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Our dramatic authors in a number of their works reflected the new man in the context of modern life, of the construction of socialism. Our dramaturgy on a modern theme contained a number of socio-psychological and socio-critical elements. Its main feature was the denial of the then capitalist reality, the affirmation of the new that was coming. These works outlined the rapid development of socialist realism from the initial period after September 9 to the present day.

A few years ago, a fellow villager of mine, a passionate hunter, took me hunting with him. But it was only towards evening, when we were returning, that he signaled that he had seen something and whispered to me to stop and be silent. He aimed at the telephone wires. Two turtledoves were huddled on them, as if contemplating the increasingly pale, crimson west. One of them flinched and unexpectedly quickly left its companion. The other did not even notice, remaining motionless. At that moment a roar came from the rifle. The bird flew up in some last effort and fell rapidly, almost vertically, to the ground. Even the poor and dry vegetation of the stubble hid it. When my friend brought back the still fluttering bird, with its eyes painfully closed, in a moment we both looked at its half-open beak with shame. My fellow villager immediately came to his senses, picked up the turtledove, and began to tell incredible hunting stories. He was obviously thinking about what had happened as much as his wife had about the hen after he had cut off the rough woodcutter's head. I listened absently and remembered that moment B And Emilian Stanev's story, when the shot-shot squeaking jug flew in the same way, and the forest hid it from his eyes in order to conceal a murder. It was clear to me that my companion saw nothing particularly wrong with what had just happened, this story no longer concerned him. And why did Emilian Stanev seem to be haunted by such memories, why did he want to free himself from someone's intrusive gaze, why did he always talk about... murder in such cases? Was it not because of our gullibility that we mistakenly accepted these stories as "hunting"?

Our historical fiction underwent qualitative and quantitative changes after the people's victory on September 9, 1944. It became a leading genre in our contemporary literature and rose to previously unknown heights. Following the sound realistic traditions, carried out by such masters of the artistic word as Ivan Vazov, Zahari Stoyanov and Stoyan Zagorchinov, contemporary authors of historical works assess and make sense of the past through their contemporary understandings, seek in it similarities with our time, fight for the complete triumph of socialist ideals. The development of the historical theme throughout the entire twenty-five-year period yielded rich and fruitful results, and for this, of course, there are profound objective-historical and aesthetic-literary reasons. The new time imposed the need for a new, Marxist reassessment of the historical past, especially of the recent revolutionary events. Thus were born some of the most significant works of our contemporary literature: the historical tetralogy of Dimitar Talev, "Ordinary People" by Georgi Karaslavov, "Ivan Kondarev" by Emilian Stanev... all large, widely developed reflections of life that summarize the panorama of a given historical era, introduce its regularities, trace the trends of social development through the development of bright individual human destinies and deeply dramatic life situations, and solve contemporary ideological-educational and literary-aesthetic tasks. It is in this area of ​​our fiction that the artistic achievements, achieved thanks to the unlimited possibilities that the method of socialist realism provides to contemporary artists, are most obvious. They possess the surest compass for penetrating the dark depths of the past, for understanding the hidden meaning of historical events: a harmonious and vital philosophical system that organizes and interprets the artistic material, spiritualizing it with deep contemporary thought. At no other time have Bulgarian authors of historical works been so close to the tasks of today, to the spiritual needs of modern man. In no other period of the development of Bulgarian literary prose have so many and so significant works on historical themes been created. It is difficult to outline even the most cursory individual characteristics of the galaxy of historical contemporary authors, to reveal the originality of their writings, of the original interpretation of historical events and characters - so rich is their diversity.