Jiří Žáček entered the Czech literary scene in the second half of the 1960s. As early as his first collections (Ráno modřejší večera [The Morning is Bluer than the Evening], 1970, Napjatá struna [The Taut String], 1973) he showed himself to be a melodically mature author with constantly lively thematic spheres: scenarios from everyday life, romantic experiences, lyrical moments from Prague city life and European journeys. Eventually he becomes the sceptical lyrical spokesperson of his generation, looking ironically at stereotypes and turning points in life (Mezi řečí [Between Talk], 1978, Tři roky prázdnin [Three Years’ Holiday], 1982, Papírové růže [Paper Roses], 1987). He carries on a constant dialogue with poetry (Anonymní múza [Anonymous Muse], 1976), sometimes he disparages it, but he always acknowledges it as a possible means of communication. The romantic verses from this collection are the pinnacle of his creative work, where their melody and emphasis on the fleetingness of the moment come close to that of Nezval. Žáček is one of the few poets to humorously pillory people’s indifference and stupidity with a wider global significance (Okurková sezóna [The Silly Season], 1981, Rýmy pro kočku [Rhymes For A Cat], 1984, Hovory s mým horším já [Conversations With My Worse Me], 1990, etc.). The humour within his verses catches the attention of those readers for whom poetry as an artistic form of communication is completely alien.
In his works we encounter a rich variety of genres, such as prose and poetic miniatures, short humorous texts, fables, song lyrics, anecdotes and aphorisms in which he ironically responds to social evils in general (Idioti mají přednost [The Idiots Have Priority], 2001, the anthology Kdo se směje naposled [He Who Laughs Last], 2008) as well as political events (Hurá zpátky do Evropy! [Hurrah! Back Into Europe!], 1994, Zbrusu nové jarmareční písně českotuzemské [The All-New Flashy Native Czech Songs], 1995, Nikdy neříkám nikdy [I Never Say Never], 2006, Panoptikum s.r.o, [Panopticon Ltd], 2008). The latest collections, České moře [The Czech Sea] (1999) and Třetí poločas [The Third Half] (2009), are balanced collections with serious misgivings about human identity and the future of the planet, though hope remains through communally shared experiences.
In his works for adults, Žáček from the very start reflected on fleeting memories from childhood, then from the end of the 1970s he concentrated entirely on poetry for children. His first collections ensured Žáček’s popularity with child readers (Aprílová škola [April School], 1978, expanded edition 1983; Ahoj, moře, [Hello, Sea] 1980; Kolik má Praha věží [How Many Towers Prague Has], 1984; Pro slepičí kvoč [For The Mother Hen], 1986), his poetics have changed over the years, but his latest works have been distinguished by a joyful playfulness (Vrabčí hnízdo [The Sparrow’s Nest], 1999, Nemalujte čerta na zeď [Don’t Paint The Devil On The Wall], 2001 etc.). The poems are melodic and memorable, though the author deliberately disturbs the sing-song rhythm and produces unexpected nonsensical connections to introduce an element of surprise. He is the author of countless pop-up books, of the popular Slabikář [Primer] (1992-2009) as well as the art-educational Žáčkovy encyklopedie pro žáčky [Žáček’s Encyclopedia for School Pupils] (2002).
His bibliography contains dozens of entries, see the pages at the Národní knihovna (National Library) or at the author’s website.
(jč)
This profile was last updated on 1. 1. 2010.
