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In recent months, our Botev studies have been enriched with another valuable contribution - the book by St. Tarinska "The Prose of Hristo Botev". Not large in volume, this new book about the great son of our people is the result of long-term, systematic, in-depth research work. Its subject is the relatively little-studied prose of Botev - his articles, essays and feuilletons. The author has collected a large amount of historical and literary material and has built a study that is distinguished by its overall harmonious composition, internal logic and consistency, in-depth penetration and analysis. With the scientific precision, accuracy and analytical skills of a talented literary historian, Tarinska collects observations and facts, traces the path of the publicist and feuilletonist, outlines the atmosphere of the time more and more closely, and delve deeper and deeper into the peculiarities and uniqueness of the literary process. Interesting precisely from a literary-historical point of view is the versatile, very specific analysis that she makes of the works under consideration - articles, essays and feuilletons. The method of fragmentation, of detailed literary-historical analysis is applied particularly consistently in the most extensive chapter of the study - "Master of the Feuilleton". The author searches for the sources used in writing each feuilleton, which served as material and as an occasion for the feuilletonist. Studying with literary-historical depth the "prehistory" of the work, i.e. the occasion for its emergence, the sources, the prototypes, Tarinska arrives at interesting observations, imperceptibly and slightly entering its atmosphere. The author argues with Al. Burmov about the time in which the feuilleton "The Wardrobe" was written, without getting carried away by the accumulation of facts for its own sake, in historicism for its own sake. "Al. Burmov's arguments at first glance are completely plausible and convincing, she writes, but if we carefully follow the content of the work and turn to the actual facts that lie at its foundation, we will see that his statement is false. We will dwell on this issue in more detail not only to specify the time of the creation of the feuilleton, but because this is largely a question of the principles on which Botev builds the feuilleton work." (p. 106). 1 Stefana Tarinska, The Prose of Hristo Botev", ed. Nauka i izkustvo, S., 1966. Tarinska is constantly searching for "principles", the main problems. The specific analysis of "The Closet" leads to principled conclusions and generalizations about the birth and development of the feuilleton theme, about Botev's ability to remain faithful to the actual fact and at the same time provide himself with sufficient distance to organize his material in such a way that the great social theme resonates. Through the analysis, the answer to the question is reached - how does the feuilletonist embed the actual fact in the general fabric of the work? For Botev, "the concrete-topical is not an illustration of the idea, but an expression of the idea. That is why he needs it in its unity between the particular and the general - as it manifests itself in reality itself." When examining the feuilleton "That Night I Dreamed..." Tarinska again searches for the principle on which the satirical exposure is built, discovers the intersection of the small and large themes of the feuilleton, the connection of the plot development. And she comes to the summary: "A constant overflow, a constant transition from the small to the large theme of the work. A continuous alternation of the fable-allegorical with the real-believable and all this through unexpected transitions, at the same time smooth, logical" in its illogicality, externally acceptable - on these principles Botev builds the feuilleton story." (p. 120) The analysis of "That Night I Dreamed..." gives the author material to reveal Botev's ability to fabulate, to create with ease and ease a feuilleton plot - interesting and deeply meaningful, saturated with a wide variety of motifs and at the same time monolithic and purposeful", to build the plot development on specific evil daily facts and at the same time project it onto the big, fundamental issues of the time, giving it a clear political focus.

The appearance of the book "Images and Problems" is a positive phenomenon in our literary science. Its author Ivan Tsvetkov is known as one of the few best experts on Soviet literature in our country. 176 As early as 1964, the publishing house of the Bulgarian Academy of Sciences released his book "Maxim Gorky and Bulgarian Literature", a solid study of some aspects of the great writer's work and of a number of problems of its penetration, distribution and creative perception in Bulgaria. Written with erudition, with a temperamental and lively pen, this work contributed a lot to the overall clarification of the issues of Bulgarian-Russian literary relations. In his first book, Tsvetkov is alien to the narrow setting and solution of problems. He does not mechanically transfer the results of one national literary development to another, does not turn the regularities in the development of one literature into a mandatory norm for another, but seeks the true creative interpenetrations, conditioned by a complex complex of social, political and cultural factors. The subject of the study is the literary-critical perception and stage adaptation of Gorky in our country, with the task of interaction with our poets and writers being set out in perspective. It has now been partially fulfilled.