Mainali’s Tales Of Enduring Value

For its 48th edition, Aalekh literary journal recently celebrated the 122nd anniversary of the pioneer short story writer Guru Prasad Mainali in Kathmandu. (Press Council Nepal lists the publication in “A” category.) It was a well-deserved tribute to the literary luminary’s life and legacy. Mainali’s work, marked by simple diction and uncomplicated themes, is filled with spontaneity as the source of ideas, which explains his relatively limited number of, but enduringly appreciated, written output. 

Nepali literature’s brightest short story author valued definitive inspiration more than motivation for quantitative volume. He did dabble in other strands of literature, including travelogue and essays, but excelled the most in the short story sphere, where his legacy stands out from the rest in the Nepali literary landscape. Stories shine in imaginative spontaneity. Mainali’s emphasis was on quality and not rushed quantity during the time he squeezed from preoccupation with his career in government service. Only when confident of clarity in the initial concept of a story did he propel the writing engine, which he pushed sparingly but with eventual beauty. 

The stories strongly bear what Nepali society had to undergo in terms of outdated practices in a society basically lost in rigidity. He brings to life contemporary contexts in their different aspects, including poverty, illiteracy and the like. Imagination based on realistic portrayal runs through the contents. Once the concept crystallises, an outline gets drawn steadily. Holding a government service for several decades, Mainali found time, energy and interest to pen 11 literary delicacies that bring into focus an average Nepali life. He explores the pains and plight of the poor and the downtrodden, as well as victims of social malpractices, outdated beliefs and economic exploitation.

Early appreciation

Recognition came to him quickly after the first story, Naso, was birthed in print not immediately after he penned it. The story was published in the Sharada journal in 1935. He saw and savoured success during the several decades he lived after the trailblazer that his debut short story was, inaugurating the age of Nepali literature’s modern short story writing. All his stories make absorbing reading, but Naso bakes the best cake, and hence the book of his short-story collection adorns it as the title, which has already made it to the 22nd print, and is going as strong as ever. Naso story earned the distinction of laying down the foundation of modern Nepali short story writing. Mainali’s next ten gems set the tone for the genre firm and sound. 

Evocative portrayal and realistic settings, wherein lives lived by engaging characters are instantly identifiable to the mass readership, make for both gripping and all-embracing reading. The author, the characters and the eventual readers share a rhythm whose enduring quality is underscored by the volume of the Naso book’s reprints, ever live as it is on its evocative, informative and educative qualities. Mainali’s enthusiasm produced themes entirely Nepali, with characters identifiable by mass readers not only Kathmandu Valley and its periphery but also other parts of the country. He makes rich reflections of what he conceived as an author and what he closely and studiously observed as a keen chronicler of contemporary life in Nepalese society.

The acclaimed author chose story themes, characterisation, dialogue, conversational diction, accompanied by a torrential flow of short and effectively simple sentences that came to be appreciated as his characteristic panache. He creates everyday life characters, carefully cultivated for effective contexts, and sprinkles lines and situations that at times also generate nuanced humour and satire. All this combine to offer him a lasting space in the Nepali literary landscape.

Definitions of literature do not restrict imagination and thematic scope as long as the prose is poignant and attracts appreciating readers. Naso draws critical claim for both class and mass readership — a distinction not all works achieve, more so for generation after generation with such enduringly prized presence. Its giant trend-setting author brings to life existing social reality in vivid and descriptive manner, also laced with appropriate adages and anecdotes.

The narrative style is a distinct departure from the traditional style, thus inaugurating a fresh and welcome approach that draws such commendation. That a fastidious critic and author of several highly valued books like Tara Nath Sharma compiled and edited the stories for Naso the book speaks volumes for Mainali’s representative work. Mainali was in regular contacts with the literary likes of Bal Krishna Sama, BP Koirala, Babu Ram Acharya, Madhav Prasad Ghimire, Lain Singh Bangdel and Surya Bikram Gyawali. The correspondence he exchanged with Bangdel, for instance, gives an inkling of the author’s calm and sober approach to life and literature. 

Prior to story writing, the literary great-to-be was commissioned to record a daily diary about the major events he observed as a member of the royal entourage of the then Queen Mother Laxmi Dibyashowri Shah (King Tribhuvan’s mother) who was on a religious pilgrimage to India in January 1925. 

Worthwhile tribute 

Aalekh journal’s editor Achyut Ghimire reveals that, on realisation that Mainali was not paid due tributes by way of programmes organised or his statues installed befitting the towering figure’s rich contributions, the journal was prompted to bring out a special edition devoted exclusively to Mainali the man and the literary luminary. Sushila Bhatta, who did her PhD on Mainali and the Royal Nepal Academy published her book “Guru Prasad Mainali: Byakti ra Kriti” focused on the author and his works is enraptured by Naso stories. The book is so far the most comprehensive study of the eminent author.  

That Mainali was not awarded many big prizes is strange and intriguing. However, that a fastidious literary critic like Tara Nath Sharma undertook to compile and edit the stories for publication speaks volume for Mainali’s contributions. That Mainali is relentlessly rewarded with appreciating readership generation after generations is a redeeming reward even those showered with innumerable prizes might envy in both heart and head. The indelible imprint the great Nepali short story writer’s works create indisputably defines the landscape of Nepali short story writing in its modern genre. 

(Professor Kharel specialises in political communication.)