Nepal contains part of the Himalayas, the highest mountain range in the world. Eight of the fourteen eight-thousanders are located in the country, either in whole or shared across a border with China or India.
You are a creature of many interests: you demand more from your books than predetermined structures and assumed rules. You wish to tangle genres, to let the prose and verse meet. The consequence is always spectacular (if not unexpected) and the story becomes a more tangible thing; born of all the grins and grimaces that life can summon. And that, you are certain, is the true purpose of literature – to capture all facets of the world. A simple comedy will not suffice. A sorrow soaked tragedy will not do. They are both too narrow in their intentions. They must therefore be instead combined.
And the tragicomedy then appeals to your every need.
As its name suggests, the tragicomedy is the unusual blend of all things sad and satirical. It began within the 5th century, with Aristotle deeming it a play of dual meanings (and endings). As time progressed, however, it became associated with more than the theater and was recognized in all written works instead. The now common definition is: a dramatic piece that is filled to heartbreak, but is peppered still with teases or at least a satisfactory ending. The intention of this genre is to offer readers hope after often grueling circumstances.
And this brands it uncommon within the literary world. Often books are held to rigorous expectations. They are not to sway between forms, taking on the abilities of other categories. They are instead to remain thoroughly grounded within their own ideals.
The tragicomedy, however, is without these rules. It is instead encouraged to break them, taking the themes of both genres and allowing them to offer a more realistic approach to fiction. Books created for this purpose are quick favorites among all who read them as they provide more than the typical philosophies. There are no boundaries
and therefore no limitations.
The tragicomedy is the culmination of two necessary forms; it manages, however, to rise above the confines of both and offer its own identity.