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The conversations with Kamen Zidarov about the creative process spanned five meetings, the first on March 20, 1960, and the last on April 9, 2015, at his home on 35 Vasil Kolari Street. An alert, creative person, very cheerful, infectious with sparkling wit, revealed his inner wealth to me. Kamen Zidarov talks about everything with amazing ease. The flow of speech is colorful, dotted with wit. He can talk almost without pauses for an entire hour. During the conversations, there is no external tension or effort. Only at the end of the conversation do the slightly stiff movements of his hands betray his fatigue. He achieves a natural liveliness, without completely disappearing. In such moments of fatigue, Zidarov becomes extremely funny. He can entertain guests, jump from topic to topic, tell anecdotes, laugh contagiously, and participate in all kinds of conversations, except perhaps about the creative process... And this is It seems to be one of his forms of rest. Zidarov's great discipline and love of order were evident at all stages of the survey. From the very beginning, he stated that the work would take us four or at most five meetings. The nature of the matter that would occupy us is peculiarly lengthy, and I naturally doubted that the allotted time would be sufficient. But I very soon realized how unfounded Kamen's concerns were. Zidarov grasps the questions immediately and with great conscientiousness erases them. He struggles to remember all the interesting details that relate to the production of his dramas, but he never gets bogged down in unnecessary things, does not deviate in the wrong direction. His memory is amazingly clear and accurate. The playwright quickly and very concisely clarifies the essence of the problem, dwells on the most important and interesting, and then imperceptibly, without prefaces, moves on to a new group of questions. Especially at those places in the conversation, when the story came to life under the imitative tall of Zidarov.

As is known, already in the 18th and 19th centuries, Serbian and Bulgarian writers dedicated their works to the revival of the two peoples. Andrija Kačić-Miošić, for example, did not divide the southern Slavs. Dositej Obradović mentioned in his works not only Serbia, but also "poor Bulgaria". Vuk Karadžić was the first to publish Bulgarian folk songs, Konstantin Ognjanović worked for the spiritual awakening of the Bulgarian people, to whom he dedicated his works. Major writers such as Hristofor Žefarović and Jovan Rajić were of Bulgarian origin. They wrote their works in the Russian-Slavic language and contributed equally to the Bulgarian and Serbian spiritual and political development. During the Renaissance, an unprecedented transfer of ideas and themes from one literature to another occurred. However, when we must note the undoubted impact of South Slavic literatures in our country, especially since the beginning of the 19th century, we must also bear in mind the fact that these South Slavic literatures themselves sought models in Italian, Russian, Greek and Austrian literature, that they were in natural, natural relationships with these literatures. First of all, Dalmatian, and for a long time after that, the other Slavic literatures suffered the general influence of the European Renaissance, which manifested itself somewhere earlier, somewhere later in separate borrowings and imitations of one or another model. That is why, when we study the Serbian and Croatian literary and cultural influence in our country at the beginning of the 19th century, we cannot help but notice that this is actually a natural creative process that encompasses both countries, as well as the other Balkan peoples, that historically conditioned interconnections are taking place here, that from what we have taken in a given period, we have created qualitatively new works with which we have moved literary development forward.

If we look for the reason for the new phenomena in contemporary fiction - the expansion of the ideological and thematic circle of the reflected phenomena, the changes in the problematic, the new illumination of the image of the contemporary, the intensified process of artistic searches - we will inevitably come to changes in the aesthetic positions of the contemporary writer, to his expanded artistic and sociological vision. It is an indisputable truth that the aesthetic attitude is historically concrete and objectively conditioned by the general level of development of social existence and consciousness. The generalized experience of the writer of recent years naturally pushes him towards a new self-consciousness, towards new conclusions about the relationship of man to nature and society, towards new assessments of reality. From the positions of an expanded idea of ​​the beautiful, which included the experience of the last decade, from the positions of an aesthetic ideal liberated from dogmatic thinking, he strives to give a broader idea of ​​​​modern man, of the beautiful in man and his life.