Sāmājika kādambarigaḷu

1)agratāmbūla

2)aparājite

3)abhimāna

4)amara āgasṭ

5)araḷumaraḷu

6)āśīrvāda

7)anugraha

8)aṇṇa taṅgi

9)akkayya

10)annadāta

11)īcalumaradavva

12)ī dāri ā dāri

13)udayarāga

14)kaṭṭida baṇṇa

15)sandhyārāga

16)miyāmal'hāra

17)naṭasārvabhauma

18)baṇṇada baduku

19)kalāvida

20)parivartana

21)sāhityaratna

22)gājina mane

23)kannaḍam'mana guḍiyalli

24)dīpārādhane

25)saṅgrāma

26)citra vicitra

27)gr̥halakṣmi

28)rukmiṇi

29)tāyimakkaḷu

30)kaṇṇīru

31)kaṅkaṇabala

32)kāmini kān̄cana

33)kān̄canagaṅgā

34)kālacakra

35)kuṅkuma prasāda

36)gauri

37)jātakapakṣi

38)jīvanadi

39)tāyiya karuḷu

40)jīvanayātre

41)nagna satya

42)śanisantāna

43)san̄jegattalu

44)aparan̄ji

45)kaḷaṅkini

46)kabbiṇada kāge

47)dharmapatni

48)paścāttāpa

49)punarāvatāra

50)pan̄jarada giḷi

51)pāpiya nele

52)bhūmitāyi

53)maraḷu mane

54)kīrti kaḷaśa

55)maṅgaḷasūtra

56)muḍimallige

57)muyyige muyyi

58)rūpaśrī

59)stīmukha vyāghra

60)hr̥daya sāmrājya

61)huliyuguru(1)

62)huliyuguru(2)

63)huliyuguru(3)

64)heṅgaraḷu

65)hosalu dāṭida heṇṇu

66)maṇṇina dōṇi

67)yāriguṇṭu yārigilla

68)ciran̄jīvi

69)ratnadīpa

70)dēvapriya

71)amr̥ta manthana

72)kastūri

73)paṅkaja

74)kāgadada hūvu

75)heṇṇu janma

76)sundarū sansāra

77)bhūmigiḷidu banda bhagavanta

78)caraṇadāsi

79)bhāmāmaṇi

80)adr̥ṣṭa nakṣatra

81)mārjāla san'yāsi

82)sumuhūrta

83)ēṇākṣi

84)hēgādarū badukōṇa

85)bhāgyada bāgilu

86)cinnada kaḷasa

87)narabali

88)naranārāyaṇa

89)śubhasamaya

90)hosa suggi

91)maneyalle mahāyudda

92)janatā janārdhana

93)kaṇṇina gombe

94)honne modalu

95)dādiya maga



aitihāsika kādambarigaḷu

96)garuḍa macce

97)yalahaṅka bhūpāla

98)vīrarāṇi kittūra cennam'ma

99)raṇavikrama

100)saṅgrāma dhurīṇa

101)vijaya vidyāraṇya

102)tapōbala

103)puṇyaprabhāva

104)prauḍha pratāpi

105)mōhana murāri

106)yaśōdundubi

107)abhaya pradhāna

108)tējōbhaṅga

109)aḷiya rāmarāya

110)bhuvana mōhini

111)praḷayānantara



kathāsaṅkalana

1)agnikan'ye

2)kaṇṇu muccāle

3)kāmana sōlu

4)kiḍi

5)pāpa puṇya

6)min̄cu

7)śilpi

8)sumara sundari

9)anakr̥ avara samagra kathā saṅkalana (2005, sāgara prakāśana)



nāṭakagaḷu

1)ādaddēnu

2)āhuti

3)gōmukha vyāghra

4)baṇṇada bīsaṇige(bhāga 1,2)

5)jvālāmukhi

6)jīvadāseya samasye

7)dharmasaṅkaṭa

8)gubbacciya gūḍu

9)viśvadharma

10)maduveyō manehāḷō

11)kittūra rāṇi cennam'ma

12)svar‍ṇamūrti

13)hiraṇyakaśipu

14)sūtaputra karṇa

15)śrīrāma pādukā paṭṭābhiṣēka

16)māgaḍi kempēgauḍa

17)rāṣṭradhurīṇa beṅgaḷūra kempēgauḍa

18)anugraha

19)jagajyōti basavēśvara

20)rajapūta lakṣmi

21)rājanartaki

22)pālu



prabandha vimarśegaḷu

1)kannaḍada dāri

2)akhaṇḍa karnāṭaka

3)kannaḍa sāhitya mattu sanskr̥ti

4)karnāṭakada hitacintane

5)baḷḷāri samasye

6)bhāratīya citrakaleyalli rājā ravivarmana sthāna

7)rāghavāṅkana hariścandra kāvya

8)vīraśaiva sāhitya mattu sanskr̥ti

9)sajīva sāhitya

10)samadarśana

11)sanskr̥tiya viśvarūpa

12)sāhitya mattu kāmapracōdane

13)sāhitya mattu jīvana

14)sāhitya mattu yugadharma

15)sāhitya samārādhane

16)nāṭaka kale

17)hosa huṭṭu

18)porake(haraṭe)

19)basavaṇṇanavara amr̥tavāṇi

20)bhāratīya citrakale



jīvana caritregaḷu

1)allamaprabhu

2)kannaḍa kularasikaru

3)karnāṭakada kalāvidaru(bhāga 1,2)

4)kailāsaṁ

5)dīnabandhu kabīra

6)nannannu nānē kaṇḍe(sva sandarśana)

7)bhāratada bāpū

8)viśvabandu basavēśvara

9)niḍumāmiḍi sannidhiyavaru

10)svāmi vivēkānanda

11)barahagārana baduku(ātmakate)



sampādita granthagaḷu

1)maruḷasid'dha kāvya(dēpakavi)

2)bhagavadgītārtha sāra(śrī kr̥ṣṇayōgi)

3)kāmana billu(bhāga 1,2)

4)praṇaya gītegaḷu

5)pragatiśīla sāhitya

6)myāksiṁ gārki

7)rasa'r̥ṣi

8)bhāratīya kalādarśana

9)bhāratīya sanskr̥ti darśana

10)maisūru rājyada saṅgīta nāṭaka akāḍemi, beṅgaḷūru, avara prakaṭaṇegaḷu



anuvādita granthagaḷu

1)nīlalōcane

2)rasikāgraṇi

3)rubāyiyat kāvya

4)bhāratada kathe



sampādita patrikegaḷu

1)kathān̄jali(māsika) 1928

2)viśvavāṇi(māsika) 1936

3)kannaḍa nuḍi(vārapatrike) 1939

4)karnāṭaka sāhitya pariṣat patrike 1944

A pen portrait of ANAKRU more articles... DR. A. N. Krishna Rao (1908-1971) - popularly known as Anakru, was Karnataka’s genius of the century! His literary output exceeded 80,000 pages. The speeches he made were innumerable. People influenced by him and those who came up as important personalities were countless. His services to Kannada was of such magnitude that Kannadigas can never repay the debt. Anakru threw a magic spell on Kannadigas by his talent, literature, love of Kannada and oratory. From 1930 to 1971, for four decades, he was the uncrowned king of the land and the people. The period Anakru entered the literary world, was one when there was not Kannada readership, nor sale of books. Whatever available in Kannada was only a handul of religious books and books based on mythology. From such shackles of literary traditionalism, Anakru liberated the Kannada reader. He wrote social novels such as Jeevana Yatre, Udayaraaga, Sandhyaaraagaa, Mangalasutra, Natasarvabhouma, Sahithyarathna, Thayiya Karulu, Grihalakshmi, Thayi Makkalu, Aasheervada and Anugraha which won him great popular name Kadambari Sarvabhouma. What Anakru did in that period was a virtual revolution! He did not sit in the corner of a cozy room, blinded by curtains, cutoff from the outside world and write un-understandable, terse books just to win the approbation of the pundits and scholars. His aim was to reach the common man. Firstly, he had to inculcate the habit of reading Kannada books by the people. This he achieved marvelously. The readership brought to its fold the factory labor, hotel workers, riksha pullers and millions from the lower strata of society. Then came the social reform when he wrote Nagna Sathya, Shani Santaana and Sanje Gattalu, that threw light on the issues of prostitution, the traditionalists and protagonists of religion were shaken and called him a "vulgar writer" for writing on such a subject. "if telling the truth is vulgar, then I am a vulgar writer; if the act of covering with a cloth, a downtrodden, helpless, naked woman on the street is vulgar, then I am a vulgar writer" was Anakru's reply. It is an irony that the very same people who criticized Anakru, wrote on the same subject later. Anakru spoke perhaps thousand times more than what he wrote. His torrential flood of thoughts could not be contained within the covers of a printed book. It reached millions all over the land. Anakru was one of the greatest orators of our land. He had no University degree! But the intellectual world and the University scholars would be spellbound by his vast and deep knowledge. If he adorned the stage words would flow like Ganga in his stentorian voice. Let it be any subject, be it about modern India or world affairs, literature, music, drama, fine arts, Kannada and its problems and solutions, Indian Culture, Veerashaiva Sahithya, the list is endless. He could talk for hours with authority and authentically and that too spontaneously, without any reference or preparation. It seems when he talked to a Maharashtrian audience once, at the end people were astonished that Kannada is such a rich and beautiful language. His style could reach the most ordinary person. His oratory was a thunderbolt, a revolt against blind traditionalism, a storm against politics, a fight against injustice! Anakru was merciless and ruthless when he fought for the cause of justice. He could never praise or condemn anyone without reason. While people listened to his oration, it would inspire them, they would experience an unprecedented joy and it would instill a tremendous courage, patriotism would surface and dance in their hearts. People’s thirst to hear him speak was unquenchable. Once they heard his oratory, more and more they wanted to hear. His profound knowledge came from the great heritage, enormous study, analytical thinking, crowned by his own inferences. He did not confine himself to his writing but also read what others wrote, encouraged them and built up a generation of new writers and thinkers. The way lakhs of people used to assemble to hear Anakru’s speech, there was no precedent Karnataka’s history, and if there should be one, perhaps Anakru alone has to be reborn. It is unfortunate that we don't have the repository of his wonderful speeches which could have inspired generations of Kannadigas. Anakru was not in any government service. His livelihood was dependent upon his writings alone. But most of his earnings were spent for the service of Kannada and the land. He spent his own money to tour all over the state several times for the cause of Kannada. The world of artists were intimately connected with Anakru. He had immense love for art and respect for the artists. Artists pilgrimage to his house “Annapoorna” was an everyday affair. Be it a dancer, musician, writer, journalist, artist, actor, or a student, may be a publisher or a teacher, whoever came, “Annapoorna” doors were always open. Anakru discovered many young talents and encouraged them to blossom. He had immense respect for those who worked for the cause of Kannada. The happiest person was Hanuman to find true worshippers of Rama. Kannada-Anakru bondage was similar to that of Rama-Hanuman. We may say without the slightest exaggeration, if today in the integrated Karnataka people are emotionally integrated, if their dormant Kannada pride has been awakened, if the Kannada readership has grown to a level worth consideration, if the Kannada writers numbers has swelled, if the musicians of Karnataka have found a respectable place in their own land, on the whole if Karnataka and Kannadigas have been recognized in our country and abroad, it was because of the persistent struggle of Anakru. Anakru was neither a fanatic nor an extremist when he spearheaded the cause of Kannada. In his fight for Kannada, he never undervalued other languages or the people. He never meant others are enemies of Kannada or they are low, that we should drive away or torture people who speak other languages. Neither ignorance of other languages nor hatred towards them turned him to be a Kannada lover. His cardinal principle was that all people of all languages should live in harmony in Kannada land but not at the cost of trampling over Kannada and its culture. Anakru believed "Only humanism values can save the world from exploding; and writer is the prophet of humanism". While he fought for the cause of Kannada, he maintained friendly relationship with the writers and artists of the neighboring states. Once in a function in Tamilnadu, he made his speech in Tamil and surprised the fellow Tamil artists. His friendship with the Mumbai theatre brought icons like Prithviraj Kapoor to Kannada filmdom. Anakru believed that one should not ignore the regional languages of the Indian states in the name of nationality. "Strong states such as Karnataka, Andhra, Maharashtra, Bangala should save and nurture their rich regional, cultural specialities in order to build a strong Indian nation. A weak province is always the enemy of the nation. This is the reason why we fight for Kannada. Others may consider us as narrow minded. But time will decide everything" was his words. When the fight for Indian independence was at peek, he urged his followers to keep the Kannada agitation down. "This is the time we all Indians forget our internal differences, unite together and join the cause of independence, which is the only most important thing now. We can settle our internal differences later." was his words. Anakru was never an opportunistic. His love for Kannada was never against the nationalism. In those days, no film theater was available to screen Kannada films. All movie theaters were reserved for other languages films. Kannada film producers and distributors had to cringe before the theater owners to get a date for Kannada film screening. Owing to the Kannada agitation started by Anakru and his followers, for the first time a Kannada film was screened in Alankaar theater. The owners of Bharath Talkies who were Anakru’s fans decided to screen only Kannada films in their theaters thereafter. Subsequently, all theaters in Bengaluru decided for three months in a year, Kannada films would be screened. In those days, the Kannadigas who were organizing music festivals were inviting only musicians from Madras and were neglecting Karnatak musicians. Their argument was that musicians of Karnataka were of low standard. Once when Smt. M. S. Subbalakshmi was to give a recital in Ramanavami festival Anakru met her and explained to her the objectives of Kannada agitation and his opposition in principle to the injustice meted to Kannada musicians. Smt. M.S.S appreciated the point of view and canceled the program and went back. Anakru was a valiant fighter against any injustice met to a Kannadiga from any corner. He considered each and every problem of Kannada as his own problem.  "Whenever any injustice is done to Kannada culture, many come forward to defend and answer it. But they all know their limitations. Let anybody answer, it would not match with the way Anakru dealt with it. He was the only person to give an appropriate reply. In the absence of Anakru, whoever tried to reply even in their best it cannot reach a second place. With Kannada language and Karnataka matters and Kannada culture, Anakru’s oneness is like sugar dissolved in milk - nobody can even reach the fringes of that level of devotion." was a remark on Anakru by a contemporary writer. Today, the younger generation knows little about Anakru. Not only was he a great writer was a great friend to one and all. It is said “We have writers, but we do not get a complete writer like Anakru; we get friends but not the selfless friend like Anakru; we have guides but not one with profound sympathy like him; there are lovers of Kannada, but not of the standard of Anakru; Anakru is immortal. For those how knew him, the memories flood the thoughts; that fame, that popularity, that mass veneration, that humanism, that large heartedness, those qualities are only known to people who knew him. Those memories are as colorful and vast as nature. These are not just expressions of wisdom, but they are experiences of heart”. Anybody looking at the enormity of achievements of Anakru would be surprised as to how one person could accomplish so much in his lifetime! It may even appear as a fable or a fiction. If he had not been involved in the social problems and their solutions and confined himself within four walls and devoted to literature alone, perhaps he would have produced still greater works, unsurpassable. But Kannada awakening and other problems would have taken a back seat. Now whatever people may say, there is now doubt that Anakru was the pioneer who instilled the Kannada reading habit and a value for Kannada. It is rightly said that Anakru is the hero of real life. When Anakru died at the age of 63, a flood of people from all over the land gathered at his residence to get the last glimpse of the mortal body. During the grand procession a writer made a remark "If a writer gets this type of treatment, I am ready to die right now!". To write about Anakru, the multi-faceted personality, is like bringing a pot of water from an ocean. For Kannada and Karnataka, many great people have struggled before and now; but when compared with Anakru, they recede to the background. To the land, which has given birth, a writer, an artist, why even a common man has a debt of service to render. That Anakru has done remarkably. One Anakru’s service is tantamount to hundreds of writers, hundreds of artists and hundreds of nation builders. What he has done in his lifetime is the work of several lifetimes. Thus Anakru was the life force or the torch of Kannada. Once introducing him to an audience, our great writer Masti Venkatesha Iyengar said “I am a Tamil Kannadiga, Sir Mirza Ismail is a Muslim Kannadiga, and Anakru is a pure Kannadiga”. This tribute from a personality like Masti mirrors of Kannada fervor Anakru was known for. Anakru’s contribution to the growth of Kannada culture is immeasurable. For his struggle, genius, efforts and contributions it is high time pay their debt of gratitude appropriately. Through this article, if the present generation of Kannadigas are inspired to think, to revive and do something to their debt of gratitude to this titan, perhaps the purpose will be amply served.

a.Na.Kr̥. Kurita granthagaḷu

1)a.Na.Kr̥. - Ta.Rā.Su. 1947

2)Sāhityāṅka - ec. Bi. Kulakarṇi

3)a.Na.Kr̥ṣṇarāyaru - sēva namirāja malla 1960

4)Dr. A.N. KrushnaRao - G.S.Amoora

5)a.Na.Kr̥ mattu kannaḍa caḷuvaḷi - pro. Bi.Ke. Anantasvāmi (2000, kannaḍa viśvavidyālaya, hampi)

6)kannaḍada kaṭṭāḷu kr̥ṣṇarāyaru - bi.Es. Kēśavarāv (2001, āditya prakāśana)

7)kannaḍa sēnāni a.Na.Kr̥ṣṇarāyaru - śā.Maṁ. Kr̥ṣṇarāya (2006. Sṭēṭ byāṅk āph iṇḍiyā)

8)anakr̥ mattu kannaḍa sanskr̥ti - pro. Narahaḷḷi bālasubramaṇyaṁ (2006, aṅkita pustaka)

ಕಾದಂಬರಿ ಸಾರ್ವಭೌಮ ಅ.ನ.ಕೃಷ್ಣರಾಯರ ಕೃತಿಗಳು

ಅನಕೃ ಅವರಿಗೆ ಬರವಣಿಗೆಯೇ ಜೀವನೋಪಾಯವಾಗಿತ್ತು. ಅನಕೃ ಬರೆದ ಒಟ್ಟು ಲೇಖನಗಳು ೮೦,೦೦೦ ಪುಟಕ್ಕೂ ಹೆಚ್ಚಿನದ್ದು! ತಿಂಗಳಲ್ಲಿ ೩/೪ ಕಾದಂಬರಿಗಳನ್ನು ಬರೆದದ್ದೂ ಉಂಟು!!!. ಕತೆ, ಕಾದಂಬರಿಗಳಷ್ಟೆ ಅಲ್ಲದೆ ಪತ್ರಿಕೆಗಳಲ್ಲಿ, ನಿಯತಕಾಲಿಕಗಳಲ್ಲಿ ಬರೆದ ಲೇಖನಗಳು ಅವೆಷ್ಟೋ! ಅನಕೃ ಒಬ್ಬ ದೈತ್ಯಲೇಖಕ. ಬರವಣಿಗೆಯಷ್ಟೇ ಅಲ್ಲ. ಅವರು ಕರ್ನಾಟಕದಲ್ಲಿ ಸುತ್ತಾಡಿದ ಸ್ಥಳಗಳು, ಮಾಡಿದ ಚಳುವಳಿಗಳು, ಭಾಷಣಗಳು ಅಸಂಖ್ಯಾತ. ಅದಕ್ಕಾಗಿಯೇ ಸಾಹಿತಿ ಶ್ರೀ ನಿರಂಜನ ಹೇಳಿದ್ದು "ಅನಕೃ ಒಂದು ಜೀವಮಾನದಲ್ಲಿ ಮಾಡಿದ್ದು ನೂರು ಜೀವಮಾನಗಳ ಕೆಲಸ" ಎಂದು.



ಅನಕೃ ಅವರ ಅನೇಕ ಕೃತಿಗಳು ಇತ್ತೀಚೆಗೆ ಮರುಮುದ್ರಣಗೊಂಡಿವೆ. ಕರ್ನಾಟಕದ ಎಲ್ಲಾ ಪ್ರಮುಖ ಪುಸ್ತಕ ಮಳಿಗೆಗಳಲ್ಲಿ ಕೃತಿಗಳು ಲಭ್ಯವಿದೆ.



ಸಾಮಾಜಿಕ ಕಾದಂಬರಿಗಳು

೧)ಅಗ್ರತಾಂಬೂಲ

೨)ಅಪರಾಜಿತೆ

೩)ಅಭಿಮಾನ

೪)ಅಮರ ಆಗಸ್ಟ್

೫)ಅರಳುಮರಳು

೬)ಆಶೀರ್ವಾದ

೭)ಅನುಗ್ರಹ

೮)ಅಣ್ಣ ತಂಗಿ

೯)ಅಕ್ಕಯ್ಯ

೧೦)ಅನ್ನದಾತ

೧೧)ಈಚಲುಮರದವ್ವ

೧೨)ಈ ದಾರಿ ಆ ದಾರಿ

೧೩)ಉದಯರಾಗ

೧೪)ಕಟ್ಟಿದ ಬಣ್ಣ

೧೫)ಸಂಧ್ಯಾರಾಗ

೧೬)ಮಿಯಾಮಲ್ಹಾರ

೧೭)ನಟಸಾರ್ವಭೌಮ

೧೮)ಬಣ್ಣದ ಬದುಕು

೧೯)ಕಲಾವಿದ

೨೦)ಪರಿವರ್ತನ

೨೧)ಸಾಹಿತ್ಯರತ್ನ

೨೨)ಗಾಜಿನ ಮನೆ

೨೩)ಕನ್ನಡಮ್ಮನ ಗುಡಿಯಲ್ಲಿ

೨೪)ದೀಪಾರಾಧನೆ

೨೫)ಸಂಗ್ರಾಮ

೨೬)ಚಿತ್ರ ವಿಚಿತ್ರ

೨೭)ಗೃಹಲಕ್ಷ್ಮಿ

೨೮)ರುಕ್ಮಿಣಿ

೨೯)ತಾಯಿಮಕ್ಕಳು

೩೦)ಕಣ್ಣೀರು

೩೧)ಕಂಕಣಬಲ

೩೨)ಕಾಮಿನಿ ಕಾಂಚನ

೩೩)ಕಾಂಚನಗಂಗಾ

೩೪)ಕಾಲಚಕ್ರ

೩೫)ಕುಂಕುಮ ಪ್ರಸಾದ

೩೬)ಗೌರಿ

೩೭)ಜಾತಕಪಕ್ಷಿ

೩೮)ಜೀವನದಿ

೩೯)ತಾಯಿಯ ಕರುಳು

೪೦)ಜೀವನಯಾತ್ರೆ

೪೧)ನಗ್ನ ಸತ್ಯ

೪೨)ಶನಿಸಂತಾನ

೪೩)ಸಂಜೆಗತ್ತಲು

೪೪)ಅಪರಂಜಿ

೪೫)ಕಳಂಕಿನಿ

೪೬)ಕಬ್ಬಿಣದ ಕಾಗೆ

೪೭)ಧರ್ಮಪತ್ನಿ

೪೮)ಪಶ್ಚಾತ್ತಾಪ

೪೯)ಪುನರಾವತಾರ

೫೦)ಪಂಜರದ ಗಿಳಿ

೫೧)ಪಾಪಿಯ ನೆಲೆ

೫೨)ಭೂಮಿತಾಯಿ

೫೩)ಮರಳು ಮನೆ

೫೪)ಕೀರ್ತಿ ಕಳಶ

೫೫)ಮಂಗಳಸೂತ್ರ

೫೬)ಮುಡಿಮಲ್ಲಿಗೆ

೫೭)ಮುಯ್ಯಿಗೆ ಮುಯ್ಯಿ

೫೮)ರೂಪಶ್ರೀ

೫೯)ಸ್ತೀಮುಖ ವ್ಯಾಘ್ರ

೬೦)ಹೃದಯ ಸಾಮ್ರಾಜ್ಯ

೬೧)ಹುಲಿಯುಗುರು(೧)

೬೨)ಹುಲಿಯುಗುರು(೨)

೬೩)ಹುಲಿಯುಗುರು(೩)

೬೪)ಹೆಂಗರಳು

೬೫)ಹೊಸಲು ದಾಟಿದ ಹೆಣ್ಣು

೬೬)ಮಣ್ಣಿನ ದೋಣಿ

೬೭)ಯಾರಿಗುಂಟು ಯಾರಿಗಿಲ್ಲ

೬೮)ಚಿರಂಜೀವಿ

೬೯)ರತ್ನದೀಪ

೭೦)ದೇವಪ್ರಿಯ

೭೧)ಅಮೃತ ಮಂಥನ

೭೨)ಕಸ್ತೂರಿ

೭೩)ಪಂಕಜ

೭೪)ಕಾಗದದ ಹೂವು

೭೫)ಹೆಣ್ಣು ಜನ್ಮ

೭೬)ಸುಂದರೂ ಸಂಸಾರ

೭೭)ಭೂಮಿಗಿಳಿದು ಬಂದ ಭಗವಂತ

೭೮)ಚರಣದಾಸಿ

೭೯)ಭಾಮಾಮಣಿ

೮೦)ಅದೃಷ್ಟ ನಕ್ಷತ್ರ

೮೧)ಮಾರ್ಜಾಲ ಸನ್ಯಾಸಿ

೮೨)ಸುಮುಹೂರ್ತ

೮೩)ಏಣಾಕ್ಷಿ

೮೪)ಹೇಗಾದರೂ ಬದುಕೋಣ

೮೫)ಭಾಗ್ಯದ ಬಾಗಿಲು

೮೬)ಚಿನ್ನದ ಕಳಸ

೮೭)ನರಬಲಿ

೮೮)ನರನಾರಾಯಣ

೮೯)ಶುಭಸಮಯ

೯೦)ಹೊಸ ಸುಗ್ಗಿ

೯೧)ಮನೆಯಲ್ಲೆ ಮಹಾಯುದ್ದ

೯೨)ಜನತಾ ಜನಾರ್ಧನ

೯೩)ಕಣ್ಣಿನ ಗೊಂಬೆ

೯೪)ಹೊನ್ನೆ ಮೊದಲು

೯೫)ದಾದಿಯ ಮಗ



ಐತಿಹಾಸಿಕ ಕಾದಂಬರಿಗಳು

೯೬)ಗರುಡ ಮಚ್ಚೆ

೯೭)ಯಲಹಂಕ ಭೂಪಾಲ

೯೮)ವೀರರಾಣಿ ಕಿತ್ತೂರ ಚೆನ್ನಮ್ಮ

೯೯)ರಣವಿಕ್ರಮ

೧೦೦)ಸಂಗ್ರಾಮ ಧುರೀಣ

೧೦೧)ವಿಜಯ ವಿದ್ಯಾರಣ್ಯ

೧೦೨)ತಪೋಬಲ

೧೦೩)ಪುಣ್ಯಪ್ರಭಾವ

೧೦೪)ಪ್ರೌಢ ಪ್ರತಾಪಿ

೧೦೫)ಮೋಹನ ಮುರಾರಿ

೧೦೬)ಯಶೋದುಂದುಬಿ

೧೦೭)ಅಭಯ ಪ್ರಧಾನ

೧೦೮)ತೇಜೋಭಂಗ

೧೦೯)ಅಳಿಯ ರಾಮರಾಯ

೧೧೦)ಭುವನ ಮೋಹಿನಿ

೧೧೧)ಪ್ರಳಯಾನಂತರ



ಕಥಾಸಂಕಲನ

೧)ಅಗ್ನಿಕನ್ಯೆ

೨)ಕಣ್ಣು ಮುಚ್ಚಾಲೆ

೩)ಕಾಮನ ಸೋಲು

೪)ಕಿಡಿ

೫)ಪಾಪ ಪುಣ್ಯ

೬)ಮಿಂಚು

೭)ಶಿಲ್ಪಿ

೮)ಸುಮರ ಸುಂದರಿ

೯)ಅನಕೃ ಅವರ ಸಮಗ್ರ ಕಥಾ ಸಂಕಲನ (೨೦೦೫, ಸಾಗರ ಪ್ರಕಾಶನ)



ನಾಟಕಗಳು

೧)ಆದದ್ದೇನು

೨)ಆಹುತಿ

೩)ಗೋಮುಖ ವ್ಯಾಘ್ರ

೪)ಬಣ್ಣದ ಬೀಸಣಿಗೆ(ಭಾಗ ೧,೨)

೫)ಜ್ವಾಲಾಮುಖಿ

೬)ಜೀವದಾಸೆಯ ಸಮಸ್ಯೆ

೭)ಧರ್ಮಸಂಕಟ

೮)ಗುಬ್ಬಚ್ಚಿಯ ಗೂಡು

೯)ವಿಶ್ವಧರ್ಮ

೧೦)ಮದುವೆಯೋ ಮನೆಹಾಳೋ

೧೧)ಕಿತ್ತೂರ ರಾಣಿ ಚೆನ್ನಮ್ಮ

೧೨)ಸ್ವರ್‍ಣಮೂರ್ತಿ

೧೩)ಹಿರಣ್ಯಕಶಿಪು

೧೪)ಸೂತಪುತ್ರ ಕರ್ಣ

೧೫)ಶ್ರೀರಾಮ ಪಾದುಕಾ ಪಟ್ಟಾಭಿಷೇಕ

೧೬)ಮಾಗಡಿ ಕೆಂಪೇಗೌಡ

೧೭)ರಾಷ್ಟ್ರಧುರೀಣ ಬೆಂಗಳೂರ ಕೆಂಪೇಗೌಡ

೧೮)ಅನುಗ್ರಹ

೧೯)ಜಗಜ್ಯೋತಿ ಬಸವೇಶ್ವರ

೨೦)ರಜಪೂತ ಲಕ್ಷ್ಮಿ

೨೧)ರಾಜನರ್ತಕಿ

೨೨)ಪಾಲು



ಪ್ರಬಂಧ ವಿಮರ್ಶೆಗಳು

೧)ಕನ್ನಡದ ದಾರಿ

೨)ಅಖಂಡ ಕರ್ನಾಟಕ

೩)ಕನ್ನಡ ಸಾಹಿತ್ಯ ಮತ್ತು ಸಂಸ್ಕೃತಿ

೪)ಕರ್ನಾಟಕದ ಹಿತಚಿಂತನೆ

೫)ಬಳ್ಳಾರಿ ಸಮಸ್ಯೆ

೬)ಭಾರತೀಯ ಚಿತ್ರಕಲೆಯಲ್ಲಿ ರಾಜಾ ರವಿವರ್ಮನ ಸ್ಥಾನ

೭)ರಾಘವಾಂಕನ ಹರಿಶ್ಚಂದ್ರ ಕಾವ್ಯ

೮)ವೀರಶೈವ ಸಾಹಿತ್ಯ ಮತ್ತು ಸಂಸ್ಕೃತಿ

೯)ಸಜೀವ ಸಾಹಿತ್ಯ

೧೦)ಸಮದರ್ಶನ

೧೧)ಸಂಸ್ಕೃತಿಯ ವಿಶ್ವರೂಪ

೧೨)ಸಾಹಿತ್ಯ ಮತ್ತು ಕಾಮಪ್ರಚೋದನೆ

೧೩)ಸಾಹಿತ್ಯ ಮತ್ತು ಜೀವನ

೧೪)ಸಾಹಿತ್ಯ ಮತ್ತು ಯುಗಧರ್ಮ

೧೫)ಸಾಹಿತ್ಯ ಸಮಾರಾಧನೆ

೧೬)ನಾಟಕ ಕಲೆ

೧೭)ಹೊಸ ಹುಟ್ಟು

೧೮)ಪೊರಕೆ(ಹರಟೆ)

೧೯)ಬಸವಣ್ಣನವರ ಅಮೃತವಾಣಿ

೨೦)ಭಾರತೀಯ ಚಿತ್ರಕಲೆ



ಜೀವನ ಚರಿತ್ರೆಗಳು

೧)ಅಲ್ಲಮಪ್ರಭು

೨)ಕನ್ನಡ ಕುಲರಸಿಕರು

೩)ಕರ್ನಾಟಕದ ಕಲಾವಿದರು(ಭಾಗ ೧,೨)

೪)ಕೈಲಾಸಂ

೫)ದೀನಬಂಧು ಕಬೀರ

೬)ನನ್ನನ್ನು ನಾನೇ ಕಂಡೆ(ಸ್ವ ಸಂದರ್ಶನ)

೭)ಭಾರತದ ಬಾಪೂ

೮)ವಿಶ್ವಬಂದು ಬಸವೇಶ್ವರ

೯)ನಿಡುಮಾಮಿಡಿ ಸನ್ನಿಧಿಯವರು

೧೦)ಸ್ವಾಮಿ ವಿವೇಕಾನಂದ

೧೧)ಬರಹಗಾರನ ಬದುಕು(ಆತ್ಮಕತೆ)



ಸಂಪಾದಿತ ಗ್ರಂಥಗಳು

೧)ಮರುಳಸಿದ್ಧ ಕಾವ್ಯ(ದೇಪಕವಿ)

೨)ಭಗವದ್ಗೀತಾರ್ಥ ಸಾರ(ಶ್ರೀ ಕೃಷ್ಣಯೋಗಿ)

೩)ಕಾಮನ ಬಿಲ್ಲು(ಭಾಗ ೧,೨)

೪)ಪ್ರಣಯ ಗೀತೆಗಳು

೫)ಪ್ರಗತಿಶೀಲ ಸಾಹಿತ್ಯ

೬)ಮ್ಯಾಕ್ಸಿಂ ಗಾರ್ಕಿ

೭)ರಸಋಷಿ

೮)ಭಾರತೀಯ ಕಲಾದರ್ಶನ

೯)ಭಾರತೀಯ ಸಂಸ್ಕೃತಿ ದರ್ಶನ

೧೦)ಮೈಸೂರು ರಾಜ್ಯದ ಸಂಗೀತ ನಾಟಕ ಅಕಾಡೆಮಿ, ಬೆಂಗಳೂರು, ಅವರ ಪ್ರಕಟಣೆಗಳು



ಅನುವಾದಿತ ಗ್ರಂಥಗಳು

೧)ನೀಲಲೋಚನೆ

೨)ರಸಿಕಾಗ್ರಣಿ

೩)ರುಬಾಯಿಯತ್ ಕಾವ್ಯ

೪)ಭಾರತದ ಕಥೆ



ಸಂಪಾದಿತ ಪತ್ರಿಕೆಗಳು

೧)ಕಥಾಂಜಲಿ(ಮಾಸಿಕ) ೧೯೨೮

೨)ವಿಶ್ವವಾಣಿ(ಮಾಸಿಕ) ೧೯೩೬

೩)ಕನ್ನಡ ನುಡಿ(ವಾರಪತ್ರಿಕೆ) ೧೯೩೯

೪)ಕರ್ನಾಟಕ ಸಾಹಿತ್ಯ ಪರಿಷತ್ ಪತ್ರಿಕೆ ೧೯೪೪



ಅ.ನ.ಕೃ. ಕುರಿತ ಗ್ರಂಥಗಳು

೧)ಅ.ನ.ಕೃ. - ತ.ರಾ.ಸು. ೧೯೪೭

೨)ಸಾಹಿತ್ಯಾಂಕ - ಎಚ್. ಬಿ. ಕುಲಕರ್ಣಿ

೩)ಅ.ನ.ಕೃಷ್ಣರಾಯರು - ಸೇವ ನಮಿರಾಜ ಮಲ್ಲ ೧೯೬೦

೪)Dr. A.N. KrushnaRao - G.S.Amoora

೫)ಅ.ನ.ಕೃ ಮತ್ತು ಕನ್ನಡ ಚಳುವಳಿ - ಪ್ರೊ. ಬಿ.ಕೆ. ಅನಂತಸ್ವಾಮಿ (೨೦೦೦, ಕನ್ನಡ ವಿಶ್ವವಿದ್ಯಾಲಯ, ಹಂಪಿ)

೬)ಕನ್ನಡದ ಕಟ್ಟಾಳು ಕೃಷ್ಣರಾಯರು - ಬಿ.ಎಸ್. ಕೇಶವರಾವ್ (೨೦೦೧, ಆದಿತ್ಯ ಪ್ರಕಾಶನ)

೭)ಕನ್ನಡ ಸೇನಾನಿ ಅ.ನ.ಕೃಷ್ಣರಾಯರು - ಶಾ.ಮಂ. ಕೃಷ್ಣರಾಯ (೨೦೦೬. ಸ್ಟೇಟ್ ಬ್ಯಾಂಕ್ ಆಫ್ ಇಂಡಿಯಾ)


೮)ಅನಕೃ ಮತ್ತು ಕನ್ನಡ ಸಂಸ್ಕೃತಿ - ಪ್ರೊ. ನರಹಳ್ಳಿ ಬಾಲಸುಬ್ರಮಣ್ಯಂ (೨೦೦೬, ಅಂಕಿತ ಪುಸ್ತಕ)