Role of Kamal Mani Dixit and Madan Puraskar

I vividly remember reading ‘Seto Dharti’ by Amar Neupane during my school days. The heartbreaking story of Tara, a child widow moved me to tears with its emotional depth. The tale of love, loss, and hope was unforgettable. Beyond the narrative, another detail that caught my attention was the abstract book cover and the distinctive circular emblem on the middle left that read “Madan Puraskar Bijeta” (Winner of the Madan Puraskar). 

Over time, I came across other books with the same stamp. Curious, I searched for Madan Puraskar on Google and clicked on the first link, which was for Wikipedia. There, I learned that the award is Nepal’s most prestigious literary honor, established by Queen Jagadamba Kumari Devi in memory of her late husband, General Madan Shumsher JBR. At that time, this was the extent of my knowledge about the award, but I began to associate the stamp with literary excellence. Every time I visited a bookstore afterward, I instinctively sought out books bearing that emblem. 

In an article published on The Kathmandu Post dated 24 Sept 2021, Madan Puraskar was referred to as the ‘brainchild of Kamal Mani Dixit’. While I was familiar with the name, I wasn’t fully aware of the breadth of his work or his significant contributions. This piqued my interest in understanding Dixit’s role in the award’s history. Further research revealed that the late Dixit was a towering figure in Nepali literature, whose efforts were crucial in preserving and promoting the literary heritage of Nepal. Indeed, the Madan Puraskar Guthi was conceived as Dixit’s vision and legacy. 

In the few videos I watched of Kamal Mani Dixit on YouTube, he appeared as a warm and content elderly man. His white hair, glasses, and traditional Dhaka topi gave him a dignified and wise appearance.In the only interview available online, published in his memory on YouTube, Kamal Mani Dixit, when asked by the interviewer, “Then who is Kamal Mani Dixit?” responded hastily, saying he was “just an essayist and a nobody.” 

Pratyush Onta’s article, ‘Re-reading Kamal Dixit-the essayist’, explores Dixit’s significant contributions to the Nepali literary landscape, particularly in the field of essays, categorizing his essays into four types: rigorous research essays, mixed essays blending research with personal insights, memoirs reflecting on family and life during the Rana era, and various other miscellaneous collections of essays. However, Dixit’s contributions extend far beyond his essays . 

Ashutosh Tiwari’s obituary captures his extensive contributions, with a prolific output of over 70 books. He collaborated with writers, poets, and historians, editing and publishing 22 works on poetry, epics, dramas, and stories, helping lesser-known Nepali authors gain recognition. Tiwari highlights Dixit's dedication as a teacher, sharing his knowledge of poetry well into his 80s at Rato Bangala School, along with his work in writing children’s books.

Kamal Mani Dixit’s family had strong ties with the Ranas. In his memoir ‘Birseko Samjeko’ (Forgotten Recollection), Dixit writes about his frequent visits to Shree Durbar and his relationship with Madan Shumsher, the youngest son of Chandra Shumsher. He reminisces how as a toddler, the 14-year-old Madan Shumsher, having just recovered from a two-month illness, treated young Dixit like a walking, talking doll to pass the time. This early connection marked the beginning of his close ties with Madan Shumsher and the Rana family. 

Dixit also recalls in his memoir a time during school when he couldn’t afford to buy a book by Bhim Nidhi Tiwari. This inspired him to save his tiffin money and start collecting books. As his collection grew, he began referring to it as ‘Kamalko Nepali Sangraha’ (Kamal’s Nepali Collection). 

In 1955, following the death of Madan Shumsher, Dixit, who was working at a printing press in Banaras, was recalled by his father to serve Queen Jagadamba. Wanting to contribute to Nepali literature, Dixit persuaded the queen to support the collection and preservation of literary works. In 1956, Queen Jagadamba Kumari Devi endowed the collection in memory of her late husband, establishing the Madan Puraskar Guthi. His personal collection ‘Kamalko Nepali Sangraha’, which he started as a student in the 1940s, became the foundation of the Madan Puraskar Pustakalaya (Madan Puraskar Library). 

The Guthi was established to collect, preserve, catalog, and disseminate valuable information for researchers and scholars. It also introduced the Madan Puraskar award to honor works that made significant contributions in the fields literature, philosophy, science, and social sciences. Initially, the prize was set at Rs. 4,000 per category. The award was first announced in 1955 and officially distributed in 1956, making it Nepal’s first literary prize.

What began as Kamal Mani Dixit’s personal passion for collecting books has grown into an institution dedicated to preserving and promoting Nepali literature. While the Madan Puraskar has faced its share of criticism, its importance in the Nepali literary landscape is unquestionable. This article focuses on the award’s inception, but its criticisms and broader impact warrant a separate discussion.