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Defining the concept of "world literature" can hardly be achieved without effort and polemics, as it probably seems to many who are accustomed to it. It is indeed not easy to give a decisive answer to questions such as: which are the literatures that have managed to impose their achievements as conquests of the entire human society; what guides a development that runs through the entire history of mankind; what are the ingredients, criteria and drivers of the process that merges the achievements of folk and national literatures into one and at the same time fertilizes folk and national literatures; and so on.

Events that change life also change people's thinking, change their spiritual peace, change their concepts of the beautiful and the ugly, of the sublime and the low. They also change artistic thinking, which receives verbal and figurative embodiment in literature. Literature is a seismograph for the changes taking place in the lives of peoples. It captures new phenomena and, if they are seeds in the folds of fertile furrows, gives them life. At the same time, it creates an appropriate form to accommodate the new content. The Great October Socialist Revolution is the greatest of these events that change life. It was natural that it would become a turning point in the development of art and literature, especially of those peoples who were most affected by it. Such were the Slavic peoples, not only those in the Soviet Union, but also those outside it. I will not speak here about the Slavic peoples in the Soviet Union - Russians, Ukrainians and Belarusians. The turning point that occurred in their general and literary development with the Great October Revolution is well known, obvious to everyone. I will focus on the literatures of the Slavic peoples outside the Soviet Union.

"September poetry" - this is how Georgi Bakalov first, and then Ivan Meshekov and others called the poems and stories of Nikola Furnadzhiev, Angel Karaliychev and Asen Raztsvetnikov, which appeared in "Nov Pat" as the first poetic echo of the majestic and terrible September days. Over time, literary critics began to add to the "September" artists Geo Milev and the other poets from "Plamak", Krum Kyulyavkov and the other collaborators of "Zvanar", Anton Strashimirov and the budding poets and writers from "Vedrina".... For more than four decades, September has been a constant and ageless theme in our poetry and prose, and September literature - as a new, aesthetically distinct moment in literary development - one of the important problems of literary history and criticism. The most vivid and characteristic, truly "September" stage is taken (it was this that contemporaries called "September") to be the period from 1923, immediately after the uprising until the April assassination attempt of 1925. However, starting from the specific historical moment itself, from the approximately equal illumination of the September theme, from the similar or identical aesthetic positions and artistic tasks of the September artists, one could add to this characteristic stage a year or two later - after the April assassination attempt until 1927 - with Strashimirov's activity in "Vedrina".