death like the crime fiction and the science fiction as very few writers cultivated them (Svetoslav Minkov, Pavel Vezhinov, Svetoslav Slavchev, Lyuben Dilov). Generally writers were tempted (or forced to) turn to realist or historical subjects. Allegorical theater comedies and dramas became a skillful way to evade censure which could cost the writers a ban to be published, repressions, exiles, a sentence to prison or even to concentration camp. In fact, the Bulgarian national prose was quite, but not completely isolated from western literature and the ideas of surrealism, expressionism, existentialism, postmodernism, structuralism and the other theoretical paradigms. The avant-garde literature movements were scarcely and unsystematically represented until the 80s. Experiments with language and form were widely regarded as non-conforming with the principals of the dominant ideology and aesthetics. The political belonging and convictions of a writer became a leading feature for the judgement of his works; separate books were banned and some writers were altogether not allowed to be published or even read. Nevertheless, the postwar period was the most plenteous for the still feeble modern Bulgarian poetry. Both after the political changes in 1944 and 1989, thousands of poetry collections were published. Some of the poets who have won a stable respect with time are Atanas Dalchev (1904–1978) and Valeri Petrov. Dalchev is also remembered as one of the finest translators from a wide range of languages. The general tendencies can be noticed there and further on. The poetry becomes more intimate and confessional, and requires more invention in order to influence or provoke; nevertheless sometimes originality turns into an end in itself; the free verse allowed higher intensity of language and diversity of forms; abstractness increased and started affecting the balance between philosophical depth and clearness; the search of lyricism is sometimes more evident than the meaning of the poems. After change to capitalism The gradual change from communism to capitalism in the Eastern Bloc and the Fall of Berlin Wall in 1989 was followed by a considerable increase in the modern publishing both of state and private publications, as well as a complicated distribution at periods, and a consequent seemed as devaluation compared to communist status that was well established as part of the communist ideology and cultural praxis of the writer’s social status at midlle 90s altogether. However at this time strongly is felt both the presence and influence of Julia Kristeva and her novels,