The prose “Bird Zu” is a single work, composed of heterogeneous, but similar small chapters. There is a minimum of explanation in the text, free composition, and the letter speaks for itself. If you look for identity, you will remember the most densely inert things of Beckett, maybe also something from Mamleev, perhaps someone else’s unvarnished streams of consciousness, but Mamonov is Mamonov because he started and presented his own style and original gestures. Since the book is quite small, it can be read in a couple of hours. In such a continuously integral form, it finds its own special harmony - between inner speech and external hearing, between abstract ideas and perceived non-inventiveness. This prose is equally far from both fiction and documentary and occupies a special place with a peculiar atmosphere. This prose is not referential, although it is full of observational notes typical of diary entries. Mamonov is a paradoxist. In “Bird Zu” the author’s frank secrecy and secretive frankness are noticeable and visible. Lots of villages, gardens, cats, chores. There are few cities where everything is dreary ghosts, broken communication, confusion, complicated loves. The outburst of internal struggles, complacency and anxieties of the hero in its articulation carries vaguely recognizable speech structures from the 70s-80s. “Self-preservative unbearability” - this phrase from Mamonov’s book serves as a sufficient motto for the writer and a more or less approximate description of the author’s general method. “Cover design by I. Mamonov.” The book was published in 1000 copies.