съвременния

In recreating the image of the communist in our country there is a long and rich tradition from the past: in poetry - D. I. Polyanov, Hr. Smirnensky, N. Vaptsarov and the post-1930s; in prose - again Smirnensky, Kr. Velkov, G. Karaslavov and others. New people - new in their social consciousness, in their spiritual appearance - were formed during the years of great battles of our people against capitalism and fascism. And in order to understand the type of person - the type of revolutionary, an active historical figure - literature naturally turns to the image of the communist. Why is this so? Because the communist is not only a politically significant image, but also a bearer of the new in our time in general. What is more - right next to him walks the conscious citizen who does not yet have a party ticket, but to whom the cause of the communist party is close. Today, it is clear to readers and writers that every more substantial, more artistically convincing image of the communist always has a "cover" in socialist reality itself. And he always returns to it, reality, to serve it, but already aesthetically evaluated. This is one of the main advantages of contemporary socialist-realist literature. So far, in articles and speeches, an attempt has been made, sometimes more cursory, sometimes more in-depth, to clarify theoretically and mainly in connection with practice the problem of the communist in literature. For example, it was discussed during the national review of contemporary Bulgarian drama in 1959. And in 1960, the Writers' Union organized a three-day theoretical conference on the topic "The Image of the Communist in Literature". The purpose of this article is to dwell on some unexamined questions and, in particular, on individual literary works. Limiting the topic hides some inconveniences, and perhaps even dangers. But it also has some advantages: we will keep our focus on today, on contemporary problems.

Atanas Natev's book "Contemporary Western Drama" appears after a number of publications by the same author on the theory of art and some problems of the new Bulgarian drama. This circumstance provides an opportunity in advance for a combination of the general aesthetic aspects of the issues with the more specific and current focus of the analysis. And I must emphasize that this feature is clearly evident in Atanas Natev's new book. Here the author has managed to examine the various works and authors with careful insight into the characteristic features, the main trends and directions of development. In relation to contemporary Western drama, the author was faced with a specific difficulty: the fact that the matter he examines is insufficiently studied in our country and is only partially known to the wider public, and even to specialists. This also defines a new task for Natev: let's call it cultural and educational, when he is obliged, along with the analysis, to follow in quite detail the content of the individual plays, retell individual episodes, actions, etc. At a different level of knowledge of this material, such deviations would seem superfluous and unnecessary additions to the aesthetics of a new phenomenon in contemporary dramaturgy. But the author was aware that he was obliged to pave the way himself, to be to a certain extent a popularizer of insufficiently known phenomena.

Bogomil Raynov's story "Roads to Nowhere" belongs to the series of works by our most restless and searching fiction writers, in which, based on a liberated aesthetic ideal and an idea of ​​today's man enriched by the experience of the last decade, our complex and dramatic modernity is depicted. It captivates us with the sincere civic anxiety and anti-dogmatic pathos with which the author poses the problem of the harmony between the individual and the environment, which was disrupted during the cult of personality, of the freedom of thought and scientific research, of the self-awareness and creative realization of modern man. A writer with a clearly expressed active attitude towards reality, with a sharp analytical mind and a subtle sense for the current social conflicts and ideological and moral issues of our heroic and exciting modernity, Bogomil Raynov could not remain on the sidelines of the conversation that has begun in our literature in recent years on the most vital issues of modern life. "Modernity - this is us we - shares B. Raynov. Everyone defines their attitude towards it in their own way. The writer does it with his books. The problem of modernity - or rather a piece of it, is also reflected in my latest book "Roads to Nowhere. Why did I write it? This was necessary for me, I felt obliged to take my position on some phenomena of modernity, phenomena with distant roots in the past and with a belated, short-lived flowering in our time: careerism, slander, servility. Literature is always a battle for something better, against something that challenges it". The position that Bogomil Raynov takes in this story is a position of honesty, of 1 Bogomil Raynov, Roads to Nowhere, story, 1966 2 See Trud newspaper, issue 16, 1966 136 moral vigilance and the free citizen Danish conscience. The story "Roads to Nowhere" is one of those works of fiction whose artistic significance is determined primarily by the truthful recreation of the tense spiritual atmosphere of our decade, of the characteristic of our time, above all ideological and moral purposefulness of the intellectual pursuits of modern man. It is one of those works that many trust because they discover episodes from their own spiritual biography in them. It attracts us because with some of its moments it gives us a key to penetrating the mystery of the tragic end of personalities who, with their deeds and moral charm, have become our spiritual idols.

The contemporary Bulgarian short story in its best examples interprets life phenomena from the perspective of the moral, political and social requirements of socialist society. The completely innovative life truth also determines the socialist-realistic character of the artistic truth of today's short story. The realization of this aspiration is the work of the original participation of talent, which in all cases is associated with the ability to observe and the imagination of the writer. Some argue that talent is a measure of artistic truth, which is achieved through an image realized through the prism of the personal point of view of the fiction writer. It is precisely this peculiar angle of perception of reality that allows us to draw some serious conclusions about the artistic mastery of life phenomena. For us, the short story is valuable not for the literal reproduction of life facts, but more for the ability to present life phenomena in a special light, emanating from a thoughtful and suffered attitude towards people, society and reality. Any attempt to ignore talent leads to a misunderstanding of the essence and specificity of the work of art. The process of realizing artistic truth is unthinkable without the writer's effort to affirm himself by discovering his theme, his vision of the world, and his personal manner of artistic expression. In this sense, for us, personal coloring is a path to finding the artistic truthfulness of the literary work. The realization of the modern story would be impossible without the presence in it of the complex truth about life. Pavel Vezhinov has a special place in the creation of our modern story. The theme of some still living symptoms of egoism appears for Vezhinov - the writer and the person, a main theme. Vezhinov strives in the battle against the loneliness of the human personality. In fact, he began as an artist of the social environment of the past, among which a person often loses his connection with it. The individual facts of the interrupted harmony in the relationship between personality and society are the basis for the writer, on which he artistically realizes true Dramatic states.