Second edition of the poetry collection.
Review of the first edition of the collection:
I am eternally enchanted by the admission that we have the opportunity to break out of the gravity of our habits and suddenly see the previously unseen. Ludvík Kundera has already verified this magic through countless creative practices. This time in his poetry collection Dreams Also (Atlantis 1995). (...)
This Kundera's magic happens in two accentuatedly different thematic positions of the collection. The first position is dominated by a knowing, slightly ironic reconstruction of the magical Moravian places where the writer Marie von Ebner-Eschenbach wrote and lived among her friends (our generation was lucky enough to learn cultured German from her wise dog prose Krambambuli).
But it wouldn't be Ludvík Kundera if he hadn't created his own model for this colourful German-Czech world, a kind of incipit of a verse novel, where the Lysitz castle suddenly shines in its authentic charms... Kundera is an insider of the circle of Moravian German writers and he saturates this five-part philosophical-epic poem about them with his literary gourmetism - but he is also always a lover of imagination, so that we suddenly meet him here in black glasses, helping his friends to push a haystack up a hill somewhere near Rájec...
Also the second half of the collection, carried by thirteen near-portraits of painters, poets, theorists, with whom Kundera is somehow connected, is a synthesis of a clear recognition of people and their changing projections into an imaginative world, into which only - the poet - can see. I wrote somewhere about Kundera that he approaches everything from the side roads, from where it is possible to see something that is not accessible en face. He has created a textual model that sees us FOR: he opens up, in a completely non-stereotypical way, for each person portrayed, his personal being "around the corner". For all these poems, I will mention only one: the cheerful and terribly sad text of Susa. When Kundera expounds to Suso about wine and deepening interpretations of Faust (there is, incidentally, an ebnereschenbach motif)...
The lapidary title of the collection Dreams is also an expression of Kundera's art of saying too much in a nutshell. It is a telegraphic confession, almost an archetype, but it is also a distinctive password. It is a title that both emphasizes and urgently challenges. After all, Ludvík Kundera's poetry has always been and continues to be as gladly intimate as it is immediately appealing.
Zdeněk Kožmín. In: Moravské noviny Rovnost, 24 January 1996.
Czech edition