Museum of literature

The Communist coup in February 1948 triggered the first post-war wave of emigration from Czechoslovakia. Most of those who went into exile initially hoped for military intervention by Western powers that would reverse the political situation and allow them to return home soon. Few artists and writers were among them, as many had sympathized with the new regime in the years immediately after the war, caught up in the enthusiasm for building a socialist society. Nevertheless, Czech publications soon began to appear abroad, at first mostly providing information, but later also taking the form of cultural periodicals and book series devoted to literature. However, the hope that their stay away from home would be only a temporary experience was extinguished by the bloody suppression of the anti-Communist revolution in Hungary in 1956.

An alternative to open confrontation with communism was sought in the effort to push for gradual reforms of the regime, in the spirit of gradualism – a theory represented in Czech exile by writer Pavel Tigrid and his associates. During the 1960s, political liberalization in Czechoslovakia brought a relaxation of censorship and strengthened cooperation between authors in exile and those at home. This natural rapprochement between these two currents of Czech culture was brought to a halt, however, by the Warsaw Pact invasion of Czechoslovakia in August 1968.

This armed intervention triggered the second major wave of emigration, which included many writers, scholars, and journalists who had taken part in the reformist democratization process. Although the influx of new creative figures brought generational and ideological tensions within the exile community – where those who had won and those who had lost in February 1948 now found themselves side by side – it also provided a significant creative impulse for the further development of exile culture and enabled the expansion of exile publishing houses and journals. An important chapter in the history of Czech exile began after the emergence of Charter 77, an informal civic initiative demanding the observance of human and civil rights, when the Communist regime used political pressure to force many of its signatories to leave the country.

The arrival of new exiles strengthened personal ties between the exile community and those who had stayed behind. As communication technology improved, it became increasingly possible to smuggle exile publications into Czechoslovakia and circulate them illegally. Over time, and especially during the 1980s, a growing number of authors living in Czechoslovakia became willing to have their work published abroad, in exile journals and publishing houses.

After November 1989, most writers returned from exile, some permanently, others splitting their time between Czechoslovakia and abroad. Some exile publishing houses continued their book production back home, while most ceased operations. The disappearance of the parallel existence of official and unofficial culture enabled scholars to critically reassess the previous period of literary development. A literary life no longer constrained by political pressure became an important part of the transition to civil society.

Most Czechoslovak exiles spent the first months after leaving the country in Austrian or German refugee camps. Even under these difficult conditions, the first cyclostyled publications were produced. Later cultural activities of this early period often foundered due to a lack of funds, distribution problems, or the departure of key figures to the United States. The exceptions were Radio Free Europe, Křesťanská akademie (Christian Academy), and the Svědectví journal (Testimony), which managed to secure stable institutional and financial support.

In Paris, one of the leading centers of Czech exile, the Svobodný zítřek journal (Free Tomorrow, 1948–1950) was published briefly, accompanied by the Knihy Svobodného zítřka series (The Books of Free Tomorrow, 1949–1950) and one issue of the Stopa literary review (1951); volumes in the Editions Sokolova series (1952–1956) were also published there. The London cyclostyled Edice satiry (Satire Edition, 1952–1954) and Knižnice lyriky (Lyrics Edition, 1953–1955) were similarly short-lived; the latter was run in Sweden by publisher and poet Robert Vlach. On his initiative, the Czech Cultural Council in Exile was established in Stockholm in 1953 to connect the activities of the cultural exile community. From 1953 onward, it co-organized literary competitions and published the winning works in the Sklizeň svobodné tvorby book series (Harvest of Free Creation, 1955–1966). This successful series was revived in 1969–1975 by literary critic Antonín Kratochvil, who also directed the Munich series Lucernička (Little Lantern, 1953–1962) and Kamenný erb (The Stone Coat of Arms, 1953–1973).

In the United States, representatives of the Czech exile community also worked to develop Czech culture. In 1958, they founded the Společnost pro vědy a umění (Society for the Arts and Science) In Washington, D.C., which partly took on the role of an organizational hub. Important publishing institutions included Universum Press, founded in New York by typographer Frank Švehla. In addition to books, it also published periodicals, most notably Americké listy (American Letters, 1962–1989) and the cultural anthology Perspektivy (Perspectives, 1961–1966), which was co-edited by writer and essayist Ladislav Radimský.

Journalist and writer Pavel Tigrid (1917–2003) was one of the most prominent figures of the Czechoslovak anti-Communist opposition. He left for the West as early as February 1948 and became a champion of the free debate suppressed at home by the newly established Communist regime. He helped establish Radio Free Europe, was involved in managing its Munich newsroom, and continued to collaborate with the station even after moving to the United States.

In 1956, with the financial support of the U.S. government, he founded Svědectví (Testimony) in New York – a journal for independent thought, literature, and political reflection. In 1960, the editorial office moved to Paris; after the Velvet Revolution, it was based in Prague from 1990 to 1992. During the Cold War, Svědectví brought together representatives of various political currents within the exile community, including those who had left after February 1948 and those who followed after August 1968, as well as dissident authors living in Czechoslovakia. As editor-in-chief, Tigrid drew on the theory of gradualism, which envisioned the collapse of totalitarian rule through the promotion of gradual, long-term changes in ideology, governance, and the economy. In terms of its contents, the quarterly journal was primarily intended for readers in Czechoslovakia, although the issues could reach them only through illegal channels.

Literature for children was produced and published in exile to a much lesser extent than works intended for adults. Its purpose was to provide access to high-quality children’s literature from abroad and, above all, to maintain a connection with the Czech language and culture. A particularly important role was played by textbooks used in Saturday Czech schools, especially reading primers.

One significant project in the late 1980s was Jiří Gruša’s reading primer Máma, táta, já a Eda (Mom, Dad, Me and Eda). Exile publishers issued children’s fiction only occasionally. These publications included works created in exile, such as O kocourovi bez bot (Puss without Boots) by Petr Den; books by authors who were not allowed to publish in Czechoslovakia, including Jaroslav Foglar’s Hoši od Bobří řeky (The Boys from the Beaver River) and Tajemství Velkého Vonta (The Secret of the Great Vont), Eda Kriseová’s Prázdniny s Bosonožkou (Holidays with Barefoot Fairy), and the collection of texts by banned writers entitled Uzel pohádek (A Bundle of Fairy Tales). An exception was the publishing house Bohem Press, founded in Zurich in 1972, which specialized in illustrated children’s books. Exile also saw the publication of magazines for children and young adults. The most popular included Scout magazines such as Stopa (Trace), Skaut – exulant (Scout in Exile), Junák (Czech Scout), or Tam-tam.

Between 1948 and 1989, around 1,300 Czech periodicals were published in exile, of which about 900 were journals and magazines. Some were only short-lived; others survived the fall of communism. Although many newspapers and news periodicals had regular literary sections, cultural and literary magazines were the most important from the perspective of both exiled authors and readers.

Sklizeň (The Harvest; Hamburg, 1953–1967)

This independent cultural review was published by Antonín Vlach and edited by writer Robert Vlach. It published original poetry and prose, reviews, literary criticism, translations and cultural reports. In 1953, the Czech Cultural Council in Exile launched its first annual literary competition for Czech writers in exile through the magazine. In 1958, Robert Vlach left the editorial team and moved to the United States, where he published four issues of the literary anthology Sklizeň svobodné tvorby (The Harvest of Free Creation).

Archa (The Ark; Munich, 1958–1963)

This Christian-oriented magazine was edited by literary historian Antonín Kratochvil, in cooperation with theologian Karel Vrána and Radio Free Europe editor Jaroslav Dresler. Alongside historical and philosophical texts, it published primarily poetry by exiled authors and those persecuted and imprisoned in Czechoslovakia.

Proměny (Metamorphoses; New York, 1964–1992)

This cultural, literary and scientific review of the Society for Sciences and Arts published leading exiled writers. Its first editor was writer Ladislav Radimský (aka Petr Den), who also shaped its editorial direction. He succeeded in creating a high-quality and influential magazine that appealed to a wide range of readers both in exile and in Czechoslovakia.

Čtení na léto (Summer Reading; Rome, 1980–1989)

This was not a standalone title but a special issue of Listy, the journal of the Czechoslovak socialist opposition, published by Jiří Pelikán. This fiction supplement featured new short stories, essays, and excerpts from longer works by exile authors and those whose works could not be published at home.

Obrys (Outline; Munich, 1981–1990)

This quarterly of independent Czech and Slovak culture was published by Daniel Strož through his publishing house Poezie mimo domov (Poetry Beyond Home). In the spirit of a single Czech culture, the magazine covered exile, samizdat, and official work alike, even reprinting articles from Czechoslovak official periodicals.

Paternoster (Vienna, 1983–1992)

This small revue of art and criticism was published and edited by painter, writer, and musician Zbyněk Benýšek. It focused primarily on underground culture and paid considerable attention to singer-songwriters.

Rozmluvy (Conversations; London, 1983–1987)

This philosophical and literary review was founded and run by political scientist Alexander Tomský. Alongside religious and political science texts of a conservative-liberal bent, the magazine regularly published literary criticism, poetry, and prose, with a particular focus on Christian authors.

The wave of emigration that followed the Warsaw Pact invasion of Czechoslovakia in August 1968 gave Czech exile culture a significant creative impetus. An expanding readership, together with the arrival of experienced editors and writers, led to the establishment of new journals, bookshops, and above all, Czech-language publishing houses, giving Czech exile culture a significant creative impetus.

Among the most important was Index, founded in Cologne in 1971 by the reform communists Adolf Müller and Bedřich Utitz. In addition to publishing works primarily on political science, modern history, and social sciences – 170 titles by 1990 – it maintained close ties with the Rome-based exile Listy journal.

The same year saw the establishment of ‘68 Publishers in Toronto by Zdena Salivarová and Josef Škvorecký. The best-known and most prolific Czech exile publishing house, it published a total of 224 titles before ceasing operations in 1994, focusing mainly on contemporary Czech fiction and non-fiction.

In Zurich, Antonín Petr Pašek founded Konfrontace in 1973. The publishing house contributed to the production of several exile journals and published more than 110 volumes of non-fiction, memoirs, and original humorous prose.

Beginning in 1975, Daniel Strož published more than 100 pocket-sized poetry collections in the Munich series entitled Poezie mimo domov (Poetry Beyond Home), featuring works by Czech poets living in exile as well as poets who were unable to publish in Czechoslovakia.

In 1980, Karel Jadrný and his wife, Rozina Jadrná-Pokorná, also launched the Arkýř (Oriel) series in Munich. Sixteen volumes of essays and philosophical writings were published in the series which became known for its outstanding typographic design.

Finally, Rozmluvy, founded in London in 1982 by political scientist Alexander Tomský, published works on philosophy, religion, political science, as well as books by banned Czech authors. By November 1989, it had published 68 titles.

Munich became one of the Czech exile community’s cultural and social centres. From 1951, it housed the headquarters of Radio Free Europe’s Czech-language service. In total, more than sixty Czech periodicals were published (including České slovo, Archa, Obrys, and Národní politika) and several Czech-language publishing houses were established there. The first publishing house founded by the post-1968 émigrés was CCC Books, established in Munich by Jaroslav Kučera (1933–?). Its first titles appeared in May 1971, and it ultimately published nearly fifty titles.

Daniel Strož later expanded his publishing activities to include fiction and drama (Václav Havel entrusted him with publishing his new plays) and also published Jaroslav Foglar’s adventure novels for young readers.

The Catholic exile community was one of the best-organized streams of Czech and Slovak exile. Its role was not only religious, but also educational and cultural. Rome became the center of Catholic exile, where the Křesťanská akademie (Christian Academy) operated from 1951. Originally a study and documentation institute, it gradually became an important exile publishing house, issuing not only religious and philosophical literature but also the Vigilie fiction series. In addition to books, the monthly Nový život (New Life, 1954–2001) was published there, covering religious issues as well as literature and art. Its second periodical was the review Studie (1958–1991), one of the most significant exile magazines of all. Its main content consisted of academic studies in social sciences, alongside literary criticism, essays, and excerpts from literary works. Several remarkable figures from the exile community worked on the publishing house’s editorial team: church historian and the first Czech rector of Nepomucenum (the Pontifical College for Czech and Moravian seminarians in Rome), František Planner; theologians Karel Vrána (aka Pavel Želivan) and Karel Skalický; literary historian Antonín Kratochvil; and writer Ladislav Radimský (aka Petr Den).

The Catholic lay association Opus bonum, founded in Germany in 1972 and headed by the abbot of Břevnov monastery, Anastáz Opasek, also published its own titles. The association played a significant role in bringing together the Czech exile community. In addition to regular youth gatherings, from 1978 onward it organized an annual meeting of Czech exile representatives in Franconia, Bavaria, to discuss key issues of Czech history, culture, and politics. Alongside the proceedings of these discussions, the association published primarily educational literature and works by authors banned in Czechoslovakia.

Radio Free Europe was established in 1949 as a formally non-governmental American institution, tasked with breaking the state’s monopoly on information and bringing objective news to people behind the Iron Curtain. Regular broadcasting by its Czechoslovak Service from Munich began on May 1, 1951. Together with the Voice of America and the BBC in London, both of which had been producing Czech-language programs since World War II, it offered an alternative to official propaganda. Although the Communist regime tried to prevent people from listening to foreign stations by systematically jamming their signals, Radio Free Europe attracted a large audience. Its programs brought news of political developments, commentary on major events, cultural and current affairs programs, and music that was otherwise officially unavailable. Radio broadcasting became an important source of information and psychological support for the anti-Communist opposition, strengthening listeners’ sense of belonging to the free world.

Three prominent figures of the Czechoslovak exile community were instrumental in establishing Radio Free Europe and its Czechoslovak Service. Ferdinand Peroutka, a distinguished journalist and writer, was appointed to lead the organization in New York, while in Munich, journalist Pavel Tigrid oversaw the Czech- and Slovak-language broadcasts, later succeeded by politician and publisher Julius Firt, who had been actively involved in the station’s establishment. The Munich newsroom worked closely with its London bureau, which served primarily as a news and research hub.

The Czech-language broadcasts covered a wide range of cultural and literary programmes that brought banned and exile literature directly into homes across Czechoslovakia. Among the best known and longest-running shows was Slovo a svět (The Word and the World), a cultural and literary programme produced by Jaroslav Dresler; Literatura bez cenzury (Uncensored Literature) featured writers whose works were banned at home, reading excerpts from their writings. New books were reviewed in Kniha týdne (The Book of the Week), while Četba na pokračování offered serialized readings of complete literary works. Writer Jan Čep contributed personal essays to Úvahy časové a nadčasové (Reflections on the Present and Beyond), and Rozhlasová univerzita (Radio University) explored chapters of Czech history that the Communist regime had suppressed or rewritten. Kulturní zápisník (Cultural Diary) kept listeners informed about exhibitions and cultural events in exile communities around the world, while Křesťanský magazín (Christian Magazine) explored broader literary and spiritual themes. Music programmes featuring Western music – officially off-limits in Czechoslovakia – were especially popular with younger listeners.

Czech writers no longer need to go abroad because of their views. On the contrary, our country is becoming a refuge for authors who have not been so fortunate and have been forced to leave Russia, Belarus, Ukraine, Iran and other countries. As yet, there is no well-thought-out strategy or systematic support for the publication of exile literature in the Czech context. The decision on whether works are published rests with publishers, who are guided primarily by the quality of the text and the prospects of the book market. Moreover, the situation of these writers is changing rapidly; many only became exiles after their texts had already appeared in Czech translation.
As a source of inspiration, we present a selection of Czech translations of works by contemporary authors in exile from around the world for your perusal.

Writers who were forced to leave their homes coped with this situation in different ways. And life in exile was reflected very differently in their work. It took many of them several years before they were able to return to literature and start writing again; some never managed it at all. For some, writing became a way of life that helped them overcome isolation in a foreign environment. For others, working in their native language represented a connection to their own roots. Exceptional authors were able to transform their painful experiences and make them part of their own individual perception of both their inner and outer worlds. Through their writings, the experience of exile can thus enrich today’s readers as well.

Being in exile places writers in a state of uncertainty. They find themselves between the old world, which has often rejected them, and a new environment that brings its own uncertainties. As authors, they lose their readers and the linguistic environment of their native language; as individuals, they lose family and friendships, as well as the familiar cultural traditions that once surrounded them. In literature, the theme of exile appears in various forms – from reflections on contemporary Western society, often perceived as cold and incomprehensible, through narratives about the lives of emigrants in new conditions, accompanied by feelings of uprootedness and alienation, to the interweaving of two or more languages as a powerful way of expressing the characters’ inner sense of division.

Home in Czech exile literature is not just a place on a map. For authors who were expelled or fled persecution and the lack of freedom, it remains an idyllic space of childhood and youth, tied in memory to a number of specific sensory perceptions. However, the idealized past confronts the reality of an impossible return, on at least on two levels: not only is return impossible due to persecution, but the original home has also effectively ceased to exist because of changing political conditions and the passage of time. Home thus becomes a painful space in the mind, which leads many authors to a deeper exploration of inner freedom. Exile literature reminds us that the safety of home can be created in one’s own consciousness, regardless of being thousands of kilometers and impenetrable borders away from one’s birthplace.

While for authors at home spirituality was often an act of inner freedom and resistance to atheistic power, for exiles it became a tool for overcoming loneliness and uprootedness. The relationship with God is neither simple nor unambiguous for people with an artistic soul. In the text, it can appear as an object of reflection or a literary motif, but it can also be part of the narrative perspective. In exile works, God is far from appearing only in a traditional form. He often becomes a philosophical category of truth and meaning, or the personification of a fixed point in the chaos of the world. At other times, he takes the form of a partner in dialogue, to whom the author turns with urgent questions and doubts.

In their texts, exile writers, like those at home, reflected on the state of the contemporary world and pondered on its future direction. Their years in exile seem to have made them more open to global problems and civilizational tendencies, as if stepping outside their native culture broadened their sensitivity. The universal human questions seemed more urgent and persistent, often inspiring deeper and more courageous thoughts – the fears of environmental devastation, growing social polarization, or the consequences of political and power struggles.

What is the meaning of human life? Does human suffering make any sense? How does one cope with death? Such besetting questions that one can feel more and more urgently in the course of their life have been the subject of many philosophical and literary works. Exile authors left us a testimony of searching for and finding their own answers – to many of them, writing was enthroned in their life. In their perception, the poetic word, as an artistic means of literary creation, can become the meaning of human life and overcome the finitude of human existence.

The word “exile” can be understood in many different ways. It means forced banishment or involuntary departure from one’s own country. The exile loses their home, has to cope with a foreign environment, but often thereby saves their life. However, other inhabitants of the Earth lose their lives with the loss of their homes. They do not manage to adapt to new, rapidly changing conditions. The birds whose voices you can hear share a similarly unfavorable fate: the formerly common inhabitants of our nature have become rare species, and some of them no longer nest in the Czech Republic at all. Paradoxically, these are often those that used to benefit from landscapes shaped by humans, such as pond or agricultural areas. Birds have been adapting to the environment for hundreds of years, and if they lose it, they will not survive. Which feathered friends do these voices belong to? Do you recognize them? Scan the QR code.

You can listen to the calls of these birds:

Red-headed Bunting, Grey-headed Bunting, Red-legged Partridge, Grey Partridge, Lesser Grey Shrike, Eurasian Reed Bunting, Black-tailed Godwit

We would like to thank the National Museum.