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Poetry collections are not usually formed in this way. Usually, when poets create collections in which a certain retrospectivity and summation are visible, they try to start a conversation with programmatic texts, with their inherent demonstrative nature, a kind of poetic symbol of faith that should immediately tune the reader to the right sensory register, set the right note, which the author will continue to hold on to. Instead, Flowers of Nostalgia opens with a cycle that is surprisingly lyrical and intimate, so to speak. Even the titles of individual poems resemble captions to landscape paintings: "A Strip in the East", "Meeting", "Spring", from which one can understand that for the author, this very sounding of the steppe, the revelation of the Slobozhansky landscape with its smells, voices and colours is the most important, the most important one, the one from which one should start counting.