Flora Ollomouc's novel “The Silver Meridian” is unique in composition, historical scope and, most importantly, will arouse undoubted interest due to its involvement in one of the central issues of world Shakespearean studies. The actively discussed problem of the authorship of Shakespeare's works is presented in a rather unexpected, but artistically quite justified version, which constitutes the main internal nerve of the book. James Edgerley, owner and director of one of the many theaters of modern Southwark, the area of the National Theater and Shakespeare's Globe on the south bank of the Thames, writes a novel about the Great Bard. He does not suspect that he has discovered a perspective in which the stories he has conceived will begin to come true in his own life. Who is a genius? Where does it come from? Why are there so few women left among the great creators of the world in the memory of mankind? Is it possible to find an embodied female genius on Earth? And what happens at the unpredictable moment of this meeting? The action of “Silver Meridian” takes place in modern reality. The structure of the “novel within a novel” determines the roll call of eras and immerses the reader in the atmosphere of the “golden age” of England. It is impossible to remain an aesthetically detached observer here. Time is transformed, not limited by anything, free movement in its space is available to every hero of the plot. “People are ships in the ocean of time. They may not see each other, immersed in fog, their courses may not coincide, but they all give each other signals. Some move into the future, others remain in the past. Words and images are the same as sound and light in the ocean. If you understand this language, you can learn to recognize the connection of times. The key to the ABC of these signals is empathy.”