Kathmandu, April 3 — Writer Yashu Shrestha specializes in crafting children’s literature aimed at making reading more approachable for young readers. With an extensive body of work comprising over two hundred titles, he includes both wordless picture books and decodable texts designed to support beginning readers. Among his well-known works are ‘Ramailo Khetbari’ (2018), ‘Pantu Ra Pari’ (2019), and ‘Safa Babu’ (2024).

His tales delve into the subjects of adventure and camaraderie, striking a chord with young audiences and imparting valuable morals.

During this discussion with The Post’s Aarya Chand, Shrestha discusses how his upbringing in Nepal’s countryside influenced his passion for narrative arts.

What motivated you to author children’s literature, and can you share how you began your writing career?

Ever since my school years, I’ve dreamed of becoming a writer without realizing that many authors actually hold other jobs to make ends meet. My journey began when I started writing during the eighth grade, which later led me to move to Kathmandu upon finishing high school. This bustling metropolis sometimes felt akin to an expansive wilderness; occasionally, lacking support, I would end up sleeping in cars. Despite reaching out to various publishing companies, skepticism greeted me at every turn. Many doubted whether I could sustain myself solely through writing, causing me to question the worth of literary pursuits altogether.

When I was young, children’s books were some of the first things I ever picked up, instilling in me the value of cultivating a love for reading from an early age. This motivated me to create stories aimed at younger readers. Back then, ‘Muna’, a monthly periodical for kids, alongside ‘Sunkesara’ were widely enjoyed. I sent in a tale called ‘Bhagwan Ko Utpann,’ which saw the light of day in 2004. It filled me with joy seeing my writing in print. Upon meeting the editor, who turned out to be surprisingly youthful rather than elderly like I’d envisioned, he greeted me warmly, urged me to keep penning more pieces, and presented me with my initial earnings—Rs128.

At the time, a plate of momo cost Rs20, and I realised I could sustain myself if I wrote multiple stories. This moment fueled my passion, and I continued writing to nurture children’s creativity and promote a reading culture. What began as a dream became my profession and lifelong commitment to children’s literature.

How do you think the differences between rural and city living impact your narratives in works such as ‘Fun Farm’ and ‘City and Forest’?

The disparity between rural and urban settings shapes my narrative approach. With Nepal’s rich tapestry of 124 distinct languages and differing educational standards, the learning journeys of children vary greatly across regions. While some village schools face regular threats from flooding and lack basic resources, city youngsters benefit from modern facilities and well-stocked classrooms. My personal experience has shown me that urban youth often manage to breeze through texts as long as 60 pages, contrasting sharply with their rural counterparts who may find even six-page passages challenging. Born amidst mountain peaks, nurtured in the plains of Terai, and now operating within the bustling metropolis of Kathmandu, I’ve had ample opportunity to observe these distinctions up close.

To reflect these realities, I immerse myself in different communities before writing. For instance, I spent 15 days in Jumla to understand how students learn before working on ‘Mero Gauko Katha’. I also engage with students, ensuring they understand my stories and incorporating their feedback.

Apart from narrative-driven projects, I’ve ventured into wordless picture books, acknowledging that kids arrive without knowledge of the alphabet but bring an understanding of family dynamics and recognizable characters. Through visual elements instead of textual ones, I aimed to make narratives more approachable for them. Later, my focus shifted towards developing decodable books and crafting compact editions to foster engagement among emerging readers.

My strategy for crafting children’s literature adheres to a progressive sequence, starting with storytelling during pregnancy and moving through stages such as wordless books, decodable texts, illustrated books, pre-chapter books, and ultimately reaching full-length novels. This systematic approach has enabled me to author more than 200 children’s books, ensuring that reading becomes an enjoyable and incremental experience for developing minds.

“The abundance of questions” implies an investigation into curiosity. What motivated you to author this book?

Kids ought to be motivated to pose inquiries since all sorts of curiosity are valid. Up until they turn nine, their right brains—which drive creativity—are more engaged, whereas logical reasoning tends to develop subsequently. Consequently, small kids tend to have an exploratory nature, and these queries should be embraced instead of being stifled. Responding to such questions cultivates transparency and astute cognitive skills.

As children mature, it becomes crucial to instruct them on seeking answers autonomously instead of offering immediate resolutions. This approach fosters the development of analytical abilities. The inspiration behind ‘So Many Questions’ (2016), which stems from my personal sense of wonder, drives me to motivate kids to maintain their spirit of inquiry while simultaneously teaching them methods for exploring and discovering responses independently.

Your work frequently delves into various experiences and difficulties encountered by young individuals. When crafting narratives that tackle psychological and societal concerns, how do you go about this process, and what makes these topics crucial within the realm of children’s literature?

Grasping the nuances of children’s psychology is crucial when crafting content for them. Although I haven’t focused particularly on children with autism or similar mental health challenges, I have developed narratives aimed at children with various disabilities, including tactile storybooks featured in the Global Digital Library. Incorporating social themes into my work is important to me—for example, “Mero Rato” (My Red), which aims to make discussions around menstruation more commonplace, received acclaim as part of the IBBY Honour List 2022 (a prestigious accolade from the International Board on Books for Young People recognizing excellence in children’s literature).

In my exploration of behavioral psychology within works such as “Ulto Jutta,” this narrative found new form through director Kedar Shrestha’s short film titled “Junuko Jutta.” This story centers around a young protagonist who consistently wears their shoes backwards, highlighting how minor behaviors can evolve into meaningful patterns over time. Additionally, I introduced the character Gothey, an individual whose mature age contrasts with a youthful perspective, leading them to struggle comprehending certain aspects of peer interaction. By weaving these tales together, I strive to provide representation and understanding for various identities and life experiences among children—particularly focusing on those facing distinct challenges. My conviction lies in addressing subjects pertinent to psychological and societal health within juvenile literature, emphasizing inclusivity across themes.

How has your partnership with illustrators developed over time, and how do you manage the equilibrium between providing direction and allowing artistic independence?

At first, I used to hand over my stories without participating in the illustration process, viewing the finished art work only post-publication. Yet, recognizing the necessity of greater cooperation, I started engaging closely with illustrators—discussing concepts and making sure the imagery matched the narrative accurately.

As deadlines became tighter over time, we transitioned to a more organized workflow. Currently, we finalize the storyline with our publishing team before choosing an illustrator who fits the project’s needs. During meetings with these artists, they present several character design options, and we offer input whenever necessary. Illustrators vary; some require precise instructions, whereas others excel with greater creative liberty. Hence, we adjust our strategy based on each artist’s preferences. For instance, one illustrator desired to depict the narrative within an urban setting for visual experimentation purposes, which we enthusiastically supported. This method blends rigidity and adaptability, enabling illustrators to infuse their personal creativity into the tale.

What strategies can one use to blend narrative with ethical teachings effectively in kids’ literature?

Rather than imparting lessons straightforwardly, I prefer crafting captivating tales for children to organically internalize the intended messages. Previously, texts would plainly outline information like how handwashing prevents diarrhea spread by houseflies. We’ve since adopted a more imaginative method by personifying houseflies or employing fruits as character types to enhance educational engagement. Although an effective narrative must convey a lesson, the emphasis ought to remain on compelling storytelling. Should the tale prove engrossing enough, the underlying moral will seamlessly permeate throughout.

Here are Yashu Shrestha’s five recommended reads:
1. “To Kill a Mockingbird” by Harper Lee
2. “One Hundred Years of Solitude” by Gabriel García Márquez
3. “The Great Gatsby” by F. Scott Fitzgerald
4. “Pride and Prejudice” by Jane Austen
5. “Crime and Punishment” by Fyodor Dostoevsky

Mero Kathako Alien

Author: Anuradha

Publisher: Kathmandu Publication

Year: 2017

The story revolves around an inexperienced extraterrestrial encountering other beings from space. During these trials, Anuradha incorporates numerous scientific concepts.

Part 1 of “Ma Ra Buddha”

Author: Saurabh Kiran Shrestha

Publisher: Kathalaya Inc

Year: 2017

The writer employs easy-to-understand vocabulary to teach kids about Buddha’s journey—including his origins, challenges, insights, and personal relationships.

Isle of the Blue Dolphins

Author: Scott O’Dell

Publisher: Houghton Mifflin

Year: 1960

A brother and sister get separated, leaving the girl alone in a jungle. The book explores her struggles and survival.

Totto-Chan: A SmallGirl by the Window

Author: Tetsuko Kuroyanagi

Publisher: Kodansha Publishers Ltd

Year: 1981

Kuroyanagi recounts his unusual educational journey at an elementary school in Tokyo during the Second World War.

The Giving Tree

Author: Shel Silverstein

Publisher: Harper & Row

Year: 1964

The tale has seen numerous translations worldwide. It underscores the kindness of a tree that offers fruit, shelter, and assistance.