From the cover of Puzakov-Megre's books, a permeated young woman looks at us, whose face is covered with a thick layer of makeup. This is in order for the book to sell better. At the same time, in one of the illustrations inside the text, the image of the Madonna is introduced into her portrait. And it is not accidental, since the author tries to convince us that Anastasia is an exceptional representative of the human race, capable of entering into a special, personal relationship with God.

The description of her appearance is a set of vulgar epithets corresponding to the celluloid myth of the forest beauty: "golden hair and a magnificent figure", "sleek skin", "dressed in a light short dress, somewhat similar to a nightgown" (1, p. 28). One of Puzakov's followers will remark: "A beauty from the tribe of Russian Aryans." She speaks with the true grace of Ella the Cannibal: "You read my thoughts. Oh, how fantastic it is!" (1, p. 318).

Anastasia supposedly can communicate directly with the "higher mind" (understand, with God), which appears to her in the form of a luminous ball. It foresees the future, can change it, is able to heal diseases, be transported in space not only by thought, but also, by teleporting, visit different parts of the Earth and even other planets.

The author, on his own behalf and on behalf of the heroine of the book, often discusses the "illogicality" of Anastasia. This is necessary in order to further declare: all the thoughts expressed by the new prophetess, no matter how contradictory, illiterate or even delusional they may be, are a manifestation of "spiritual forgotten laws from the depths of the Universe" (1, p. 332). Listening to Anastasia's outpourings, angels and demons ("light and dark forces" (ibid.)) freeze. Sometimes it is compared to a divinity, sometimes to people before the Fall: "everything that it possesses is inherent in man... in its original form" (1, p. 338).

Where did Anastasia come from? The mythology of the family is as follows. Anastasia comes from a family that has lived separately from the rest of humanity for thousands of years, only occasionally coming into contact with people (1, p. 26). The text repeatedly emphasizes that Anastasia preserves the memory of thousands of years, inherited from distant ancestors. Anastasia's "foremother" (sic. in the text – Author), who lived tens of thousands of years ago, was crippled from birth, and her mother took her to the forest out of grief, where she left her. The unlucky author gives the "foremother" the name Lilith. I vaguely heard something somewhere and decided that it sounded beautiful. Meanwhile, Lilith is the evil spirit of Jewish demonology (derived from the root "lil" – night). The Talmud describes Lilith in particularly horrific detail, ascribed a special interest in infanticide: she drinks the blood of newborns and sucks the marrow from the bones. Since the Renaissance, in connection with the growing interest in Kabbalah, the image has penetrated into European literature in the form of a beautiful seductive woman. These motifs, apparently, were caught somewhere in popular science and occult magazines dear to his heart by the "writer" Puzakov.

The "foremother" creates a family with a certain ancient "poet". This is very "romantic". Over time, she leaves it to lay the foundation for a perfect society. For this purpose, she chooses the most decent leader of the tribe named Egypt and lays the foundation for ancient Egypt (3, p. 159) (oh, the unforgettable ravings of Fomenko!). Later, however, the priests began to envy the ancestor of "Anastasia" (this is how the followers of the new sect call her, lovingly snuggling) and starved him to death. Before his death, he managed to sing a beautiful song for the people (according to the theory of Puzakov's Anastasia, dreams embodied in words and conveyed in singing can transform reality). Anastasia "hears the content of the ancient hymns herself (with historical hearing. — Author), but their authentic translation is impossible" (3, p. 170). And no wonder, Puzakov has not yet decided on stylization in the ancient Egyptian style. True, Anastasia consoles: you can compose new songs. A "bard from Yegoryevsk" is already working on them (3, p. 171).

All of Anastasia's behavior from the very beginning of her communication with Puzakov in the style of a primitive pastoral emphasizes the close connection of the heroine of the novel with nature. It touches and "quickly strokes" the leaves and branches of plants, eats herbs (1, p. 31). It lives in a clearing, does not need warm clothes (it happens in Western Siberia, on the banks of the Ob), does not make any food supplies, eating what it finds or what it gets from squirrels (it turns out that they store more nuts and mushrooms for the winter than they need). Later in the course of the story, it turns out that Anastasia grows cucumbers and tomatoes in the forest, so the image of carelessness fades somewhat. The author concludes that the forest dweller "is an integral part of Nature" (1, p. 36), birds and animals are obedient to her, a bear and a she-wolf serve as her domestic servants.

The heroine of the epic must present the reader with a healthy lifestyle. However, this remains one of the weakest points throughout all the volumes of Puzakov's opus that have appeared so far. Constantly jumping exalted, spinning around her axis, patting trees and wriggling on the grass, Anastasia "continues to do her job" for the rest of the time (1, p. 41). The work is to reflect on the fate of mankind and to correct the course of world events. Anastasia has no other activities that fans of forest health could imitate.

How does Anastasia affect the world? The "spiritual tool" of the hermit is a certain invisible ray with the help of which she can see what is happening in any part of the earth and even the universe. The fourth volume of Puzakov's opus tells how Anastasia took him to another planet, showing the "center of capture". The author tries to convince his readers that on many planets there are civilizations that are technically developed, but spiritually not self-sufficient. They travel around the universe on flying saucers. They are generated by "evil entities", competitors of God.

Evil entities want to destroy the earth, but "Anastasia" in the course of the plot materializes in the enemy's headquarters (moving her body to another planet), paralyzes his will and destroys the tools prepared for the enslavement of humanity. Therefore, in the end, Puzakov proclaims her a "messiah" (3, p. 273).

Believe me, the Antichrist is not far away. At the conference of the "Anastasians" in Gelendzhik, it was not only proposed to achieve a legislative decision of the State Duma on the protection of "Anastasia" as a national treasure, but also the idea was put forward to appeal to the UN - "today the UN is like a world government. I would like to fantasize: what if, over time, Anastasia can become its leader, the "queen of the world"."

Anastasia's mission is to explain to people the "perniciousness of the technocratic path of development" and to show the way to the "origins" (1, p. 48). She knows all the languages of the world, she can translate the Vedas completely, but she does not want to waste time on this (3, p. 278) (and there is really no point: everything has already been translated).

The plot of the work under consideration is that Anastasia accidentally found herself in the place where the entrepreneur Puzakov seduced village girls with the luxury of a provincial businessman. One of them exclaimed in admiration that she loved him. Anastasia (who does not pronounce a single word in vain – the magical meaning of the word is constantly emphasized here) repeats the confession aloud and thereby takes love upon herself. And here is the insignificant Puzakov (his stupidity and wretchedness are deliberately emphasized throughout the text in order to serve as a favorably shading tone for Anastasia's banal "revelations"; in one of the passages it is said as follows: "I am happy that I have not taken anyone from your life who can bring joy to another woman" — 1, p. 333), a married man, which, however, does not bother him at all, enters into a relationship with a forest dweller. As it turns out, all this is for the sake of the birth of a son, which he has long dreamed of. Apparently, Puzakov has prepared a special role for the child in the "novel". This can be judged by the fact that in the course of the narrative it comes to outright blasphemy. Anastasia's grandfather and great-grandfather come to congratulate their pregnant granddaughter. To her question about how they found out, there is a blasphemous answer: "So it's a star.." (1, p. 228). The subtext is a comparison of the fornicated Anastasia with the Most Holy Theotokos through an allusion to the Star of Bethlehem. Further in the text we find the following revelation of a forest dweller: "Only a mother is capable of giving birth to Christ who believes that Christ will be born to her, and if the attitude of the parents to the child is as to Christ or Muhammad, the child will follow the thought" (2, p. 140). Let us leave aside the obvious anti-Christian pathos. Note that it contains a hint at the exceptional mission of the child born by Anastasia from Puzakov (advertisement for the "Anastasians": read the next volumes of the epic).

Anastasia is concerned about the health of the human race. To do this, he wants to convey to people the knowledge of the "great-mother" about the proper breastfeeding of babies. Later, the theory expands. Puzakov writes that from the point of view of absolute health, "only a few among all those born on earth would have to be considered normal" (3, p. 323). In order to remedy the situation, an occult "method" of childbirth is proposed: conception should be performed under the family cedar (see below for the special significance of this plant for the cult of Anastasia) and with the participation of the stars (3, p. 325). The latter also affect the pregnant woman, who must constantly monitor them. Childbirth must necessarily take place at the place of conception, that is, ideally, in the family garden (3, pp. 326-327).