The literary scholar Alfrun Kliems explores the aesthetic strategies of Eastern European underground literature, art, film and music in the decades before and after the fall of communism, ranging from the ‘father’ of Prague Underground, Egon Bondy, to the neo-Dada Club of Polish Losers in Berlin.

The works she considers are "underground" in the sense that they were produced illegally, or were received as subversive after the regimes had fallen. Her study challenges common notions of ‘Underground’ as an umbrella term for nonconformism. Rather, it depicts it as a sociopoetic reflection of modernity, intimately linked to urban settings, with tropes and aesthetic procedures related to Surrealism, Dadaism, Expressionism, and, above all, pop and counterculture.

The author discusses these commonalities and distinctions in Czech, Polish, Slovak, Ukrainian, Russian, and German authors, musicians, and filmmakers. She identifies intertextual relations across languages and generations, and situates her findings in a transatlantic context (including the Beat Generation, Susan Sontag, Neil Young) and the historical framework of Romanticism and modernity (including Baudelaire and Brecht).

Despite this wide brief, the book never loses sight of its core message: Underground is no arbitrary expression of discontent, but rather the result of a fundamental conflict at the socio-philosophical roots of modernity. 

The authors of this edited volume address the hidden attraction that existed between the extremes of left and right, and of internationalism and nationalism under the decades of communist dictatorship in Eastern Europe. One might suppose that under the suppressive regimes based on leftist ideology and internationalism their right-wing opponents would have been defeated and ultimately removed. These essays, on the other hand, recount the itinerary of survival and revival of "right-wing" thought and activities under communist dictatorship. Resistance and accommodation are explored in the various phases from the Stalinist era to the demise of the Soviet Bloc, with the continuity provided by tacit or concealed right-wing discourses receiving particular consideration. The Eastern European right, both in its conservative and fascist version, centered on nationalism, a legitimizing factor that increased with the downfall of the regimes, and the authors thus accord nationalism special attention.

Two documentary sources for these essays that stand out are files of the security services and the exceptionally rich Oral History Archive compiled by the 1956 Institute in Budapest, Hungary.