with them, but also their culture, traditions, lifestyle, literature, oral narratives. Chitwan was rapidly becoming prosperous due to the mixture of people from many places in the hills, castes and cultures.

When discussing the literature of Chitwan, the literature of Madhyapahari districts itself comes together. Based on birth, people belong to one place, based on actions, they belong to different places. Therefore, the literature of Chitwan cannot be discussed separately. The discussion made here should be remembered by the writers who worked in Chitwan. If we talk about myself, the ancestral place is Kaski, but Chitwan in terms of birth, formal studies and work. Now I am doing a lot of work in Kathmandu. Sometimes I go to work in other districts as part of on-site study and writing. 

However, most of the settlements in Chitwan are new, but come from a literature creation tradition. Since the place had to be torn down and there were no basic facilities, people spent their time in the struggle to get a normal residence and basic facilities till the thirties. Due to the flat terrain, arable land and increasing facilities, gradually the wealthy people of the hills also started migrating here. Those who came later had to buy land. Those who came later had to buy at a higher price. 

As accommodation, roads, education, health and transportation facilities were added, Chitwan became prosperous. People have many stories of suffering, struggles and risks, stories of achievement and success because they had to live in slums themselves. Most of them are yet to be written.

Some of the remaining stories are limited to oral form, while most of them ended with the death of old people. Some of those who read it wrote it in a diary and kept it with themselves. However, the literary tradition of Chitwan is based on the unwritten folklore of the Tharu and Chepang tribes and the oral stories brought together by the hill dwellers when they migrated from the hills. Jitiya Pawni (Tharu Folklore) compiled and transcribed by Kalanath Adhikari was published in Tharu language in 2016. This is the first literary book.

is the starting point for literary events like the National Literary Symposium in Rampur in 2022, the Chitwan District Level Literary Symposium in 2024 and Chino Literary Magazine published in 2021. The publication of literary magazines like Dobhan in 2025, Naulo Ranko in 2026, Chaharo in 2027, Maruni in 2028 prepared the background of literary writing here. 

At that time, there were no literary organizations to institutionalize the literary talent hidden within individuals. But there were sporadic literary programs through educational institutions, libraries and some other institutions. Very few books were published from time to time. Chitwan was active in the 2036 plebiscite and the 2042 satyagraha for democratic change. There was a new awareness of change among the old people who came to the new place and the new people who were born here. At that time, the voices of rebellion for democratic change were also expressed through literature.

Literary institutions were established in Chitwan only after the 2040s. However, Narayani Kala Mandir was established in 2018 in Narayanigarh, which has become a big market, for the preservation and publication of art of different castes, languages ​​and communities on 14 katta land with a modern auditorium. Literary activities also take place here, so it has played an institutional role. Among the literary institutions, Sahitya Sangam Chitwan (2044), Chitwan Sahitya Parishad (2045) are the oldest ones here. Since then, there are about five dozen literary organizations, active and inactive, registered and unregistered.

In this background till 2046, the literature of Chitwan gradually developed and expanded. Writers here were also active with new consciousness in the changes of 2046. After that, from the point of view of trend, the literature of this place became similar to the national trend. Literary organizations here conduct national level programs and inspire writers to write by awarding several awards.

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Poetry is the easiest, simplest and most concise way to express yourself. The Pahades who migrated here, some of them used to express their feelings and sorrows orally by making Siloks, while some of them, even though they could not read and write, used to compose and sing Siloks themselves. I grew up listening to such unwritten lines. In those scenes, there was the intensity of his family and social stories, struggles, love and separation.

The literary history of Chitwan cannot be brought together with the history of Nepali literature. Because, only 150 years after the beginning of the history of Nepali literature, the creation of literature started in Chitwan. So the literary history of Chitwan started after the middle of Nepali literature. Here tradition and modernity walk together.

s were initially created mainly in stanzas, but prose poetry soon lost its influence. As they could express their feelings and thoughts without words, gradually many started writing prose poems.

It is difficult to ascertain how many poets there are in Chitwan, but nationally known poets are few. As in other places, there are many people who write poems with passion. There are very few poets who write special poems. In Chitwan, the number of poets who have published poetry is more than 200, while the number of poetry books is more than 300.

Although Narayanipari is a separate district and province from Gaindakot to Kawasoti, the people there are practically close to Chitwan. Literarily also connected with Chitwan. Moreover, most of the writers of Gandakot are actively involved in the literary organizations and programs of Chitwan. Until a decade and a half ago, Mofasalhein sentiment was high among writers living outside Kathmandu. He wanted to go to Kathmandu to become a national-level writer. Most of them went to Kathmandu to seek opportunities for literary publishing. 

As the world is gradually glued to one screen due to the Internet, social media has now almost eliminated loneliness. A skilled writer can write for people in any corner of the world from any corner of the world. As in other districts, Chitwan has also been influenced by the center and world-famous writers, this has inspired them to move with the times. In terms of opportunities and publications, the concept of center and mofsal has almost collapsed.

The trend of poems/poems/ghazals/songs etc. written here is almost the same as the trend is running centrally. Many of those who came down from the mountains and came here have written holding on to their roots. After all, the exposed branches and leaves, flowers and fruits contain sap from the roots. Because of the roots, life is possible in them.

The nature of each place, culture, person, family and society, struggle, love, rebellion, hope, despair etc. are written in poetry. Since there are many poets here, the enthusiastic poets named Kailashnagar, Rambagh, Gulafbagh, Narayanpur, Phulbari in Chitwan as Kavidanda. Its scholarship is done by poet Surendra Astaphal. 

Poets here are also aware of various political changes and social changes. Voices of rebellion and consciousness resonate especially through poetry. Chitwan's literature has not only national but also international influence. In terms of studies, Chitwan is connected with world literature, but in terms of publications, it is yet to be connected.

As I myself participated in some programs around 2050/60s, I am writing about some limitations here. As the situation was, no matter what the program was, poetry was recited, not only by two or four people, but by almost everyone present. Whatever the meal, tea was a must, whatever the program, poetry was a must. Be it a book launch event or an award ceremony, an interactive event or a writer's birthday or tribute - usually everyone present at the event recited poetry on the related topic. Poets used to recite poems till there were only two or four people in the audience. Such was the passion for poetry and the desire to recite it. Now the programs are getting a bit more specific.

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It's story time. Earlier epics like Mahabharata were also written in poetic form. Non-literary subjects were also written in Chhand. Epics began to be written in narrative form for ease of reading and comprehension. This trend is now seen all over the world. In Chitwan, too, the trend of writing stories has increased. Chitwan, which was focused on poetry and ghazal until two or three decades ago, has now become narrative focused.

Chitwan has the same characteristic of Nepal as being more numerically than qualitatively. The number itself keeps the quality in its womb. Till date, around 11 dozen books of stories have been published. He has different tendencies. The main basis of everyone's narrative is the society, family and private tendencies within the family. Rebellion with new consciousness for social and political change, self-concept, research, localism, feminist consciousness, foreign suffering, immigrant consciousness, environmental consciousness, Dalit and tribal consciousness, political conflict and war, psychology, immigrant consciousness, humor, etc. are found in Chitwan's stories. These characteristics are in line with national trends.

Harihar Khalan published in 2037 is the first collection of stories of Ajambari Village Chitwan while Rambabu Ghimire published in 2034 Ritto Akash is the first novel. To date, more than four dozen stories and more than five dozen novels have been published from here. Short story writing seems to have started later than stories and novels. In 2056, Dr. Atmavatara titled. Suryamani is the first official collection of short stories. Since then, up to two dozen collections of short stories have been published from here. In the beginning, the pace of narrative writing was slow, but now it has become faster. Retail stories are widely published. Some of his trends have had an impact at the national level.

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Not only in comparison to poetry and narrative, but also in itself, essay creation is very low in Chitwan as well as in the country. Now essays have been replaced by memoirs and autobiographies and biographies. Despite this, more than six dozen essay books have been written. Initially considered to be Ranendra Barali's struggle of untouchables in Nepal in 2038 (introduction of some warriors). Some are subjective, some descriptive, some objective and some biographical. Writers such as Rambabu Ghimire, Kapil Unduk, Radha Paudel etc. have made the essay unique. More than six dozen essays have been published here.

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Chitwan is far behind in drama writing and staging. Even though there is an institution like Narayani Kala Mandir here, regular plays are not staged. As the staging slowed down, the writing also slowed down. In the last stage, Pushpa Acharya has preserved the nursery of drama in Chitwan by writing and staging social realistic plays.

It is ironic that in a place with a metropolis and six municipalities, there is not only one theater that stages regular plays. Drama writing and staging is a civilization, a culture. According to senior actor and theater director Riddhicharan Shrestha, an old resident of Narayangadh, a play titled Vijay written by a writer from Darjeeling has been staged in Narayangadh in 2016. 

Being a Narayani Kala Mandir, a total of five dozen dramas have been staged in the history of six decades. Artists from Kathmandu have come here to stage a play. From Madhav Ghimire's song play Maltimangale to Ramlal Joshi's story based play Veer Bahadur. About two dozen books of plays have been published in Chitwan. Most of these plays are social realists. Lately, the work of writing and staging plays has been done by the group of Pushpa Acharya and Mukund Khalpatra.