жизнена

In the tense days when, for the second time after the liberation, Hainboaz entered our history with a different kind of fame, I was one of those who set out for the old Balkans to experience the birth of the new up close and to refresh themselves with the working enthusiasm of the twenty-year-olds. And since the nature of my literary expression does not allow me to recreate what I had experienced through the means of artistic expression, I had to justify my trip to the public through another type of cultural work. For more than ten days, I went around the Youth Brigades looking for those skilled in fiction, with the intention of providing them with creative assistance and at the same time establishing closer contact with the people. And indeed, we read their works, talked, argued. Thus, from my tour, which some friends mockingly called a "poet hunt," I took away many hopes and several handwritten pages of poems in which a certain literary gift was evident. A few weeks later, in a report about the experience, I found an opportunity to share my impressions with the readers and to say that not only new people were growing up in Hainboaz, but also new poets who carried within them something of the tension of the era "... I am convinced," I wrote, "that it is precisely this youth - still clumsy, still inexperienced - that will renew our country and our artistic creativity. It will create art in which the enthusiasm for work, love for the simple man, the creator of values, love for the homeland will pulsate - art that will combine in an inseparable unity the living world of objects and great ideas, great dreams for the future". And in order to point out the sprouts of a fresh imagery that promised something unsaid, I cited some of the brigadier's poems of a then unknown poet whom I had met by chance. Not long after, the author of these poems began to collaborate with our periodical, only to recently emerge as one of the sure hopes of our contemporary lyric poetry. Thus, in our fiction, as I expected, the name I had pronounced in my report, the name Ivan Radoe in...

Georgi Markov's new book presents the author to us as a well-oriented literary critic, who makes conscious and in-depth efforts to reveal the specific laws of literary creativity, to penetrate the secrets of artistic mastery, into the world of the writer. The fruit of theoretical thinking, the book has a close proximity to the sphere of art. It does not give abstract logical interpretations and analyses, but rather approaches them concretely, in connection with the artistic features of literary works. The author's growth is evident. 1 G. Markov, Life Truth and Artistic Truth, ed. Narodno Prosveta, Sofia, 1968. A few years ago he published the book "Questions of Literary Analysis". If we compare it with the current one, we will see many common problems and at the same time - a big difference in their development. A manifest aspiration towards a complex research approach, towards a modern scientific level. Georgi Markov's theoretical interests are directed primarily towards the problems of ideology and artistic analysis, towards revealing the complex relations between literature and reality. These issues, which have a fundamentally important methodological significance for clarifying the essence of artistic creativity, have always been little developed so far, and there are many unresolved problems in connection with them. In the past, a considerable tribute was paid in this area to schematism and simplification, to vulgar sociology. To this day, many theorists are often satisfied only with general definitions and formulations, without detailing and arguing in essence. However, in his new book, G. Markov approaches the problems from different aspects, seeks the root causes of the phenomena, connects theoretical issues with examples from various literary works, mainly by Bulgarian poets and writers.

I think that many Bulgarian poets could rightly take part in this conversation. With the wealth of their literary experience, they would enrich our conversation. I will try to answer the questions posed, based not so much on my personal creative practice as on some observations on our poetry.