Early in March 1914 Marina Tsvetaeva wrote to her new acquaintance Vasilii Rozanov

Several features of this passage stamp it as characteristically Tsvetaevan: the emotional excess, the hero worship of her husband, the preoccupation with familial blood lines. Perhaps the most interesting of these is the quasi-mythical quality with which she imbues the figures of husband and child. Whereas Tsvetaeva's powers as a maker of myths are commonly acknowledged, the extent to which her mythmaking shaped her most intimate relationships has yet to be explored. In the case of her daughter, the mythic relationship assumed the dimensions of a Greek tragedy.

In the years since the appearance of The Master and Margarita a large body of critical literature has been devoted to a search for unity, or rather a search for the key that unites the novel's three disparate realms, with their separate settings, casts of characters, levels of language, and characteristic narrative voices. One approach has been to search for formal unity using the novel's structural elements (narrative modes, setting, time-space coordinates). Another approach has been to search for thematic unity by tracing the moral and philosophical threads that run through the novel as well as the literary antecedents of each of the characters. Some critics have reached the conclusion that there is no unity—that the novel is in fact a faulty, fragmented piece of writing.