Though mostly known as a celebrated novelist of highly scholarly novels, Viswanatha Satyanarayana, the colossus in Telugu literature, also penned some memorable short stories, collected in the anthology, Chinna Kathalu (1996). After using grandhika style in his early stories, he moved on to sarala vyavaharika, but what mark his stories are the keenness of observation and abundant skill in narration. The human touch he endows his characters with as in the characterization of Chandrasekhara Rao, and the attachment of a couple to the only son of their neighbors, the satire in a story like Parisodhakalu, the supra-sensual attachment to a dancing girl, etc. make the stories poignant vignettes of the cultural matrix of Andhra of the early 20^th century and entitle the Jnan Peeth awardee to an exalted niche in the pantheon of short story writers of the world.

Viswanatha Satyanarayana, arguably the most celebrated colossus in Telugu literature of the last century, is better known for his scholarly Ramayana Kalpavriksham and the massive technical and philosophical tour de force, Veyipadagalu. But his contribution to the then fledgling genre of short story in Telugu is no less significant and merits a critical look. Unfortunately, not much attention is paid to this area of the master's work, except perhaps a stray lecture by Dr. Muktevi Bhatahi.

After Gurazada's early experiment in this genre, it was to the credit of Viswanatha that he improved upon both the theme and the technique of short story in Telugu. True, in his early attempts, he used grandhika style both in the narration as well as in the dialogue, but over the years, he evolved a more colloquial and living model for his style, which was indeed modern for the times he wrote in. The first story of the collection of short stories, Chinna Kathalu (Third Edition, 1996), "Vismrithi", was published originally in as early as 1923. The language used is thoroughly classical, as for example, in expressions like asurayampasaya, bahiravikshpita padapankaja and the final thrapaamadhurima. Even the plot deals with the feudal world, although indirectly it vindicates the triumph of Urmila. But with the very second story, Paripurthi, the writer crosses the Rubicon of scholasticism and evidences immense humanism in the act of Chandrasekhara Rao, who marries the blind dark-complexioned Radha, whom nobody was prepared to marry. Although he had numerous tempting offers of matrimonial alliances from the rich and the powerful, it was the alchemy of love and compassion, which ensures a fresh lease of life to an unfortunate girl. But what is more significant is the generosity of the parents, who wholeheartedly approve of his decision. To him, the dark complexion looks really beautiful, as beauty truly lies in the eyes of the beholder. And when their love bears fruit as their son, the parents are jubilant and Chandra remarks, "our son is like eyes come to you."