A paranoid thriller of life under surveillance in Soviet Czechoslovakia.
 
A deputy minister in the Communist Party of Czechoslovakia, Ludvík enjoys all the luxuries that success in the party affords him, but he must be careful: he’s under no illusions about the secret police bugging his apartment. Luckily, he and his wife, Anna, know where the bug is and where they can safely converse. However, any comfort they feel disappears the evening they attend an official party, where they learn that Ludvík’s boss has just been arrested after presenting a report written by Ludvík himself. Is Ludvík next? Back home after the party, the couple must get past unresolved marital tensions to get rid of absolutely anything that could incriminate them—all while contending with the strange men outside their apartment and the bug inside.
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Penned under the oppressive watch of Soviet authorities in 1960s Czechoslovakia—but touching on still-current themes of surveillance and paranoia—this cinematic thriller is as tense and timely as ever. A promising Party member who became persona non grata after the Soviet occupation of Czechoslovakia, author Jan Procházka knew firsthand the gnawing terror of life in a surveillance state: after his death in 1971, the new tenants of his apartment discovered twelve hidden listening devices. As Ear makes terrifyingly clear, the most frightening horror stories are the ones closest to everyday reality.

Sometimes called the Czech Bukowski, and more widely known by the epithet “Magor” (which translates roughly to “fool” or “madman”), Ivan Jirous was one of the most significant figures in the Czechoslovak cultural underground of the 1960s through the '80s.  Although trained as an art historian and famed for his poetry, Jirous was convinced that it was actually rock and roll music that held the greatest potential to enact change under the repressive regime of communist Czechoslovakia. He designated himself as the artistic director of the dissident rock band The Plastic People of the Universe, legendary for psychedelic music that was heavily influenced by nonconformist Western acts like Frank Zappa and The Velvet Underground. Alongside other figures from the musical underground, Jirous was arrested in 1976—the second of five prison sentences he would serve for his dissent—which helped bring about the landmark civil rights initiative known as Charter 77. In the wake of 1989’s Velvet Revolution, Váсlav Havel—the first president of the Czech Republic—was to say that Jirous and his unwavering commitment to liberation played “no small part” in casting off the yoke of Soviet oppression.

End of the World is the first major collection in English of the works of this legendary Czech “madman.” Although nicknamed for his aggressive and rebellious behavior, Jirous’s writing reveal a refined, sophisticated, and even tender sensibility. Translated in part by Paul Wilson, an original member of the Plastic People, the book gathers his poems and letters from prison, as well as his book-length prose work, The True Story of the Plastic People, alongside critical essays on Jirous’s life and work. End of the World is an ideal introduction to the raucous writer who playwright Tom Stoppard referred to as one of the most interesting personalities in modern Czech history.