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An artistic interpretation of historical facts is quite relevant in the literature and non-fiction of a post-totalitarian society. Prose works on historical themes are valuable and interesting in that they create an illusion for readers to be present in a certain period of historical time, and it is the artistic modeling of events that makes priceless facts of history completely disappear. The historical past is an inexhaustible material that word artists have been referring to for centuries, creating the best examples of fiction. Prose texts of historical subjects are perceived by each next generation in a new way, historical events and phenomena are interpreted from different angles, the activities of famous figures of the past are widely covered. Non-fiction literature is a kind of literature that is on the verge of artistry and documentary. The main non-fiction genres are a diary, autobiography, biography, memoirs, confession, letters, etc. On the one hand, non-fiction literature claims to recognize the author's subjective truth about him in her texts; on the other hand, only the reader can either, demonstrating full confidence in the author, call this text documentary, or admit the presence of poetry and aesthetics in the work and tilt the scales in the direction of artistry. The material for observation and research of the phenomenon of artistic modeling are works that allow us to trace the most common, in our opinion, models of correlation of historical and artistic consciousness in postmodern literature and non-fiction of a post-totalitarian society. [ABSTRACT FROM AUTHOR]

In the 1950s, the Argentinian author Julio Cortázar (1914-84) composed Imagen de John Keats, a little-known work that merges his own life with that of the British Romantics. Part biography and part autobiography, it includes personal essays and literary criticism that weave through the poems, life, and letters of Keats fromhis early youthto death. This articlepositions Imagen de JohnKeats as animportant case study in world literature criticism. It demonstrates how Cortázar was not only a Latin American Boom writer who enjoyed international fame but also an idiosyncratic practitioner of reading and writing methods that transcend nation and period. Modeling innovative techniques that the author calls "automatic translation" and "global close reading," Cortázar anticipates some of the problems recently voiced in critical debates surrounding world literature. Imagen de John Keats is simultaneously an example of world literature that blends fiction and nonfiction, and a model for world literature criticism. [ABSTRACT FROM AUTHOR]