(1) Allah Ho Akbar
(2) Kulabyachi Dandi
(3) Jaadugaar
(4) Daulat
(5) Atakepaar
(6) Niranjan
(7) Kalanka-Shobha
(8) Uddhar
(9) Asha
(10) Kashmiri Gulab
(11) Pravasi
(12) Samar-bhoomi
(13) Unmaad
(14) Gupt Prayaschit
(15) Indradhanush
(16) Pratidnya
(17) Wadal
(18) Shakuntal
(19) Akherche Band
(20) Bus Number Bara
(21) Jeevan Sangeet
(22) Majha Dharm
(23) Zanzawat
(24) Anjali
(25) Jhelum
(26) Patang
(27) Hasu Ani Asu
(28) Ujadale ! Dish Surya Kuthe Ahe ?
(29) Bharatichi Lat
(30) Khelni
(31) Sitara Manzil
(32) Sarita Sagar
(33) Haak
(34) Sushama
(35) Chahul
(36) Shikaar
(37) Ishaara
(38) Udyaachi Baat
(39) Shonan
(40) Usman
(41) Toofan
(42) Bharari
(43) Jakham
(44) Wede Ware
(45) Jahar
(46) Rutusamhar
(47) Bhowara
(48) Dhoka
(49) Nirmalya
(50) Kuhu ! Kuhu !
(51) Kathputli
(52) Hi Ka Kalpadrumachi Phale?
(53) Triveni
(54) Swapnanche Setu
(55) Amrutaatehi paijasi Jinke !
(56) Chandani.
(57) Ti kashi ? Tu kashi ?
(58) Ek hota yuwaraj59) Basari
(60) Man shuddha tujhe
(61) Tarang
(62) Geet june, sur nave.
(63) Gagani ugavala sayantara
(64) Purushjanma, hello tujhi kahani.
(65) Kiti Jawal, Kiti dur
(66) Chadravarche daag
(67) Rahe manat wanderer
(68) Mazha bakul, mazha praan
(69) Asaahi ek trikon
(70) Heera jo bhangala
(71) Lagnagaathi padtat swargaat
(72) Bajirao
(73) Jugaar
(74) Hemu Bhupali
(1) Allah Ho Akbar
Man controls nothing: everything is pre-appointed. This fatalistic vein is caught in Allah Ho Akbar, Phadke’s first novel. In this 1976 release, in a detailed introduction, Phadke composes:
together is novel. Thus, following that rationale, it is nothing unexpected that a creator
feels a similar route about his first creation: be it a story, a play, or a novel.
At the point when I consider, from my situation as an author today, the novel, I understand
my sentiments towards it are such ….”
Mary Corely’s ‘Transient Power’ has been the wellspring of this story situated in Mughal times. As the main making of an enormously well-known writer, the novel holds a one of a kind position.
(2) Kulabyachi Dandi
The epic follows the fruitful and ineffective movement of a contemporary love triangle in a school setting. It is composed as a first individual account. It indicated that a romantic tale could be an adept subject for a novel. Also, the “Romantic tale” in Marathi’s writing was conceived. Phadke’s epic brought into Marathi beautician language, reasonable depictions of Nature, unmistakably scratched characters, and fresh discourse.
(3) Jaadugaar
Jaadugaar follows the change in a lady disenthralled for a few reasons against the male of the species. It made a furor among perusers and slung Phadke to acclaim. His later books were to follow each subtlety of the character outlook, yet Jaadugaar as of now indicated a preview of what was to come. Marathi perusers were blessed to receive sweet language, characters that stuck out, and fresh exchange, maybe unexpectedly, hence winning their hearts.
(4) Daulat
Monitors association by proficient concerns and the resulting detachment from family drives him away from bliss. However, the abundance of euphoria that can be gotten from maintaining great family bonds is exhibited in the novel Daulat. Daulat flaunts the style of Phadke’s language, and this novel persuaded perusers that his books must be perused, if just for the sheer joy of the language.
At the 1929 Belgaum gathering, Shivram Paranjape depicted Phadke as “the performer who flings abundance at the court of the Marathi language”. The accomplishment of Daulat lies in its language, as likewise in the game plan of the plotline, the clear characters, the clever exchange; all of which spark the perusers’ interest.
(5) Atakepaar
A youthful Brahmin kid destined to a hard-headed family and an aspiring Muslim young lady from a rich family begin to look all starry-eyed. The circumstance of contention between two societies, two purposes of perspectives, and two ages and the ruin achieved: such is the novel Atakepaar.
Common love is the main establishment of conjugal bliss: Phadke had just articulated this rule in Kulabyyachi Dandi, Jaadugaar, and Daulat. This rule arrives at its peak in Atakepaar. Religion, childhood, values, is inborn to conjugal bonds. The tale of Sudhir and Meena, with the orderly issues, opened the eyes of the guardians of confidence!
(6) Niranjan
A little youngster associated with a wedded man, their endeavors at the poise and the undeniable collapsing of their determination: mental pressure at its best in Niranjan.
Characteristic desire and aching and its inescapable outcomes are the novel’s striking focuses.
(7) Kalanka-Shobha
Kalanka-Shobha is a romantic tale. It includes the penance of self to spare a friend or family member from fault in offensive wrongdoing. What’s more, later, when the fact of the matter is uncovered, the disgrace ends up being an embellishment to the standing of the person who is set up to forfeit!
There is no consuming inquiry here, nor is there any sociological issue. It is the tale of Shashikant, who acknowledges fault instead of his cherished companion Mohan.
(8) Uddhar
A little youngster who looks for money related autonomy as a pre-essential to individual upliftment understands that for ladies’ liberation social moves must change. Phadke has made extensive steps in the composition of this novel. His depiction of Vidya, the courageous woman, with her determination, her attitude, and her cravings, is powerful.
(9) Asha
An epicurean youth and a hopeful young lady discover love against a setting of satyagraha. Phadke’s fanciful satyagraha at Talwali is like the genuine occasions of Mulshi and rejuvenates the contention among hopeful and force-driven youth in a most intriguing way.
(10) Kashmiri Gulab
Actual magnificence, typically a lady’s enhancement, may here and there be a revile, driving her to confront challenges. Kashmiri Gulab recounts such a story. Phadke composes this narrative novel in another style, with cognizant utilization of method, improving the novel’s coherence. The steady movement of the plot and occasions in the story is the novel’s central benefits.
(11) Pravasi
This tale follows the existence excursion of a young brought into the world with a bunch of qualities and shortcomings and his steady fruitless battle against condition. The fancies of human presence and the chaperon equivocalness are deftly depicted. Punjabrao Saranjame is a life-changing character in Marathi’s writing: Punjabrao is in no way, shape, or forms a typical name however the aptitude with which Phadke outlines this character shows his capacity, pride, perseverance, and heedlessness as a significant expansion to the writing for he is an immortal creation.
(12) Samar-Bhoomi
The effective romantic tale of an adolescent fiddling with legislative issues and a young lady who enters his life. The tale portrays occasions after the 1930 salt March and the Socialist development that developed soon a short time later.
(13) Unmaad
The narrative of one started up with thoughts: thoughts that make a noteworthy life loaded with delights and distresses. In Abasaheb, Phadke has made a willful, pleased man who experiences existence with adoration and tenacity, some of the time delicacy and inconsiderateness. The tide of condition, both of his own creation nearly, shows how he is a production making.
(14) Gupt Prayaschit
This epic recounts the narrative of an individual who attempts to shroud his own horrendous deeds however capitulates to the blame, which ruins his life. It is an interpretation of Vicki Baum’s Secret Sentence.
(15) Indradhanush
This epic portrays how a little youngster is rebuffed by the possibility of actual love even in the prime of her childhood yet later accommodates. A difficult storyline, dealt with carefully by Phadke again as he had done in deftly taking care of a comparable subject in “Jadugaar”
(16) Pratidnya
The romantic tale of a man who accepts ladies are an obstruction to man’s advancement and the girl of a progressive who has faith in furnished viciousness. The epic uncovers the standards of the R.S.S. what’s more, the essential option to remain battle-ready.
(17) Wadala
The adventure of an energetic socialist who is totally baffled by the force battles, unimportant governmental issues, and interests inside the gathering laborers.
This is propelled by John Valtin’s ‘Out of the Night’. John Valtin is the alias, Richard J. Krebs. It’s anything but a novel, it is history. Be that as it may, the style is obvious. Also, Phadke merits full credit, as any peruser of the first personal history will discover.
(18) Shakuntala
The tale of a lady who weds in the scramble, accepting she will always be unable to have the man she genuinely adores. It shows the battle looked at by a young lady who is a loyalist in her own particular manner. The tale breaks down these battles minutely, in Phadke’s own style.
(19) Akherche Band
The account of Rohini, who revolts once she finds her own sister, is an obstacle to her adoration. Until her disobedience, she has been content caring for the family, enduring her capable, yet unconventional, father. Rohini faces life courageously, penances her own euphoria for other people, acknowledges their mistakes, and holds obligation regardless of anything else. She has her own place among Phadke’s champions. The tale also has its own place in Marathi’s writing.
(20) Bus Number Bara
The account of an effective gathering between a young lady looking for work and a shrewd youngster she meets. Close perception and unequivocal character advancement make this novel effective.
(21) Jeevan Sangeet
The impacts of the world battle on a basic family and the acknowledgment of human qualities that the circumstance brings. An interpretation of William Saroyan’s ‘Human Comedy’.
(22) Majha Dharm
Portrays a youthful couple who genuinely fathom what love is and are set up to thoroughly take care of their adoration. Shrirang and Malini are youthful sweethearts. By causing their association to appear to be unavoidable, the writer has attempted himself and his style. Phadke’s handy, sweet language incites the peruser to experience to the completion, and the novel contacts the peruser’s heart.
(23) Zanzawat
The tale of youngsters got up to speed in the politically energetic long periods of the 1942 development.
(24) Anjali
Shows the fulfillment that can be had by opposing allurement instead of letting interests and wants to assume responsibility for your life. A youthful wedded lady’s life is upset when a youngster enters it. She opposes her ruin and causes him to dodge his own. Furthermore, in doing such, provides life another guidance. No mean accomplishment and this gives the novel its height. Phadke’s books ordinarily managed pre-military love, yet this novel brings before the perusers a totally unique point of life.
The tale has its own place among Phadke’s books as well as in Marathi’s writing for its solid depictions.
(25) Jhelum
The story has the Kashmir strife as its background. It relates the resurrection of Kashmir, which stays a consuming theme confronting India.
Phadke’s expert of trumps is his style: here he gives sufficient proof of his composing aptitudes.
(26) Patang
The epic portrays a cherishing, wise young lady whose life is upset by a choice taken by a juvenile, resolved psyche. The successful style immerses the peruser in a grasping plot.
(27) Hasu Ani Asu
The shocking story, set in a carnival setting, diagrams the notions of regular day to day existence and follows the lives of a few characters. It shows how delights and distresses emerge from conditions and individuals and this with extraordinary expertise. It is a fitting reaction to Phadke’s faultfinders who censure him for being shallow.
The tale is a jewel in the Phadke ordinance: it justifies high commendation for its moment portrayal of life.
(28) Ujadale Pan Surya Kuthe Ahe ?
A story dependent on Gandhi’s homicide – it recounts the narrative of contemporary characters the life of an individual in pre and post-murder times. It is somehow or another a political novel where the legislative issues of the day and private lives are entwined capably, but on the other hand, is deserving of the mark “innovative novel”.
(29) Bharatichi Lat
The sentiments of adoration resemble a flowing power – which can’t be held within proper limits. It is the account of aesthetic “highs” and wild love. The tale is decked with a portion of Phadke’s best contacts. The tale’s prosperity lies in its capacity to make “rasa” in the psyches of perusers, and for moving perusers higher than ever of aesthetic articulation.
(30) Khelni
The tale of an explicitly fixated, unreasonable, lady and the man whose life she devastates.
(31) Sitara Manzil
In light of the popular Razakar development in Hyderabad. Fitting language, the better purposes of the Hyderabadi idiolect blended in with Urdu, and the broken existences of influenced individuals are dexterously blended to make the novel intriguing.
(32) Sarita Sagar
The craftsman who carries bliss to individuals may himself be extremely dismal. The epic recounts the narrative of a terrible craftsman and his attractive however daze sweetheart.
The successful, charming, language, the Goan characters, the deft depiction of vibe and society make for an endearing portrayal.
(33) Haak
Startling adoration – trailed by a surprising separation and a meeting up once more: such is the account of Haak. Take consistently mounts strain and it’s slaking to a breaking point. The story moves quickly to the end where the legend Prasanna, who has had a mishap, and the courageous woman Sheela do meet yet neglect to perceive one another.
(34) Sushama
This is the narrative of a lady who revels in maternal feelings instead of discovering her affection. The unpredictable story shows the victory of maternalism over adoration, and it has an uncommon spot in the Phadke group. His specialized abilities draw out the contention between imperfect love and perfect maternal emotions adequately.
(35) Chahul
The epic talks about the total change of character when one is moved by affection. It portrays love as an incredible feeling that in a real sense washes the insignificance of one’s brain away. Basic, regular daily existence has been dexterously used to advantage. The various episodes in a single structure – Chandraniwas – show how one region can be utilized from alternate points of view by a decent creator.
(36) Shikaar
The story of a man who disrupted his sibling’s life every which way, who was obliged to pay for his transgressions with his own life. A holding story: Shikaar. A story of fitting retribution merited!
(37) Ishaara
The account of a lady who longed to be rich: failing to remember the fulfillment to be gathered from the existence of destitution. The peruser feels the keenness of the genuine misfortune toward the finish of this novel. The closure is, all things considered, appropriate to the plot. Phadke unerringly brings up his characters’ shortcomings. What’s more, he shows that a novel can be intentionally composed with a distinct message.
(38) Udyaachi Baat
The narrative of a man who is disappointed at home looks for comfort somewhere else however is driven back home by regret.
(39,40, 41) “Shonan”, “Usman”, “Toofan”
A set of three about Subhash Chandra Bose and his clarion call for Indian freedom. The epic is significant, not for the plot, but rather for its portrayal of the occasions: the feeling, the exacerbation, and the pressure. Propelled by the opportunity battle, Bose began his development in the Far East and the novel’s tremendous extent of activity does equity to his endeavors.
The perusers feel they are watching situations develop.
The set of three, perused in succession, shows Bose’s nationalism, determination, and will to succeed. His supporters’ energy for the reason and the truly critical occasions of the opportunity battle are cautiously “appeared” in the books.
(42) Bharari
The contention between narrow-minded society and a whimsical craftsman, whose life is demolished, in view of his adoration. The peruser feels that a craftsman’s life will undoubtedly be a battle, against neediness, against society. In all actuality, the story is one of a defiant child, yet the depiction of a general public that rises up out of Phadke’s excellent pen-stroke is striking.
The epic starts toward the finish of the story and the utilization of rewinding the activity shows what a professional Phadke was!
(43) Oakham
The impacts of injury at a weak age and its consequences for whole life, the harshness, the hurt must be washed away by genuine romance.
(44) Wede Ware
Love is a frantic tornado that doesn’t recognize positive or negative. Penance can be as amazing a feeling as adoration. This tale recounts the tale of one cleared away by these incredible feelings.
The story, described in the main individual, is particularly viable in view of the bunch manners by which love is portrayed.
(45) Jahar
Jahar describes how taken love is rarely sweet yet is consistently toxic.
(46) Rutusamhar
Destiny consistently underpins the individuals who suffer challenges and reputation for their adoration.
The plot unfurls uncovering the contention in the legend’s brain. Also, the challenges he faces cause his states of mind to take after the different periods of the Indian schedule.
The composing is ground-breaking and the virtuosity of the author is stunning.
(47) Bhowara
Destiny and conditions plot to wrest away human life in a fuming cauldron, along these lines subverting his purpose. This story makes the peruser question the presence of human determination. The plot of this novel is relentless and energizing. The peruser is cleared away up to the end. The characters are warm, the discourse contacting, and the characters alluring.
(48) Dhoka
Love alone doesn’t make an upbeat marriage. The spouse can’t invest enough energy with his better half. Her isolation and dissatisfaction shrivel away her adoration and verge of obliterating the marriage.
(49) Nirmalya
The narrative of a man who would never do what he needed, who was consistently helpless before occasions, who never had affections for anyone.
(50) Kuhu! Kuhu!
Man needs to confront troubles, acknowledge annihilation, distress, and disillusionment. In any case, he never surrenders. For his expectation is interminable. The winters of dissatisfaction are trailed by summers of expectation. Life is endurable in view of expectation.
Beautiful language, punchy plot, and dexterous portrayal cause the peruser to get ingested in the perusing, and the novel uncovers life in powerful manners.
(51) Kathputli
Man accepts he can accomplish whatever bliss he wants by carrying on as indicated by his impulses. However, when he does as such, he understands he isn’t the maker of his bliss, he is only a way to it. This epic shows how man is nevertheless a manikin whose strings are constrained by predetermination.
(52) Hi Ka Kalpadrumachi Phale?
This epic follows the contrasts between the pre-and post-Independence impression of a visionary. It enlightens plainly how standards are being dissolved, and is the tale of the delights and distresses of an extraordinary soul.
Phadke has more than sufficiently pressed those pundits who said he was unable to manage life’s not kidding issues. The epic’s capacity to do so can’t be pressed.
The epic isn’t so much as 225 pages in length, however, the portrayal of 50 years of the disintegration of human qualities brings out regard. In fact, the novel is without flaw but on the other hand is skilled at depiction and portrayal. What’s more, the benefits of this novel leave almost certainly that it must be considered as a part of Phadke’s best books.
(53) Triveni
The account of a young lady, who is denied of friendship in her childhood and is consequently desirous. At the point when she is beset by the torment of pathetic love, she encourages her caring dad to accomplish his.
Take paints this image with a mindful hand. It is oneself controlled, a story of the adoration for Jayant and Aruna. Albeit not the same as ordinary romantic tales, Phadke’s composing shows how this subject can be taken care of with nobility and paise.
(54) Swapnanche Setu
Offensive individuals pine for decency and aware individuals long for the superstar and abundance that they don’t have. This story portrays the horrendous life that insatiability can bring.
Typically, the story has a heartbreaking end, yet the peruser is left under a foreboding shadow of the changes of human life. Also, this makes the novel compelling.
(55) Amrutaatehi paijasi Jinke !
The account of sacrificial love: love that discovers comfort in the prosperity of a friend or family member. It is an upbeat finished rendition of A.J. Cronin’s The Judas Tree
(56) Chandani.
An individual who has a faultless existence, with an unadulterated acumen, respectable heart, who can’t take the blame no matter what – just such an individual can locate the star at the base of the Rohini heavenly body. Phadke has adequately gotten the shrewd propensities society by spinning the story around this fabulous thought…
Phadke illustrates social real factors yet in ition reveals the fragile layers of Chintamani and Rohini, his sensitive heroes. The finish of the novel is educating and sets the peruser pondering regarding their meeting up; magnificent dealing with.
(57) Ti Kashi? Tu Kashi?
The epic follows the clearly dissimilar life-ways of a mother-girl pair of film stars.
(58) Ek Hota yuwaraj
A story set in the old regal states, which recounts an upstanding princeling who lived by his own standards in his later years. Phadke has deftly evoked the gratification of the occasions, alongside the smothering climate, royal residence interests, and political moves.
(59) Basari
The narrative of endless love, wherein genuine sweethearts conquer partition by death to meet up through the outside human ability to understand. The start of the novel is extremely fascinating; the end is loaded with riddle and contact. Phadke had never utilized the mysterious to its full impact and this makes the novel important.
(60) Man shuddha tujhe
Man faces the consistent situation of how he ought to carry on. He is frequently advised to act as per his feelings, for such conduct will bring bliss. The tale portrays what befell a little youngster who did exactly that.
The portrayal of the novel is its best element, and Phadke keeps up the progression of occasions even as he talks about the tempests emerging in the brains of Anuradha and Sultana.
(61) Tarang
The biography of a young lady bound to confront distress; whose delights are relinquished to the difficulties she has. The portrayal, depictions of individuals and spots, intense perception, and symbolism make the novel profoundly powerful. Furthermore, the idea “isn’t anything else as significant as adoration.” It is a first in the Phadke group.
(62) Geet June, sur nave.
An account of fortuitous events in the life of a young lady. Discussing human delights and distresses, Phadke says, “none can tell where this life starts … or closes … the melody proceeds, and everybody brings along their own note at the circumference. This new note restores the old melody.”
(63) Gagani ugavala sayantara
Each page is deftly created, the language is standout.
(64) Purushjanma, hey tujhi kahani.
The tale uncovers an interminable issue looked at by a man. Take paints a viable image of a man’s life made tempestuous by a revile.
(65) Kiti Jawal, Kiti dur
The epic, with its following of juvenile personalities, is particularly to be noted for its reality vision.
(66) Chadravarche daag
(67) Rahe manat wanderer
These books portray the changes in the lives of darlings in Phake’s standard thing, fascinating style.
(68) Mazha bakul, mazha praan
The epic depends on the adoration connection between mother and child. A melancholy blasted mother goes to sin to guarantee that her dead child ought to achieve resurrection in her belly.
(69) Asaahi ek trikon
Two ladies, one man or one lady, two men structure the standard novelistic triangle. Be that as it may, Phadke has set up a novel triangle – one conceived of the battle among father and child! The subject makes the novel stick out.
(70) Heera jo bhangala
Milind changes his way once he realizes his darling has found the mystery of his introduction to the world. In any case, the new way is itionally declined to him and his life turns appalling. Phadke’s scribe makes intriguing perusing.
(71) Lagnagaathi padtat swargaat
The tale of the victories of disappointments delights and distresses of a lady’s life. The epic shows how marriage-ties are bound in Heaven. A basic romantic tale very much told.
(72) Bajirao
Portrays the whirlwind of human envy and hatred.
(73) Jugaar
The tale of the contention between craftsman Nandlal and his little girl Charulata. An incredible portrayal of human delights and languishing
(74) Hemu Bhupali
In this, his last novel, Phadke has caught the weaved lives of three companions who experience childhood in three separate conditions and are limited by unadulterated love. The epic is loaded with the occasion in Hemu’s life.