Both poetry collections represent the shift and the contrast between an apparently fixed and stable society and the instability of society in the present, and deal with global phenomena such as exile, migration, and wandering, which are characteristic of the modern geopolitical spectrum on the millennial borderline. What is more, problems related to historical memory are interwoven with a sense of the worthlessness of life in the new cultural and political milieu, as well as with a sense of freedom and shattered hopes for a new and better beginning. Merjanski’s poetry reflects a specific attitude towards the near and more remote Bulgarian historical past while at the same time aiming at rediscovering mislaid traditions. And the Black-eyed cocotte took the tears for hers, As well as the deceiving kisses I gave her. And just because you no more could love me, Nor pray for me, nor write me letters, The eternal silence of you spoke instead. I focus on two poetry collections by the Bulgarian poet Kiril Merjanski (born in 1955), which, by reinventing ancient epitaphs, articulate political concerns and cultural aspirations that were current in Bulgaria at the end of the twentieth century. But my soul was three thousand miles away, In the days when you taught me in Spoon River. The present study traces the peculiar and inventive reception of antiquity in the poetry of post-communist Bulgaria.
Born in Kansas in 1868, Edgar Lee Masters wrote several collections of verse, including the popular Spoon River Anthology in 1915. Only after the democratic transition in Bulgaria in the late 1980s was the concept of the classical tradition, conceived as an ancient legacy, mobilized in a more or less conscious search for a cultural identity that could be traced back to common European roots. I ended up with forty acres I ended up with a broken fiddle- And a broken laugh, and a thousand memories, And not a single regret.
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