In 2005, as a part of The International Seminar for Macedonian Language, Literature and Culture in Ohrid, I gave several  lectures, in my attempt to promote the recent success of the few Macedonian female prose authors as a kind of an insurgence of the female script in the Macedonian literature… Amidst the novels which have always provided the main focus of my study, Nikolova’s novel itself, with its title Adam’s Rib, was the only one that pointed out in an auto-referential manner the theme of the other, the woman, within the focus of the novelist perspective. In Macedonian literature, the publication of the short story collection Left Ventricle (2008)  represents an important prose release, which announces the female script in a new way: in the harmony and euphony of the represented world of women and the dominant style of narration, which seems to be interwoven with  the veil of all of the light’s beams that appear in the spiritual outlook of self-knowing and self-experiencing behind the close eyelids.                                                                     

Olivera Nikolova is the best and most well-known Macedonian female prose writer. At all times, above any attempt to present her rich canon has towered the imperative of duality, of two previously drawn lines for writing a potential work of criticism or readership: a line of children’s and a line of adult literary creation. Today, when this authoress has already piled a large number of titles, awards, literary successes,… the presentation of any of her works, of almost any of her “authorial lines”, should most certainly first begin with erasure of these two overemphasised lines, and then, on a blank sheet (without lines, squares…), on a sheet where lines will unite, instead of separate, continue by resorting to writing, telling, recognising, recommending, perceiving, sharing… The duality of this notable creation has thus imposed itself due to the fact that Nikolova began with and nurtured children’s literature for a long time, and only later, as an already established outstanding narrator, did she focus on adult literature. But this is only seemingly true, this is mere observation of matters, and, as the authoress herself says, observation alone cannot be (literary) truth, without “the warm hand of fantasy”. Therefore she, together with her “warm hand of fantasy”, is the best rubber for erasing the abovementioned two overemphasised lines of interpretation.