His Veyipadagalu won him the award of the Andhra University forty years ago. This colossal composition depicting the change from the pastoral to the urban civilization in the Telugu land ranks among the best novels in world literature like Tolstoy’s War and Peace and Romain Rolland’s Jeans Christophe. Veyyipadagalu had recently been rendered into Hindi by Sri P. V. Narasimha Rao, Education Minister of Andhra Pradesh. Vishwanatha intends to write at least one hundred novels. The geography of his novels, like the Ramayana, extends from Kashmir to Kanyakumari.

He can thrill a child by presenting a picture in nursery rhyme of a squirrel on the coconut tree. He can perplex a pundit by unmouthable and impossible Sanskrit Complexes. In between these extremes, any single composition of his, in prose or poetry, reveals his distinct originality in style and context. He has always something to say and says it in his own way. He is never dull but ever provocative. A casual reading is not enough to understand the depth of his thought and the beauty of his expression. One should read Satyanarayana many times over. His poetry has the glorious simplicity of a dew drop on a lotus leaf and the awe-inspiring majesty of Mount Kailasa. His prose is simple and lucid. It runs in ripples like the crystal water of the descending Ganga at Hrishikesh.

Yet, any historian of Teluge literature may not name him as one of the leaders like Kandukuri Veeresalingam, Gurazada Appa Rao, Rayaprolu subba Rao or Devulapalli Krishna Sastry. He may not also name him along with Chellapilla Venkata Sastry, father of modern Telugu poets, Komarraju Venkata Lakshmana Rao, founder of the Vignanachandrika which promoted modern writing and publishing, or Siva Sankara swamy, founder-president of the Sahiti Samithi and leader of the renaissance in Telugu literature. But no historian can fail to recognize that Viswanatha is a landmark, an arresting landmark in the long story of Telugu from Nannaya Bhat to Narayana Reddi.