The Interview : Nishi Chawla

Rachna Singh, Editor, The Wise Owl, talks to Nishi Chawla an academic, a writer and a filmmaker who has published ten plays, two novels, and seven collections of poetry. She has also written and directed four award-winning art-house feature films.

Dr Nishi Chawla holds a doctorate in English from the George Washington University, Washington D.C., and her post-doctorate from the Johns Hopkins University, Baltimore, Maryland. After teaching for nearly twenty years as a tenured Professor of English at Delhi University, India, Nishi Chawla migrated with her family to a suburb of Washington D.C. Nishi Chawla has recently completed her fourth feature film, "The Peace Activists" on Gandhi, MLK, and Thoreau. Three of her art house feature films are on Amazon Prime: 'TechNous,' 'The Strange Case of Normalcy,' and 'Mixed Up.' are streaming on Amazon Prime.

Dr Nishi Chawla's play, 'Kasturba versus Gandhi' was staged in New York in an off-Broadway production in June 2024. Her tenth play, 'The Mahatma versus Gurudev' has been accepted to be staged in June 2025 again off Broadway, New York, making her one of the few Indian playwrights to ever have a play staged off Broadway.

She is the third Indian poet ever to be invited for a reading and a discussion of the US Library of Congress organized, 'The Poet and the Poem' program.

Thank you Nishi for taking time out of your busy schedule to talk with The Wise Owl.

RS: Your career spans academia, literature, and filmmaking—a rare combination. What inspired you to delve into these varied fields, and how do you navigate transitioning between them?

NC: My ventures into academia, literature, and filmmaking stem from a shared foundation: my deep curiosity about the human condition and the power of storytelling to explore it. While these fields may seem distinct, they are deeply interwoven for me. Each is a different lens through which I examine life, history, and culture.

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My academic training provided the groundwork for my curiosity. My doctoral and postdoctoral studies in English literature and my four decades of university teaching have helped refine my critical perspective and foster my appreciation for narrative structures and storytelling across mediums.

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Transitioning to creative writing felt like a natural extension. Writing plays, novels, and poetry allows me to experiment with voice and character in ways that academia could not. Filmmaking came later, but it felt like an inevitable progression. Cinema, to me, is a synthesis of everything - narrative, visual art, sound, and movement. It allows for an immersive storytelling experience. Navigating between these fields has its challenges, of course. Each requires different skill sets, resources, and collaborations. However, I believe the underlying discipline of storytelling ties them all together.

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I also find that one field informs the other. My academic training sharpens my writing; my creative projects influence my teaching and research. Ultimately, I believe the diversity of my work reflects my own curiosity and refusal to be confined by a single label.

RS: As a scholar and creative artist, how do you reconcile the analytical approach of academia with the imaginative demands of creative writing and filmmaking? Do they feed into each other or require separate mindsets?

NC: For me, the relationship between academia and creative expression is not one of conflict but rather a dynamic and mutually enriching one. The analytical approach of academia and the imaginative demands of creative writing and filmmaking, while distinct, are not opposites. In fact, they feed into each other in deeply transformative ways, often blending in my mind as I navigate both realms.

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At the heart of both academic scholarship and creative work lies the quest for meaning - whether through rigorous analysis or artistic expression. The process of engaging with texts, historical contexts, or cultural nuances in academia has profoundly shaped the way I approach creative work. The analytical tools I’ve developed over the years - critical thinking, close reading, and theoretical frameworks - are incredibly valuable when it comes to crafting narratives and characters. They help me ask the right questions, challenge assumptions, and deepen the layers of meaning within a story. In academic scholarship, you often engage with texts that require interpretation, context, and nuance, and those same skills are applicable to creative writing and filmmaking.

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That said, there are moments when these two modes of thinking feel distinct. The analytical mindset requires detachment, objectivity, and a systematic approach, whereas creative writing and filmmaking demand immersion, emotional depth, and intuitive leaps. Shifting between these mindsets can be challenging. But I have learned to embrace both modes, allowing myself to oscillate between the two rather than trying to separate them entirely. The process of writing a dramatic script or poetry might begin with an academic understanding of a concept or theme, but it quickly moves into an imaginative space where that understanding is refracted through character, emotion, and narrative structure. For me, the key is not to see these as separate, compartmentalized ways of thinking, but as complementary forces that each deepen the other. The blending of analytical and creative processes enriches both domains, offering me a holistic way of engaging with the world.

RS: Your play Kasturba versus Gandhi was staged off-Broadway, and The Mahatma versus Gurudev is set to follow in 2025. What drew you to exploring the personal dynamics between historical giants like Gandhi, Kasturba, and Tagore?

NC: The decision to explore the personal dynamics between historical giants like Gandhi, Kasturba, and Tagore stemmed from a deep fascination with the complexities of their relationships, both on a personal and political level. While these figures are often viewed as monumental icons in the history of India’s independence struggle, I was drawn to the human side of their stories - the intimate, often contradictory emotions, struggles, and tensions that shaped their lives and, in turn, influenced the larger historical narrative.

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These personal dynamics are important to me because they allow us to humanize these larger-than-life figures. We often tend to view them as symbols or icons, but they were, at their core, complex individuals who were deeply affected by their personal relationships. They were not immune to doubt, contradiction, or emotional turmoil. Through these relationships, I wanted to shine a light on the moments of vulnerability and imperfection that might have shaped their historical decisions and actions.

RS: What unique challenges did you encounter while writing and staging these plays in a Western context, especially for audiences unfamiliar with the nuanced relationships of these Indian figures?

NC: Writing and staging Kasturba versus Gandhi and The Mahatma versus Gurudev in a Western context presented unique challenges, especially considering the nuanced and deeply rooted cultural, historical, and emotional layers of the relationships between these iconic Indian figures. The most significant challenge was making these complex, culturally rich narratives accessible to an audience that may not be familiar with the historical, political, and social context of India’s independence struggle or the spiritual and intellectual depth of figures like Gandhi, Kasturba, and Tagore. These plays are deeply embedded in the cultural fabric of India, and translating their significance to a Western audience required careful navigation.

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One of the first challenges I encountered was the need to provide context without over-explaining. While I wanted the essence of the relationships between these figures to resonate with universal human themes - love, sacrifice, conflict, and philosophical debate - I also wanted to preserve the cultural specificity of the characters and their struggles. In a Western context, many of the cultural and historical references surrounding Gandhi, Kasturba, and Tagore may be unfamiliar, and thus, I had to find ways to introduce these elements subtly within the narrative. At the same time, I didn’t want to risk losing the integrity of their characters and the particularities of their journeys. The goal was always to maintain their authenticity while ensuring that the audience, regardless of their familiarity with Indian history, could still engage with the emotional and intellectual underpinnings of the play.

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Another challenge was striking the balance between universal themes and the particular cultural dynamics of India. Gandhi and Tagore, for instance, represent two contrasting worldviews that are deeply rooted in Indian history and philosophy.

RS: Your poetry collections and global anthologies, like Greening the Earth and Singing in the Dark, tackle universal themes. How do you ensure your work resonates with audiences across diverse cultures?

NC: Writing poetry that resonates across diverse cultures, especially when dealing with universal themes, is a delicate balance between specificity and universality. Each culture brings its own set of values, experiences, and expressions to the table, but there are deep, shared human truths that transcend borders - love, loss, hope, struggle, and the search for meaning. My approach to ensuring that my work resonates with audiences from various backgrounds is rooted in both my understanding of these universal themes and my commitment to crafting poetry that is both personal and reflective of the collective human experience. The first step in writing for a global audience is to identify themes that are universally human. Whether it's the environmental challenges of our time or the personal reflections on identity and memory, I focus on the timeless elements of the human condition that remain relevant regardless of geographic or cultural divides.

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One of the challenges of writing poetry that reaches across cultures is the balance between cultural specificity and universality. While my own background and cultural identity as an Indian-American poet inevitably shape my work, I strive to write in a way that invites readers from different cultures to find their own meaning in my words. I believe that my poetry resonates because it emphasizes our shared humanity.

RS: As a poet, what subjects or emotions do you find yourself returning to repeatedly? How has your poetic voice evolved over the years?

NC: Over the years, my poetic voice has evolved, but it has also remained anchored in certain core elements that continue to shape my writing. I’ve noticed that my poetry is a reflection of not only my inner world but also the broader world we inhabit, with its complexities, contradictions, and joys.

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One subject I find myself returning to repeatedly is memory - specifically the way it shapes our identities and our understanding of the world. Memory, both personal and collective, is an infinite well of inspiration for me. As someone who has navigated multiple cultures, Indian and American, memory has been a key tool in understanding who I am and how I relate to the world around me. In my work, I often explore the tension between remembering and forgetting, the weight of inherited memories, and the role memory plays in shaping one’s identity.

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Another theme I often return to is the natural world. I have always felt a profound connection to the earth, whether it’s the vastness of the land or the delicate balance of its ecosystems.

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Another recurring theme in my work is the exploration of political and social issues, particularly the ways in which they affect marginalized communities. I am deeply influenced by the history of displacement, conflict, and struggle, both in India and in the broader global context. Whether it's the impact of colonialism, the refugee experience, or the fight for justice and human rights, these topics often emerge in my work as a call for empathy and action. In my poetry, I seek to give voice to those whose stories have often been left untold, whether that’s the indigenous, the refugee, or the oppressed. The emotional intensity in these poems often comes from a place of deep frustration, but also hope, a belief that the world can change if we only choose to listen, reflect, and act. In terms of my poetic voice, it has certainly evolved over the years, shaped by my experiences, my academic background, and my engagement with global issues.

RS: Your films, such as TechNous and The Strange Case of Normalcy, delve into complex themes and have found a platform on Amazon Prime. What motivated you to explore art-house cinema rather than mainstream filmmaking?

NC: My decision to explore art-house cinema, rather than mainstream filmmaking, stems from a deep-seated belief in the power of stories that provoke thought, challenge norms, and invite the audience into a more reflective, introspective space. As a storyteller, I’ve always been drawn to the exploration of complex themes, those that may not necessarily find a place in the fast-paced, formulaic structure of mainstream cinema, but instead require a more nuanced, contemplative approach. One of the main motivators behind my choice to pursue art-house cinema is the freedom it offers to explore unconventional, complex themes. In films like TechNous and The Strange Case of Normalcy, I delve into subjects that are sometimes uncomfortable or difficult to navigate - whether it's the intersection of technology and humanity, or the distortions of reality we experience in a world shaped by social norms and expectations. Mainstream cinema often caters to a wider, more commercially driven audience, and while it has its place, it can sometimes limit the scope for deeper exploration of abstract or philosophical ideas. Art-house cinema, by contrast, allows for greater creative autonomy, enabling me to present a vision that is both personal and thought-provoking. Art-house films are also a powerful medium for social commentary. I am also deeply motivated by the type of audience that art-house cinema attracts - viewers who are willing to engage with the material on a deeper level. It is not a rejection of mainstream cinema, but rather a conscious choice to embrace the freedom, creativity, and intellectual engagement that art-house filmmaking offers. It’s a platform where I can truly express myself as an artist and engage with my audience in meaningful ways.

RS: What challenges have you faced as an Indian creative working in global spaces like Amazon Prime and Broadway? How have you navigated those hurdles to bring your work to an international audience?

NC: One of the primary challenges of working in international spaces is the delicate task of cultural representation. As an Indian creative, my work inevitably carries the weight of my cultural heritage, but at the same time, it needs to connect with audiences who may not be familiar with or who might hold preconceived notions about Indian culture. Whether it’s a film on Amazon Prime, such as TechNous, or a play like Kasturba versus Gandhi, I have had to be extremely careful about how I portray cultural narratives. The risk is that the essence of Indian stories might be either lost in translation or simplified to fit a Western mold. For instance, audiences unfamiliar with the socio-political landscape of India might not immediately grasp the nuances of historical figures like Gandhi or Kasturba, or the complexities of relationships like those in my plays.

Working in global spaces also means navigating different audience expectations. For example, mainstream Western platforms such as Amazon Prime often favor certain narrative structures, pacing, and themes that align with global trends. At the same time, there is a demand for content that appeals to a wide range of viewers. Art-house films, like TechNous or The Strange Case of Normalcy, challenge the typical narrative expectations and often require a more patient, introspective audience. The challenge lies in maintaining my artistic integrity while also making sure that my films are accessible and compelling to global viewers who may be unfamiliar with the Indian context in which they are set.

RS: As someone who has achieved so much across various mediums, what advice would you give to aspiring writers, filmmakers, and academics looking to create a similarly impactful body of work?

NC: Achieving a body of work across multiple creative fields like writing, filmmaking, and academia is both a deeply rewarding and challenging journey. It requires a blend of passion, perseverance, and an unwavering commitment to one’s craft. If I were to offer advice to aspiring writers, filmmakers, and academics, it would revolve around a few core principles that have guided me throughout my own career.

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Above all, I would encourage aspiring creatives to find their own voice. This means embracing the stories, themes, and perspectives that are uniquely yours

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Patience is often underestimated in a world that values instant success.

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Finally, I would advise aspiring creatives to engage deeply with the world around them, both in terms of their immediate surroundings and the global community. For me, my films and plays are deeply rooted in specific cultural contexts, yet they also touch upon universal themes that resonate with audiences worldwide.

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RS: Looking back on your journey—from teaching literature to seeing your plays staged off-Broadway and films on global platforms—what do you consider your most fulfilling accomplishment?

NC: Looking back on my journey, it’s difficult to pinpoint a singular “most fulfilling” accomplishment, as each phase of my career has been deeply rewarding in its own way. From my years as a professor at Delhi University and the University of Maryland, to writing, directing, and seeing my creative works take flight on global platforms, every achievement has come with its own set of challenges, lessons, and moments of profound satisfaction. But if I were to reflect on the most fulfilling accomplishments, they would revolve around three key aspects that have consistently brought me joy and a sense of fulfillment throughout my journey.

My years of teaching literature, where I had the privilege of working with young minds, were profoundly fulfilling. The ability to shape the intellectual growth of students, to introduce them to new perspectives, and to engage in meaningful academic debates is something that always gave me immense joy.

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As a writer and filmmaker, one of the most fulfilling accomplishments has been the ability to bring stories that are deeply rooted in Indian culture, history, and identity to a global audience.

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For someone like me, who has always believed in the power of storytelling to connect people across different cultures, it’s incredibly rewarding to see my work resonate with people beyond the confines of my native context.

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Ultimately, it’s the impact I’ve had, whether through teaching, writing, filmmaking, or performance, that gives me the greatest sense of fulfillment. It’s the realization that my work has reached beyond my own experience and created ripples in the lives of others, challenging, inspiring, and connecting people across cultures and generations. That’s the reward that continues to fuel my journey.

Thank you so much Nishi for talking to The Wise Owl. We wish you the best in all your creative endeavours.